One day long ago, I was behind the microphone at WPRB in Princeton doing my regular 4-7 pm shift. The studio phone rang and the voice on the other end identified himself as Jack DeJohnette, who politely asked if I would be interested in booking his band Compost at the school. I did so, and that was the beginning of a friendship that lasted more than 50 years, through my hiatus from jazz while producing rock videos and independent films, and after my return to run Verve, where as you noted he was an essential part of Joe Henderson’s later albums and also Herbie’s The New Standard. From the beginning, he and Lydia always showed me great kindness, and I was delighted when we were able to record and release Sound Travels at eOne Music with an all-star cast and Bob Sadin producing, in celebration his NEA award 13 years ago. It’s a good album, certainly not among his greatest, but it does have a warmth and intimacy that wears exceedingly well. A giant of the music and a great spirit. And my friend.
Ever since I found out that Jack left town I was wondering if anyone would mention Sound Travels, a record I love and listen to often. Kudos on your involvement with that, Mr. Mitchell. This recording is so enjoyable and accessible that at first I thought if might somehow be dumbed down. But no. It’s serious jazz that is so coherent and positive in expression that it almost comes across like pop music. I think I’ll listen again today. Final thought: Was there ever a drummer more kinetic than Jack?
One of my all time favorite DeJohnette recordings is Betty Carter's Feed the Fire. Her trio of Geri Allen, Dave Holland , and Jack was a masterclass in how to accompany a great singer. An incredible live recording.
Ethan I’m so glad you highlighted the importance of his work on Deer Wan, etc. those are such magnificent pieces on every level and even I who have grave reservations about the ice chamber production of ECM albums find this entire run to be a masterful chapter in jazz and one which deserves far greater recognition. Hats off sir
Ethan, Thanks for the great writeup about Jack DeJohnette. All the albums you mentioned are incredible standouts.
Another lesser known ECM album that Jack added so much too, was George Adams’ “Sound Suggestions” with Holland, Beirach, & Kenny Wheeler. Jack is absolutely roaring on the down home blues that George sings (a very uncharacteristic ECM track).
Beautifully done. I will just make a plug for Album Album by Special Edition, which is my favorite album with Jack as a leader. Freedom, swing, ensemble groove, fierce blowing - it’s all there, along with perhaps his best composition (“Ahmad the Terrible”).
I'm also a fan of Album Album and I also recommend the first record with Special Edition, which was self-titled, and included Arthur Blythe and David Murray. It's apparently not available as a standalone on the streaming services, but there's a box set of of the first four Special Edition albums called simply Special Edition. The first five tracks on that are the first album.
You beat me to it, David. I love listening to that band. And Ethan, I agree about his collaboration with Joe; I think of Power to the People as one of the best exemplars of that musical moment.
Roy Haynes' approach to time-keeping and comping also vastly influenced Mr. DeJohnette. Check out Stan Getz' "My Foolish Heart Live at the Left Bank" (1975).
I'm pretty sure I read (or heard on a podcast somewhere) that it is Charlie Haden yelling out "Jack DeJohnette, man!" on that Pat Metheny record. Not that it much matters. JD's playing is indeed great on the record, as on so many others.
Until I heard Pat speaking about that, I didn't realize that it was the first time that Charlie & Jack played in a group together. After that they became usual partner. Very notably, IMO, on John Scofield's "Time on my hands" and Mike Brecker's first album.
Great writing as always Ethan. A very early memory, early teens, I followed my dad to see these weird guys playing . . . Jazz?!? And then the drummer and pianist switched places?!? And they still sounded good! Golden Circle in Stockholm, Charles Lloyd quartet.
Jack came again to Stockholm in 76/77?? with his Special Edition. Small room, I sat 2 meters from the drum set, his musicality blew my mind.
Btw. You need to listen to Ruta and Daitya. Jacks playing is marvellous.
I must be an outlier because none of the write-ups (and thank you for yours) seem to mention my very favorite: "Special Edition" (ECM 1979) with an all star cast: alto saxophonist Arthur Blythe, tenor saxophonist and bass clarinetist David Murray, and bassist Peter Warren. It's one I would have no problem recommending to someone who wanted to learn about jazz.
Love your 'holy trinty' take. I've long argued there never was or never will be a rock and roll record that would not be improved by having Jack as the drummer.
I loved all this music when it came out, perhaps especially Triplicate, Song X and, for reasons having less to do with Jack specifically, Double Double You. The Gary Thomas/ Greg Osby Special Edition played in Montreal; video from that concert is maybe slightly more persuasive than the album.
DeJohnette makes an occasional appearance in George Lewis's great book about the AACM, A POWER STRONGER THAN ITSELF; e.g., "Friday afternoons were devoted to rehearsals that brought Wilson students [from Chicago's Woodrow Wilson Junior College, including Malachi Favors, Anthony Braxton, Henry Threadgill] together with the cream of Chicago’s musicians. Present at these events were people like Eddie Harris, Charles Stepney, drummers Steve McCall and Jack DeJohnette, bassists Betty Dupree and Jimmy Willis, pianist Andrew Hill, and several musicians who had been part of the Sun Ra Arkestra, including trumpeter Hobart Dotson and percussionists Richard Evans and Jim Herndon."
One day long ago, I was behind the microphone at WPRB in Princeton doing my regular 4-7 pm shift. The studio phone rang and the voice on the other end identified himself as Jack DeJohnette, who politely asked if I would be interested in booking his band Compost at the school. I did so, and that was the beginning of a friendship that lasted more than 50 years, through my hiatus from jazz while producing rock videos and independent films, and after my return to run Verve, where as you noted he was an essential part of Joe Henderson’s later albums and also Herbie’s The New Standard. From the beginning, he and Lydia always showed me great kindness, and I was delighted when we were able to record and release Sound Travels at eOne Music with an all-star cast and Bob Sadin producing, in celebration his NEA award 13 years ago. It’s a good album, certainly not among his greatest, but it does have a warmth and intimacy that wears exceedingly well. A giant of the music and a great spirit. And my friend.
thanks so much Chuck!
Ever since I found out that Jack left town I was wondering if anyone would mention Sound Travels, a record I love and listen to often. Kudos on your involvement with that, Mr. Mitchell. This recording is so enjoyable and accessible that at first I thought if might somehow be dumbed down. But no. It’s serious jazz that is so coherent and positive in expression that it almost comes across like pop music. I think I’ll listen again today. Final thought: Was there ever a drummer more kinetic than Jack?
One of my all time favorite DeJohnette recordings is Betty Carter's Feed the Fire. Her trio of Geri Allen, Dave Holland , and Jack was a masterclass in how to accompany a great singer. An incredible live recording.
Ethan I’m so glad you highlighted the importance of his work on Deer Wan, etc. those are such magnificent pieces on every level and even I who have grave reservations about the ice chamber production of ECM albums find this entire run to be a masterful chapter in jazz and one which deserves far greater recognition. Hats off sir
Thanks for that. I've been listening to Terje Rypdal / Miroslav Vitous / Jack DeJohnette (ECM) since yesterday. DeJohnette was an incredible artist.
Ethan, Thanks for the great writeup about Jack DeJohnette. All the albums you mentioned are incredible standouts.
Another lesser known ECM album that Jack added so much too, was George Adams’ “Sound Suggestions” with Holland, Beirach, & Kenny Wheeler. Jack is absolutely roaring on the down home blues that George sings (a very uncharacteristic ECM track).
RIP to a very great drummer/musician.
Jack’s work on Jackie McLean‘s Demon Dance is spectacular. Especially Message for Trane. Brilliant showcase from my drum deity…
Beautifully done. I will just make a plug for Album Album by Special Edition, which is my favorite album with Jack as a leader. Freedom, swing, ensemble groove, fierce blowing - it’s all there, along with perhaps his best composition (“Ahmad the Terrible”).
Mark Stryker also likes Album Album and I listened to it yesterday.
thanks for comment, David!
I'm also a fan of Album Album and I also recommend the first record with Special Edition, which was self-titled, and included Arthur Blythe and David Murray. It's apparently not available as a standalone on the streaming services, but there's a box set of of the first four Special Edition albums called simply Special Edition. The first five tracks on that are the first album.
You beat me to it, David. I love listening to that band. And Ethan, I agree about his collaboration with Joe; I think of Power to the People as one of the best exemplars of that musical moment.
Roy Haynes' approach to time-keeping and comping also vastly influenced Mr. DeJohnette. Check out Stan Getz' "My Foolish Heart Live at the Left Bank" (1975).
thanks Mr. Soph!
Thanks for this excellent, thorough and detailed tribute to someone who was truly, as you suggest a superstar.
I'm pretty sure I read (or heard on a podcast somewhere) that it is Charlie Haden yelling out "Jack DeJohnette, man!" on that Pat Metheny record. Not that it much matters. JD's playing is indeed great on the record, as on so many others.
oh really! That can be found out. I will investigate. I
My understanding also, that it was Charlie.
Did this get cleared up?
Nothing from my email yet but after thinking about it I think it’s Charlie. I appended a correction last week.
Until I heard Pat speaking about that, I didn't realize that it was the first time that Charlie & Jack played in a group together. After that they became usual partner. Very notably, IMO, on John Scofield's "Time on my hands" and Mike Brecker's first album.
Great writing as always Ethan. A very early memory, early teens, I followed my dad to see these weird guys playing . . . Jazz?!? And then the drummer and pianist switched places?!? And they still sounded good! Golden Circle in Stockholm, Charles Lloyd quartet.
Jack came again to Stockholm in 76/77?? with his Special Edition. Small room, I sat 2 meters from the drum set, his musicality blew my mind.
Btw. You need to listen to Ruta and Daitya. Jacks playing is marvellous.
https://youtube.com/playlist?list=PL44gxJwuwoaYFeYty7cHbS2cCVsewX3Fs&si=UAtvQ6EQZBf0uQV7
I must be an outlier because none of the write-ups (and thank you for yours) seem to mention my very favorite: "Special Edition" (ECM 1979) with an all star cast: alto saxophonist Arthur Blythe, tenor saxophonist and bass clarinetist David Murray, and bassist Peter Warren. It's one I would have no problem recommending to someone who wanted to learn about jazz.
Love your 'holy trinty' take. I've long argued there never was or never will be a rock and roll record that would not be improved by having Jack as the drummer.
I loved all this music when it came out, perhaps especially Triplicate, Song X and, for reasons having less to do with Jack specifically, Double Double You. The Gary Thomas/ Greg Osby Special Edition played in Montreal; video from that concert is maybe slightly more persuasive than the album.
https://www.youtube.com/watch?v=9hIWu0rN4HY
THIS is the Jack DeJohnette of Jack DeJohnette eulogies. Absolutely perfect.
DeJohnette makes an occasional appearance in George Lewis's great book about the AACM, A POWER STRONGER THAN ITSELF; e.g., "Friday afternoons were devoted to rehearsals that brought Wilson students [from Chicago's Woodrow Wilson Junior College, including Malachi Favors, Anthony Braxton, Henry Threadgill] together with the cream of Chicago’s musicians. Present at these events were people like Eddie Harris, Charles Stepney, drummers Steve McCall and Jack DeJohnette, bassists Betty Dupree and Jimmy Willis, pianist Andrew Hill, and several musicians who had been part of the Sun Ra Arkestra, including trumpeter Hobart Dotson and percussionists Richard Evans and Jim Herndon."