Europa Jazz – Dollar Brand / Bill Evans Trio / Charles Lloyd Quartet / Michael White Quartet

This is one of those records that gives me anxiety, since there are four distinct groups, or “combos,” performing (all live, by the way, recorded wildly different years), so I don’t know how to organize it. That’s what I’m worried about? That’s what I have anxiety about? Spelling it out like that allows me to see how silly I’m being. But really—how do I title this review? Wing it! (see above). It’s a 1981 Italian product (Italy’s part of Europa—one of Jupiter’s largest moons). There are only five songs on the record, so I may as well say a little about each one as I’m listening. First there’s the Charles Lloyd Quartet performing: “Twin Pearls” (1967)—starts right in with that saxophone (tenor, I think, Charles Lloyd), and then there’s the high-pitched soprano sax (Keith Jarrett) trying to sound like it’s on its own plain/plane/in pain—but it just can’t help itself and joins in. The drums and bass come in, and they all go nuts for a while, and then eventually get a little goofy. I know Keith Jarrett, of course, for piano records—though I don’t know much about him. I had an album of his when I was a kid that fascinated me (don’t remember why/lost it) and I have a few of his records now. Charles Lloyd has an impressive discography and is still with us.

“Ubu Suku,” credited to Dollar Brand, performed by Dollar Brand on piano, with bass and drums—sounds initially like Thelonious Monk playing “Memories of You.” That first chord. And then some of that melody. And it continues to sound somewhat like Monk, and occasionally other songs, including that one—and others I don’t know but kind of remember. But, as well, this does not sound like Thelonious Monk—but Dollar Brand—I suppose. He’s from South Africa, and since 1968 (converted to Islam) has gone by Abdullah Ibrahim (this recording is 1961). His first records (that I see listed, internet-wise) are from1960—including the excellently titled (and possibly Monk-influenced?) “Dollar Brand Plays Sphere Jazz.” And he’s still at it.

Next, the Michael White Quartet preforming (1971) “Ballad for Mother” (White) with Michael White playing violin, along with piano, bass, and percussion (fine band, look them up!) This is really some nutso stuff, very interpretive—of something—feelings, I guess, though it strikes me as cinematic, I can kind of see a narrative, even if I can’t read it. I wonder what Mrs. White thinks? (I don’t know if that’s her name, but I’m being cute because of the “Clue” game—of course, we don’t really know if the song is literal and/or autobiographical.) Michael White (not the filmmaker, ex-Cleveland Mayor, clarinetist, or countless other Michael Whites) was an avant-garde jazz and jazz-rock fusion violinist, and he played with an odd assortment of visionaries that I’m not going to list (internet).

Finally, Bill Evans Trio, two songs (1961)—first, the standard, “Autumn Leaves,” followed by “Time Remembered,” an Evans number. Bill Evans and his fine trio (I’m not typing all the names—I’m spent—and not a jazz radio station DJ). One of the odder versions of “Autumn Leaves” I’ve heard (and I’ve heard 1,768)—only four minutes long and half of that is a bass solo. “Time Remembered” is a beautiful, contemplative ballad. I could listen to stuff like this all my waking hours, every day—even though it does start going somewhere after a while—I mean, going somewhere that’s not quite the somewhere I’m going. One has to ask oneself, then, if I’m going where I’m going, and it’s going where it’s going, but I keep listening, is it because I’m too petered to change the record, or do I like that split—like traveling down one of two parallel roads that aren’t exactly parallel, and your lover, in the other car, gets incrementally smaller—even though you’re seemingly not getting any further apart. But then you realize that no matter how connected you are, you’re both going to be dead someday. It’s a good song.

The cover opens up and there are live-in-performance photos of each of the band leaders along with some extensive liner notes by… can’t find the credit anywhere on the record. I tried reading this text (approximately as long as this review) but found it quite impenetrable. It seems to be well-written—maybe it’s just me—I’ve been having trouble, lately—I just want to sleep. These liner notes might be coffee writing, so maybe I need coffee to read it. I’ll try again in the morning. The stylized cover is largely a big, silver “J” along with a tiny, black “EUROPA” and large, black “Jazz.” Song titles and combo names (full credits on back). Oddly, in large red letters, there are just four of the prominent artists present (weirdly omitting Bill Evans, while including Keith Jarrett—for “torturin’ the Kenny G”). There’s also a postcard sized photo of an ugly city skyline at sunset—I have no idea what city, though it does resemble Chicago (the photographer would have to be in a boat on Lake Michigan). Are there clues in the liner notes? I’ll have to wait for the coffee. (Whoops… forgot to, and the steamer, SS Coffee Ambition, has since sailed.)

6.14.24