Slaves Mass - Hermeto Pascoal

Nov

17

Slaves Mass - Hermeto Pascoal

≡ Category: 1970s, Avant-Guarde, Essential, Free Jazz, Fusion, Latin Jazz, Music Reviews, World Fusion |
≅ Written by: Michael Kydonieus

JAZZBO NOTES ESSENTIAL RECORDING

Rating:

Hermeto’s debut album as a leader, Yogurt, was intriguing without a doubt, but it really doesn’t prepare you for the brilliance of his follow up, Slaves Mass (on the Collectables label).

The most striking composition is probably the title tune, which starts out with a rather strange form of percussion — Hermeto squeezing a pig like an accordion, with quite a variation of grunts and squeals. Then we get a wonderful melody on guitar (Hermeto again), utilizing an augmented fourth. Soon enough, percussionist Airto joins in, providing a groove behind the melody. But there are more surprises. Flora Purim and Airto start singing a two note octave unison ostinato that provides a background for a descending melody doubled by flute and guitar. The whole thing is magical.

Each tune is different from the last.

Cannon is dedicated to Cannonball Adderly. Mostly, it’s a vocalized flute solo by Hermeto, in the manner of Rahsaan Roland Kirk, with a cacophony of percussion, vocalisms and spoken word poetry in the background.

On Just Listen (Escuta Meu Piano), Hermeto treats us to a tour of his subconscious mind, through the medium of solo acoustic piano. He moves seemlessly from a pointillistic outpouring of notes examining the implications of certain modes and scales into gorgeous dancelike melodies. For the grand finale, he vocalizes along with the piano in a way which is guaranteed to bring a smile to your lips.

That Waltz (Aquela Valsa) showcases the buttery tones of the invaluable trombonist Raul de Souza. The tune falls squarely into the Brazilian fusion style that was briefly popular in the mid-70s, with Hermeto on electric piano and soprano sax, Airto grunting away in his inimitable fashion.

Much as Just Listen moved between free jazz and dance forms, Cherry Jam (Geleia De Cereja) does a similar thing within a trio context, with Hermeto on keyboards and soprano sax, Ron Carter on bass and Airto on drums and percussion. It’s not surprising that Carter handles the free jazz and swing sections so well, but he’s a revelation on the Return to Forever sounding samba sections. Good for him.

Of course it’s not such a surprise that the rhythm section from Weather Report, Chester Thompson on drums and Alphonso Johnson, would meld with Hermeto’s third world dance forms so thoroughly. On Mixing Pot (Tacho), they percolate a driving 6/8 beneath Hermeto, while he spews out wacky unison lines on electric piano and voice.

As if the brilliance of the original LP release wasn’t enough, producer Richard Seidel has generously included an extra tune with the acoustic Airto/Ron Carter rhythm section and two jams with the electric Chester Thompson/Alphonso Johnson rhythm section on this expanded CD reissue.

The acoustic number is reminiscent of Airto’s solo work, with Airto singing the lilting melody over a laid back samba, Hermeto comping on accordion, and the fabulous Raul De Souza once again providing lyrical support on trombone.

The electric jams, Pica Pau and Star Trap, provide the rare opportunity to observe Hermeto in a jazz fusion context. Maybe I shouldn’t have been surprised, but Hermeto turns out to be a burning and endlessly inventive keyboard soloist.

Slaves Mass is a spectacular album, made more so by the inclusion of extra tracks from the original sessions. If I were you, I’d pick it up before it goes the way of the dodo. Hermeto is not exactly a household name in the United States, you know.