Anyway, on the the music. The program itself is consistently jazz-rock, but contains some things out of left field as well. More on that later. Now, the phrase jazz-rock sounds very well-worn as of modern times, but in 1967 it was kind of a revolutionary thing. In fact, some claim that this group beat Miles Davis to jazz fusion by two years (In A Silent Way would not be recorded or released until 1969). While there is merit in this argument, there is a major difference between the two artists. While Miles was interested in funk music by the likes of James Brown and Sly Stone, this album (and the group) sounds more like what would have happened if the Beach Boys were trained jazz musicians. In general, much more easy-going and quirky yet still very disciplined and rooted in the jazz tradition.
The first two tracks were written by Burton's associate Mike Gibbs, whose work I need to listen to more. June the 15th, 1967 is my favorite of the two - it's a solid opener, with a good balance of a simple, sing-able rock melody and some very jagged, atonal (and not very sing-able) lines played by vibes and guitar. Feelings and Things has a slower pace, and is absolutely haunting. The overall composition blends rock harmonies with very ambient jazz stylings, overall creating a hauntingly beautiful experience.
Another exquisite ballad, I'm Your Pal, is contributed by the great bassist and composer Steve Swallow. The tune is really more of a song; the harmonies are simpler and complement the melody, beautiful and hopeful but not cheesy. Furthermore, the melody is used as a launching pad for some outstanding solos from Burton, Coryell, and Swallow himself (on acoustic bass; he had not yet switched to electric). Another slow piece on the album was composed by Swallow's frequent lover: another composing giant in jazz, Carla Bley. Mother of the Dead Man is from her longer work A Genuine Tong Funeral, which Burton recorded with Bley, his quartet, and a wind and brass section soon after this album. The tone is significantly more somber, with more subtle and ambiguous harmonies. Coryell's exquisite guitar solo combines blues inflections with heart-wrenching vibrato that evokes Spanish flamenco.
Three of Burton's compositions appear on this album: Lines, The Beach, and Good Citizen Swallow. Lines is played by only vibes and guitar; the interplay between Burton and Coryell is breathtaking and it sounds like they're really enjoying it. The tune is very Americana-sounding music that could be used for an upbeat cowboy chase or a bullfight, and the fast tempo only makes the two musicians' antics more impressive. Not to mention, it hints at the many other duo projects Burton was to pursue in his career, particularly with Chick Corea. Good Citizen Swallow was written for Steve Swallow, who gets an long unaccompanied solo. The track plays like the opening track, albeit slightly more driving and upbeat. This makes up for the fact that Swallow's bass solo, while executed well, lasts for two and a half minutes. Despite that, this is one of my favorites.
My favorite track on this album is probably Burton's other composition, The Beach. While not exactly representative of Burton's playing/composing style, it does represent the entire musical spectrum covered on this album - from The Beach Boys to Ornette Coleman. The playing on this tune is divine for everyone involved, and each player gets his moment. The genius introduction features Steve Swallow rapidly thumping the bass's lowest string as an imitation of surf rock players like Dick Dale, or even the drum intro to Wipeout. Burton takes off after the theme with a freewheeling, imaginative solo that reads something like Debussy on acid. This track probably best showcases the artistic capabilities of drummer Bob Moses, who, at 19, was recording with Burton for the first time on this album. Aside from simply being a solid drummer, he bursts with ideas and colors even as an accompanist, which is best showcased at the beginning of Burton's solo. However, my favorite part would be Coryell's guitar solo. It transitions seamlessly, aggressively and ominously as Burton is finishing his solo. From there, Coryell constantly shifts from skittering to sprawling to dissonant chords that sound more at home in a Captain Beefheart faux-blues song to ingenious use of the main theme to cue the end of the solo.
Now, I'd like to touch on the two odd spots on this album: one breaks it, one makes it. The one that breaks it (only slightly) is the closing track, Steve Swallow's General Mojo Cuts Up. It's more of an experiment in soundscapes that features some odd electric piano sounds (possibly by Swallow). The track succeeds in what it's trying to do; the musicians are too high-caliber for it to be otherwise. As an experimental soundscape thing, I think it's very interesting. However, it is completely off-kilter and does not fit with the general vibe of this album at all. The ambient, improvised nature of the track causes it to drag in comparison with the snappy fast pieces, and it just feels out of place with the other slower ones.
The other oddity on this album is a cover of Duke Ellington's Fleurette Africaine. Not only does this work better with the album in general, but it also gives a superb showcase for Burton's vibes. It does seem very out of left field, considering the other repertoire being used; however, the band does a great job of interpreting this beautiful, melancholy piece and giving it great dynamic nuance.
Overall, this album is an underrated gem and gives a glimpse of a very underrated group. The recording quality isn't as high as Burton's later albums for ECM especially, but if anything, it adds to the energy brimming from this album. While there are some slower, somber moments, the whole thing is basically four guys who love jazz having fun and enjoying each other's company. Lofty Fake Anagram, aside from being accessible and easily listenable, is also immensely enjoyable. Solid 9/10.
Track listing:
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