It’s not often when the co-leader of a quintet may have the least recognized name in the unit, but maybe it’s just because most of us, like this writer, are just more familiar with the American musicians. This one from the vaults, unearthed by Dot Time Records is special as it would be difficult to find a more talented quintet once one strays beyond Miles Davis or Art Blakey. The Cd/digital version of Lackerschmid/Baker: Quintet Sessions 1979 is now available with the vinyl version to follow on January 8, 2021. It is the follow-up to Dot Time’s critically acclaimed re-release of Wolfgang Lackerschmid and Chet Baker’s Ballads For Two. Like that one, this features the iconic trumpeter and vocalist with vibraphonist Wolfgang Lackerschmid but the duo is augmented by a stellar rhythm section made up of jazz luminaries Larry Coryell (guitar), Buster Williams (bass) and Tony Williams (drums).
These sessions, due primarily to Baker and Coryell, carry a very bluesy edge. The year was 1979, Lackerschmid and Baker had traveled by train and ferry from Norway to Austria to perform at a festival engagement following the success of the limited release of Ballads for Two. Following a particularly memorable duo performance, guitarist Larry Coryell came backstage with tears in his eyes. Moved by the performance, he remarked that he would love to join the duo some time. Baker’s agent picked up on this right away, suggesting that the three artists do a record together with a rhythm section. This suggestion was met with a gruff response from Baker: “We don’t need no rhythm section.” Lackerschmid followed, in a half-joking fashion, that the only rhythm section players that he would trust on the project both have the last name “Williams”. Some weeks later, Lackerschmid received a call from Chet’s agent stating, “Buster and Tony are excited to play at this recording session.” Thus, an off-the-cuff comment sparked ta practically serendipitous collaboration between five of the most impactful musicians in the jazz, three of whom have passed. So, only the surviving Buster Williams and Wolfgang Lackerschmid can bask in the joy of this reissue.
Larry, Buster and Tony eagerly arrived in Stuttgart for the recording session, each with compositions of their own. Quintet Sessions starts full tilt with Tony Williams’ “Mr. Biko.” Lackerschmid notes “[the tune] created a great atmosphere with various colors, connecting the different musical flavors of the players in a very elegant way.” Coryell, Baker, Lackerschmid and Buster Williams all bring something unique and powerful to the piece during inspired improvisational segments. Lackerschmid’s “Balzwalz” brings the ensemble to full swing. “Balzen” is the German expression for courtship, which could explain the nearly-imposing bassline from Buster Williams and the passionate bluesy playing from guitarist Larry Coryell leading to an instinctual growl from the rhythm section (at the 1:40 mark). Baker’s voice and melodic sense is in wonderful form scatting over the tune’s changes. On an alternate take, which is included in this CD/Vinyl package, you can hear Chet playing trumpet beautifully over the changes instead of scatting.
Coryell brought in “The Latin One”, a bright-tempoed Latin inspired piece but during his solo, he decided to switch to another piece he had written “Rue Gregoire Du Tour”. Lackerschmid notes “because the mood of “The Latin One” had started out so nice, we kept those two minutes and faded at Larry’s solo before he stopped.” Baker shines on “Rue Gregoire Du Tour,” delivering a virtuosic solo indicative of his singular style. The album concludes with an energetic blues “Toku Du”. Baker and Coryell demonstrate their bop vocabulary and marvelous time feel over Tony Williams’ primordial rhythmic underpinnings. Buster Williams delivers several lively choruses before Lackerschmid closes the tune t with some marvelous, soulful melodic mallet notes, accompanied ardently by Coryell.
These artists were well into their prime for these sessions. Those that enjoy jazz with a bluesy edge will find these recordings especially appealing. To this writer, Coryell’s guitar playing is of particular note.
