Roswell Rudd - The Unheard Herbie Nicols [Vol.1 & Vol. 2]

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Roswell Rudd - The Unheard Herbie Nicols [Vol.1 & Vol. 2]

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Roswell Rudd - The Unheard Herbie Nicols [Vol.1 & Vol. 2]

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Although he was a major composer who wrote over 200 pieces, pianist Herbie Nichols never had an opportunity to document most of his work, orchestrate any of his pieces for a group larger than a trio, or even to work regularly playing his music. When he passed away in 1963 at the age of 44, he was unknown except to a very small group of fans and musicians, one of whom was trombonist Roswell Rudd. On this 1996 set, Rudd debuts seven Nichols compositions that were never previously recorded. The trombonist performs in an unusual trio with guitarist Greg Millar and drummer John Bacon, Jr. (who doubles on vibes). Five of the pieces (which range in length from the nearly 16½-minute "Jamaica" to "Valse Macabre," which clocks in at 1:37) feature the entire group, and although the structures are quite tricky, the music (even when it is in waltz time) generally swings in its own fashion. The final two numbers ("One Twilight" and "Passing Thought") are taken as unaccompanied trombone solos and find Rudd putting plenty of feeling into his interpretations of his fallen friend's music. Overall, this is an intriguing set of "new" music. All Music Guide

This second volume of excavated music from the floodwaters that destroyed much of Nichols' possessions and undocumented compositions still only scratches the surface, but it's an intriguing facade. Rudd is the perfect person to do the digging, being a close personal friend of the late pianist/composer. The context is what's different, it's not a piano trio. Trombone from the effervescent Rudd, guitar by Greg Millar, and drums/vibes courtesy of John Bacon Jr. set these pieces in a different light. Each of these eight compositions stand on their own. "Ina" sports a hip merengue funk and swing with a bold trombone barking out, while the bawdy Rudd growls over an easy New Orleans shuffle swing, raucous but never reckless, during "Old 52nd Street Rag." On the softer side is the free vibes/guitar-based ballad "Strange City," languid vibes and regretful trombone on "Vacation Blues" with small lyric line sung roughly by Rudd, and the straight-ahead, loping guitar-based blues (sans Rudd) "Dream Time." More developed, the near 17-minute "Tee Dum Tee Dee" starts with a buzzing, low register, groaning Rudd over free percussion snaps and swipes, then he evokes spooky ghostly moans and hair-comb hums with muted trombone, merging into a lengthy blues swing section without the mute. A seemingly free, kinetic percussion discourse between Bacon and Millar on "Forest Floor" buoys Rudd's more throaty trombone, curious, status-seeking muted vibes, and vocal band chants. An African percussion style informs "Some Wandering Bushmen" under a one-note ostinato, 5/4 bluesy line with Rudd as inquisitor. Everyone needs to hear more of Herbie Nichols' music, and Rudd as executor makes perfect sense. Perhaps a different instrumental context will be used the next time around, simply for the sake of variety. All Music Guide