Uploaded January 2010 | Updated September 2026, 3 hours ago
Donald Smith - Mystic Man (Track 1, 'Luv', 1976)
Donald Smith (piano) Cecil McBee (bass) Jack de Johnette (drums)
Donald Smith is (correct me if I'm wrong on this) the brother of Lonnie Liston Smith, and appeared on Lonnie's album 'Expansions', singing and playing the flute. 'Luv', from 1976, appears to be his only recording as a leader, though in recent years he has appeared on an album by tenor saxophonist Salim Washington (cimprecords.com/albums/?album=786497571420). (There's also footage, available on youtube, of him playing in Washington's group; this includes a version of Pharoah Sanders' 'The Creator has a Master Plan'). 'Luv' is very different to what one might expect from Smith's appearance in his brother's band; there's not a synthesizer or fusion lick in sight. Instead, this is predominantly modal jazz, with Smith playing some spicy dissonances in the heads (check out in particular the ballad called 'Stillness'), Tyner-style power chords, and frenetic free runs. McBee and Johnette are, as one might expect, a sensitive 'rhythm section' (this is a very co-operative date, with plenty of room for everyone to solo and interact). At times they can be wonderfully delicate (the punctuated silence in the latter part of 'Mystic Man'), at others forceful and rhythmically compelling without being overbearing (the Latin groove of 'Nameless'). I'm going to post the album in its entirety here, as its out of print, and I think it's music that needs exposing. Hopefully this might draw more attention to Smith's music, and we'll hear more from him in the future.
Donald Smith - Mystic Man (Track 1, 'Luv', 1976)
Donald Smith (piano) Cecil McBee (bass) Jack de Johnette (drums)
Donald Smith is (correct me if I'm wrong on this) the brother of Lonnie Liston Smith, and appeared on Lonnie's album 'Expansions', singing and playing the flute. 'Luv', from 1976, appears to be his only recording as a leader, though in recent years he has appeared on an album by tenor saxophonist Salim Washington (cimprecords.com/albums/?album=786497571420). (There's also footage, available on youtube, of him playing in Washington's group; this includes a version of Pharoah Sanders' 'The Creator has a Master Plan'). 'Luv' is very different to what one might expect from Smith's appearance in his brother's band; there's not a synthesizer or fusion lick in sight. Instead, this is predominantly modal jazz, with Smith playing some spicy dissonances in the heads (check out in particular the ballad called 'Stillness'), Tyner-style power chords, and frenetic free runs. McBee and Johnette are, as one might expect, a sensitive 'rhythm section' (this is a very co-operative date, with plenty of room for everyone to solo and interact). At times they can be wonderfully delicate (the punctuated silence in the latter part of 'Mystic Man'), at others forceful and rhythmically compelling without being overbearing (the Latin groove of 'Nameless'). I'm going to post the album in its entirety here, as its out of print, and I think it's music that needs exposing. Hopefully this might draw more attention to Smith's music, and we'll hear more from him in the future.
![Wayne Shorter - Gaia (2013)
Wayne Shorter - Gaia (2013)
Wayne Shorter (soprano saxophone)
Esperanza Spalding (voice, libretto, double bass)
Leo Genovese (piano)
Terri Lyne Carrington (drums)
Orchestra of the Polish Baltic Philharmonic
Clark Rundell (conductor)
Commissioned and premiered by the Los Angeles Philharmonic in 2013. This performance is from the Solidarity of Arts Festival, Gdańsk, 16 August 2014. (Video footage available here: https://www.youtube.com/watch?v=MIzXiRLJPL8)
‘I think everything has a purpose and everything has multi-uses,’ Shorter says. ‘To me, ‘Gaia’ is the planet we live on, and the fact we’re all here is symbolic of the limitless description of what life is about. What the libretto is saying is ‘wake up and dream,’ and the challenge is to bring that consciousness to anyone who’s taking for granted the surroundings that we live in and the planet that we live on and the universe that we’re in and the people we encounter. In other words, if we succumb to illusionary stuff and we become victims to a limited view of what life is supposed to be like, where are we? How do we progress? It’s not enough to be comfortable. We have to reach beyond. That’s what this piece is saying. [...] He wanted it to be a living organism, like Gaia, and to evolve and change according to what was happening at every live performance of it, [Spalding] says. (Oakland Free Press)
Gaia was a murky, thick-set monster of a piece, 26 1/2 minutes in length [...] massive, slow-moving, opaque textures; sometimes tracking Wayne’s distinctive long, snaking melodic lines on soprano; treating the sections of the orchestra as blocs [...] Shorter — who, unbelievably, turns 80 years young this August — chimed in discreetly on soprano sax; Spalding sounded luminous even when stretched to the uppermost reaches of her range. (Richard S. Ginell, Variety)
R.I.P. Wayne Shorter Wayne Shorter - Gaia (2013)](https://i.ytimg.com/vi/ZkgHGKHBT1I/mqdefault.jpg)








![Fredric Rzewski - A Long Time Man (1979)
Frederic Rzewski - A Long Time Man, for Piano & Orchestra (1979)
Fredric Rzewski (piano)
American Composers Orchestra
Paul Lustig Dunkel (conductor)
Live performance, Carnegie Hall, New York City, 2nd November 1997
Note: In 1996, Rzewski re-worked this piece for piano solo as the fifth of his North American Ballads (2006).
Programme Note:
A Long Time Man, for orchestra with piano, was written in the fall of 1979 as a commission for the New Hampshire Symphony, and was first performed by that orchestra in the spring of the following year under the direction of James Bolle, with the composer as soloist. The piece is a series of twenty-four variations on a work song from Texas prisons [It Makes a Long Time Man Feel Bad], with a cadenza for orchestra inserted between variations 15 and 16. The cadenza, which is subtitled Chain Gang, can also function as an independent piece for any number of players.
The theme is stated by the solo trombone, the song of the long time man (a prisoner serving a life term). The first nine variations, written in a kind of poly- or trans-tonal style similar to that of the North American Ballads for solo piano, develop the theme in a dialog between piano and orchestra, a fast-changing collage of bits and snatches of the tune which appear and disappear, in different keys and at different speeds. In Variation 10 a new, slow time suddenly sets in, lasting through Variation 15. In this section time seems almost to stop. The sudden whump of heavy objects dropped on the floor by several musicians at once, starts the Chain Gang sequence, a cadenza in which the orchestra improvises on a series of two-note rhythmic patterns, while the soloist improvises freely. The whump, which continues throughout the cadenza, simulates the sound of several axes, or sledgehammers, coming down together in the cadence typical of work gangs. At the end of the cadenza the orchestra comes together on a single figure repeated several times, then passes immediately to Variation 16, which takes up the thematic material again in a manner similar to the beginning: a beginning that now seems to have happened a long time ago. Variation 17 evokes the slow time of Variations 10 to 15. Variation 18 is a written-out cadenza for solo piano. In Variations 19 through 24 time slows down again and comes to a stop. Accompanied by the sound of chains on the skins of the kettledrums, the theme is played softly in many different keys at once, fades away. The oboe plays the first two notes of the tune, and the music is over.
Why did I write this piece? Ive always had ambivalent feelings toward the symphony orchestra, with its rows of string-infantry, woodwind cavalry, and brass artillery. Beethovens symphonies seem to me like musical descriptions of Napoleonic campaigns, best understood by reading Clausewitz. I like Chopin and Schumann because they dealt awkwardly with the form. I dont like the orchestras social organization, the oppressive work conditions, and the subservience of many individual gifted artists to a commanding, often non-musical authority. At the same time the thing is there, it exists, and for the purpose of creating beautiful music, which is something it certainly can do. This piece is an attempt, perhaps only half-successful, to express the life of the orchestra in its contradictoriness.
(Fredric Rzewski, September, 1987)
The work opens with the prison song intoned by trombone. The tune becomes the basis for 24 variations of dizzying stylistic breadth: tonal and atonal, Serial and Romantic, even jazz-inflected. In the Chain-Gang section, announced by crashes of heavy metal, the orchestra engages in collective improvisation. The orchestra seems an anachronism, Mr. Rzewski said. The social hierarchy is that of Napoleonic France, with its string infantry, woodwind cavalry and brass artillery. I dont like the subservience of individual, gifted artists to a commanding, often nonmusical authority. This is not a social scene I enjoy working in, and so Im not inclined to write pieces that encourage it.
(K. Robert Schwarz, New York Times, Oct. 26, 1997)
(Recording taken from: https://archive.org/details/cd_live-in-hall-recordings-vol-76_robert-didomenica-frederic-rzewski-vincent/disc1/02.+Frederic+Rzewski+-+A+Long+Time+Man%2C+for+Piano+%26+Orch..flac) Fredric Rzewski - A Long Time Man (1979)](https://i.ytimg.com/vi/dLLBfXh6Mfw/mqdefault.jpg)
