The O'Zone | One Time Wonders (Part II) MOON GERMS, Joe Farrell

In a previous dispatch, I mentioned One Time Wonders, or jazz recordings that were one-offs with a specific lineup. I might also include duets in the future into this category, but one-off solo recordings are so plentiful we will keep those in a separate chapter.

Our subject for part II of One Time Wonders is a quartet functioning as one mind. Joe Farrell is known for his work with various Elvin Jones groups in the sixties and as Chick Corea’s reeds man in the first iteration of Return to Forever. On Moon Germs (1973), Farrell plays soprano saxophone and flute, staying away from tenor sax for reasons we will explore later. Herbie Hancock is the pianist on the date and plays the Fender Rhodes electric piano exclusively on this record.

There has been some debate about who was the first to play the Fender Rhodes electric piano on a recording, there were other electric pianos being played before Herbie Hancock played the Rhodes on Miles in the Sky (1968) by Miles Davis but arguably Herbie did most of the earliest heavy lifting on the Rhodes and was even a representative for the company.

Hancock’s work on Moon Germs holds the album together in very subtle ways. Stanley Clarke plays his acoustic bass throughout, although some have mistakenly pointed to the opening song, “Great Gorge” and its intro as solely Clarke’s work. In fact, it is Stanley on upright and Herbie doubling the bassline on Fender Rhodes with a wah-wah pedal, giving it an electric vibe. The fact that Herbie is playing the only electric instrument on the recording is worth noting. This album showcases Hancock’s mastery of a new instrument and is directly influential to anyone playing electric piano after his groundbreaking usage of the piano and pedals.

Finally, the fearless Jack DeJohnette is the drummer who powers the amazing engine room but also provides the subtlety needed on a session like this one. His virtuosity and longevity, his intensity, and his ability to adjust in heartbeat are why he is a go-to drummer for any session.

There are four cuts on the album:

1.   “Great Gorge” (Joe Farrell)—11:48

2.   “Moon Germs” (Joe Farrell)—7:27

3.   “Times Lie”  (Chick Corea)--- 8:32

4.   “Bass Folk Song” (Stanley Clarke)---9:47

The timbre, dynamics, and energy of this recording put it between Soul Jazz and Jazz Fusion, but it’s hard to categorize as either one. Categories often fall short of accurately depicting what an album really is. It’s a spirited album and different from Farrell’s previous two albums for Creed Taylor’s CTI label.

Moon Germs is by far my favorite of all his albums (with his eponymous debut on the label a close second and the atmospheric Outback (1972) also being a favorite). From 1970 to 1976, Joe recorded 6 albums for CTI, yielding some truly great work as a leader and over 20 dates as a sideman for the label. He’s also played on over a hundred other recordings for as varied artists as The Band, Laura Nyro, Santana, Mose Allison, Patti Austin and Mose Allison.

Farrell is a virtuoso tenor saxophonist, so I was curious why he didn’t play it (or for that matter, alto sax or piccolo) on Moon Germs. I suspect his Piccolo playing is identifiable as a Return to Forever trope, so he stays with the flute. Also, the appearance of Stanley Clarke playing acoustic bass and his tone and personality cover the low end, and live in the tenor saxophone’s neighborhood. By playing soprano saxophone, Farrell makes room sonically for the virtuosity of Stanley Clarke. This is particularly in evidence in the finale, Stanley’s “Bass Folk Song”.

Joe Farrell is covering the sonic neighborhood you might find John McLaughlin or Larry Coryell in, making it a jazz fusion album to many who love the genre, but to me it is closer to being soul jazz than fusion. Whatever you call it, I have found it is a universally well-liked and respected recording: immediately identifiable and individualistic.

I, for one, would have enjoyed another helping of Moon Germs’s personable vibe over its follow-up, Penny Arcade (1973).

I think this is a band that could’ve recorded dozens of outstanding albums, but what we have is another one-time work of genius.