Tuesday, December 15, 2015

Barney Wilen - 1968 - Dear Prof. Leary

Barney Wilen 
1968 
Dear Prof. Leary


01. The Fool On The Hill
02. Dear Prof. Leary
03. Ode To Billie Joe
04. Dur Dur Dur
05. Why Do You Keep Me Hanging On
06. Lonely Woman
07. Respect

Bass, Electric Bass – Günter Lenz
Drums – Aldo Romano, Wolfgang Paap
Guitar – Mimi Lorenzini
Piano, Organ – Joachim Kühn
Tenor Saxophone, Soprano Saxophone – Barney Wilen

Recorded at MPS Studio Villingen, Black Forrest,
June 27-28, 1968


French saxophonist / composer Barney Wilen is known to Jazz fans mostly for his role in the 1957 recording with Miles Davis of the legendary “Ascenseur pour l`échafaud” soundtrack. But a decade later, Wilen left standard American Jazz behind and took an active role in the burgeoning new European scene in search of new musical adventures. He formed a group called Amazing Free Rock Band with young upcoming players like Swiss guitarist Mimi Lorenzini, German keyboardist Joachim Kuhn, German bassist Gunter Lenz and two drummers, Italian Aldo Romano and German Wolfgang Paap. As the group’s name suggests, they combined contemporary Rock with Free Jazz, creating an amalgam they called Free Rock. This album is a document of this attempt, and one of the earliest Jazz-Rock Fusion recordings. The material includes mostly contemporary Pop and Rock anthems, with a couple of original compositions and one Jazz composition by Ornette Coleman. The result is one of the wackiest albums ever recorded and a great document of the era. As the title suggests, Psychedelic instances probably had much to do with the resulting music. Although the music did not withstand the test of time as well as other MPS recordings, producer Joachim Berendt thought at the time that this experiment was worth preserving for posterity, and we are (in retrospect) grateful. Superbly remastered and elegantly packaged by Promising Music, this is a great trip down the memory lane. Definitely worth investigating.

Any album combining '60s hits like "Ode to Billie Joe" and "Respect" with Ornette Coleman's "Lonely Woman" deserves more than a passing glance. The late French saxophonist Barney Wilen was already thirty-one when he recorded Dear Prof. Leary with His Amazing Free Rock Band in 1968 for the German MPS label. Best-known by then (and, likely, afterwards as well) as Miles Davis' saxophonist on the trumpeter's noir-esque soundtrack to director Louis Malle's Ascenseur pour L'échafaud (1958), Promising Music's reissue of Dear Prof. Leary presents another side to the largely forgotten Wilen.

Wilen recruited a sextet of players known and unknown, including a very young Joachim Kühn (piano, organ), who'd ultimately become an MPS mainstay, and drummer Aldo Romano, here heard together with the more rock-informed Wolfgang Paap (drums). The group is rounded out by two artists who will be, at best, footnotes in jazz history: guitarist Mimi Lorenzini and bassist Günter Lenz, who'd appear on a handful of MPS releases and, a few years later, the Berlin Contemporary Jazz Orchestra (ECM, 1990).

While many of MPS' releases feel timeless, Dear Prof. Leary is definitely of its time—a combination of outrageously near-psychedelic free jazz with a rock attitude. Drugs may or may not have been a part of the equation, but in the unusual breakdown during Kühn's high energy title track, where both the keyboardist (on organ) and saxophonist are wailing madly, the tune dissolves completely into a series of guttural noises and primal screams that may or may not allude to some seriously bad tripping. A rocking coda leads nicely into an initially reverent but ultimately free-wheeling, eight-minute take on Bobbie Gentry's "Ode to Billie Joe," featuring an unexpectedly soulful organ solo from Kühn that retains the high velocity extremes that would be his signature by the time of Association P.C.'s 1974 release, Mama Kuku (Promising Music/MPS, 2008), and violinist Zbigniew Seifert's classic Man of the Light (MPS, 1976).

As rock-heavy as the grooves are, the soloing is as loose and unfettered as the time in which it was made. Lorenzini's riff-based "Dur Dur Dur" is simply an opportunity for some angular wails from Wilen, raucous wah wah from the guitarist and soul jazz lines from Kühn, while the twin-drum approach on "You Keep Me Hanging On" creates a turbulent underpinning for some psychedelic in tandem soloing by Wilen and Kühn, this time on piano. Lorenzini and Lenz keep the groove and changes clearly defined until another dissolve into complete freedom that ultimately resolves back to the familiar refrain before ending, once again, in chaos.

Electric and acoustic textures mix throughout the album, but nowhere are they more paradoxically opposed yet integrated as on "Lonely Woman," where Lenz's arco bass and Kühn's exploratory piano mesh with Wilen's lyrical yet liberated soprano. It's a combination that makes Dear Prof. Leary less of a masterpiece than some of Promising Music's reissues, but remains an intriguing curiosity of its time that's certainly worth revisiting.

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