#george cables

[de-salva]

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FREDDIE HUBBARD - Keep Your Soul Together

Alb. "Keep Your Soul Together" (1973)

[jt1674]

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[doomandgloomfromthetomb]

Joe Henderson Quintet -The Lighthouse, Hermosa Beach, California, June 1977

A recent New York Times profile revealed that the great drummer Jack DeJohnette has retired from the touring life — at 83 years old, Jack has earned it. But retirement means he can dig into his archives, and Jack has struck gold almost immediately.

Hank Shteamer reports: The increased time at home has given DeJohnette time for reflection both musical and personal. Lydia [DeJohnette] and Joan Clancy, the DeJohnettes’ personal assistant, are currently cataloging and organizing his vast sonic archive, containing decades’ worth of unreleased recordings. One tape from this trove is a turbocharged 1966 live set from the storied East Village venue Slugs’ Saloon that features DeJohnette alongside the pianist McCoy Tyner, the saxophonist Joe Henderson and the bassist Henry Grimes. It will come out on Blue Note in November as “Forces of Nature,” a title chosen, he said, “because everybody’s being pulled and pushing each other to the umpteenth level, and it shows.”

Aw yeah, this is just what the doctor ordered ... check out a sample from the show. Great sound quality, phenomenal performance, impeccably Slugs-y vibes.

And then, enjoy a soundboard of Joe Henderson a little over a decade later all the way across the country in Hermosa Beach at another storied venue — The Lighthouse! I was just in Hermosa Beach over the summer and this club is still standing. On the marquee when I was passing by? Boys Of Summer: A Don Henley & Eagles Tribute. Oh baby. But hey, this tape of Joe is great, with the saxophonist's longtime associate George Cables on electric and acoustic piano; check out Joe and George blissfully trading lines on "'Round Midnight."

More bygone Hermosa Beach daze — my buddy Chris has been doing sterling work with his Rat Beach Rags t-shirts, reviving some classic (and long-shuttered) logos from our misbegotten youth: Alternative Groove, Scooter's Records and, most recently, Either-Or Bookstore, a Beat-era holdover that was right up the street from the Lighthouse. I spent endless hours at Either-Or back in the day, flipping through magazines, petting the cat, trying to act cool. Get your Either-Or shirt here.

[disease]

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GEORGE CABLES // ONE FOR MY BABY [ONE FOR MY BABY, 2000]

[gottahavesoul]

George Cables - Helen’s Song (My Muse, 2012)

so beautiful...

[mostlymonk]

Ugly Beauty

George Cables

George Cables – piano Essiet Essiet – bass Victor Lewis – drums

[dustedmagazine]

Frank Morgan & George Cables – Montreal Memories (HighNote)

Altoist Frank Morgan was by various anecdotal accounts an asshole. He certainly wasn’t singular in that assignation amongst his peers, nor was the narrative of misspent years, drug addiction, incarceration and eventual redemption through a concerted return to music that coalesced around his persona, particularly in his last decade. It’s a pervasive and some would argue pernicious arc in the popular jazzman archetype. Morgan had the bona fides of having lived it and come out the other side, if not unscathed at least alive. He also had the advantage of undeniable talent as the archival Montreal Memories bears out in an intimate duo concert recorded at the Theatre Port-Royal in 1989.

Morgan’s equal in the enterprise was of a different temperament and demeanor. Pianist George Cables was verily revered by his peers and employers. Possessed of an impeccable technique and a broad grasp of the Great American Songbook, he immediately found common ground with Morgan and the pair recorded repeatedly in the format. Cables also had ample experience dealing successfully with ego-enslaved collaborators. He was Art Pepper’s favorite pianist and participated in the altoist’s final recording sessions in 1982, also as a duo. Morgan and Pepper shared several biographical parallels including an approach on their horns that was indelibly indebted to Charlie Parker.

The Bird fealty is evident throughout the concert in both Morgan’s phrasing and the bop-canted program, but he brings an improvisational acumen strong and personal enough to regularly resist rote derivation. Cables toggles from tight and bouncy accompaniment to vibrant lead and back again, all the while preserving playful deference to his partner. The opening jaunt through “Now’s the Time” is rich encapsulation of their rapport with Morgan launching into aerated vertical flights that mix clean melodic lines with fleet bursts of reed and fingering effects while Cables retains an implacable tonal center with interlocking hands. 

“All the Things You Are” drops a gauzy balladic shroud that’s further enhanced by the somewhat murky fidelity of the source tape. Blowing amorously and draped by Cables’ rolling chords, Morgan revels in the malleability of his horn’s upper register. The piano improvisation that follows is proportionally adroit and with Cables utterances of satisfaction audible prior to a brief eruption of applause. Richly communicative renderings of “A Night in Tunisia,” “’Round Midnight” and “Confirmation” reference other prominent bop signposts prior to the duo’s denouement with a surprising medley merger of Wayne Shorter’s “Nefertiti” and a final Bird bon mot, “Billie’s Bounce.” Morgan may have been cad in various of his personal dealings, but in the company of Cables his musical perspicacity comes through loud and clear.

Derek Taylor

[mosaicrecords]

George Cables Needs our Help

George Cables, whose second kidney transplant years ago gave him a new lease on life, has now been plagued with ulcers in his legs. Doctors have determined his left leg must be amputated and George is in immediate financial need. If you can contribute, here is his GoFundMe page.

-Michael Cuscuna

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