This was the first and last time Pepper worked with Jordan, and came about as a result of Pepper's usual pianist, George Cables, being unable to make the dates at Club Montmartre in Copenhagen. To Pepper's dismay, Danmarks Radio decided to record the first gig of the Montmartre series. Pepper need not have worried – the show was a rousing success, with the band tackling a set of standards (and a couple of Pepper originals) with such verve and determination that relatively simple tunes turned into astounding solo workouts (there are several drum and bass solos to be heard on this record), the amazing highlight of which is a shot at "Besame Mucho" that rounds out to twenty-two minutes. Art Pepper was in the process of dying at the time this recording was made, but there's no lack of energy, no loss of vitality. A two-CD live jazz set that's well worth having and should not be overlooked.
Duke Jordan, who played regularly with the Charlie Parker Quintet in 1947, was long known as a superior bebop pianist whose style was touched by the genius of Bud Powell's innovations. This quintet album, also featuring trumpeter Dizzy Reece and the young tenor Stanley Turrentine, gave Jordan an opportunity to record six of his originals and, although none became as well-known as his "Jordu," the music has plenty of strong melodies and variety. This is one of Duke Jordan's better recordings and is quite enjoyable. This reissue include "Diamond Stud" and "I Should Care" as bonus tracks.
The music chosen for this recording is strangely and poignantly relevant, I believe, for each of us. We all now understand “The Fruit of Silence,” a motet that reminds us to visit those beliefs which are most sacred in the work by Cortlandt Matthews, or now, a deeply personal Requiem by Peter Relph that in reflection, remembers the hundreds of thousands of lives lost in this pandemic. And then there is the LaVoy work “O Great Beyond.” While all great texts speak to the universality of the human condition and, if are truthful, are timeless. Particularly the George Fox text set by Jackson Hill and the Tagore text set by LaVoy give us messages to reinforce the humanness of each of us for hope. Two works on this disc poignantly remind us of the passing of life in the Relph Requiem and especially the final movement of “O Great Beyond.” May these words give comfort to all those who endured the deepest of Life’s losses during our shared Pandemic journey. For, so many loved ones, goodbyes were said in silence, and alone.
Clifford Jordan's first date as a leader actually found him sharing a heated jam session with fellow tenor John Gilmore. Backed by pianist Horace Silver, bassist Curly Russell, and drummer Art Blakey, the two saxophonists square off mostly on obscurities (other than Gigi Gryce's "Blue Lights" and "Billie's Bounce"). This was one of Gilmore's few sessions outside of Sun Ra's orbit and, if anything, he slightly overshadows the cooler-toned Jordan.