Evolution

When it comes to Blue Note Records releases, you can always be guaranteed a standard of quality that is unlike any other record label's output. The label went on an extraordinary streak throughout the 1960s, signing dozens of talented jazz players from all across the states, and perfecting their physical presentation through their albums. The records that come to mind that defined Blue Note during the 1960s are exceptional records such as Eric Dolphy's "Out for Lunch," Herbie Hancock's "Maiden Voyage," and Grant Green's "Idle Moments." However, one, in particular, that doesn't seem to be brought up regularly in these types of discussions is Grachan Moncur III's album "Evolution." Perhaps the most beautiful example of post-bop only second to Out to Lunch, Evolution is a departure from the tried and true formula of Hard-Bop that dominated the 1950s, it was straightforward in its direction and boasted a sound refreshing and inventive.

Furthermore, its sound is increasingly mature and somewhat austere. It also featured the leading instrumentalists of that time's current post-bop movement. Vibraphonist Bobby Hutcherson is also present who made significant steps in elongating post-bop with his album "Dialogue." Jackie Mclean and prodigy drummer Anthony Williams who always had leniency toward post-bop even in his career-defining days apart of Miles Davis's second great quintet appear in the lineup, also. Perhaps most surprising within the list is the inclusion of Lee Morgan, a notably hard-bop loyalist whose days with Art Blakey produced the best material in Hard-Bop. However, Lee seems to blend effortlessly into this new atmosphere, shedding nothing, but adding plenty. Finally, the man leading the charge Grachan himself on the trombone. This lineup oozed with instrumental creativity, with each member adding flavors into the sonic soup left and right. Anthony Williams laying down tasteful and intricate counter-rhythms and fills, Bobby Hutcherson, hammering explosions of vibraphone brilliance, which gives the record its defining flavor, and Grachan who wrote all of the compositions and lead the restrained yet potent horn section.

Opening track Air Raid, without a doubt in my mind, stands as one of the single best songs that Blue Note ever released. The atmosphere created within it is surprisingly moody and brooding, hence the tense title. It's the tones that Bobby concocts that mainly give it this feeling of restraint and carefulness. It's like the saxophones are walking in a dark room, tiptoeing slightly on the shaky floor. With the pace quickening, the song soon divulges into excellent solos from Jackie Mclean and Lee Morgan. The title track also contains that same energy and flavor, which is wonderfully broad in its 12-minute runtime. The last two tracks, although not in any sense a dip in quality, are more rooted in traditional Hard-Bop stylings but is still reminded of its post-bop placement with the vibraphone.

I do sometimes wonder if there was ever a rotten Blue Note release, I have never heard it or heard of it, and frankly, I don't believe such a thing exists. Evolution, aptly named, is yet another example of Blue Note's excellent roster of musicians, and it boldly carried the music forward in a somewhat risky direction that ultimately paid off. With that being said, give this thing a listen, if you assume every jazz release to sound in that widely known hard-bop sound, you might be surprised with Evolution in its masterfully forward-thinking and fresh aesthetic.

Thank You for Reading,
Jacques