The O'Zone | The Phantom (or The “Other” Duke)
You know his popular compositions, considered jazz standards to many: “Christo Redentor,” “Jeannine,” “Idle Moments," and “Sweet Honey Bee.” His is a name you’d see as a sideman and producer…“THE OTHER DUKE.”
Columbus Calvin “Duke” Pearson picked up his nickname from an uncle who was an admirer of Duke Ellington. He began piano lessons when he was six years old and by the time he was twelve began playing trumpet, which he continued to play through his time in the Army until dental issues (and his admiration for his friend Wynton Kelly) turned him back into a pianist.
Armed with a lyrical and funky style, Pearson wound up with Donald Byrd after Byrd saw Duke playing with the Art Farmer/Benny Golson Jazztet. After Duke suffered some medical issues in 1961, Duke’s chair in the band went to newcomer Herbie Hancock.
But, on Byrd’s 1963 release titled A New Perspective, Pearson arranged four tracks, including the Pearson composition “Christo Redentor,” which became a hit.
Later that year, with the passing of Ike Quebec, Pearson took over his position as A&R head for Blue Note. He was a prime influence and mover with Blue Note, not only as A&R head but as an artist, producer, and sideman until 1970. Around that time, his composition “Jeannine” became an often-covered classic, but Duke largely worked from the shadows as a jazz influencer.
For instance, here’s Eddie Jefferson’s vocalise arrangement.
AN UNDERRATED GEM: THE PHANTOM
Recorded and released in 1968 on Blue Note records, The Phantom garnered acclaim from fans, critics and musicians alike for its innovative mix of post-bop jazz, latin rhythms and atmospheric mysterious moods that expand the boundaries of jazz. Often described as chilling and cinematic, and filled with Latin-inspired, smoldering minimalism, the album anticipates trip-hop by decades while hinting at the jazz-fusion to come from Miles Davis’ Bitches Brew, which was released nearly two years later.
The musicianship is top shelf and virtuosic. Players like Bobby Hutcherson on vibes, who gave one of his greatest performances in his storied career, is central to the sound and success of this music. Jerry Dodgion on flutes, an oft overlooked reeds giant, stands out with his expressive lyricism.
According to the album liner notes penned by Nat Hentoff, “In this album, he (Duke) adds another dimension to his substantial body of work by exploring the possibilities of an instrumentation in which a flute (Dodgion) becomes a continually intersecting element in the constant flow of rhythmic patterns and colors…The flute, particularly as played by Jerry seemed especially apt for this approach because it has an evocative scope of colors - - it can be light, clear, dark, soaring, brooding.”
Check out the outstanding slow simmering epic title track of The Phantom:
The interplay between Hutcherson and Pearson, paired with the subtle smoke of this rhythm section is the secret sauce here.
Sam Brown plays on guitar, Bob Cranshaw on bass, Mickey Roker on drums and Victor Pantoja with Carlos “Patato” Valdes on congas. This is dark fire through and through.
Duke Pearson an unsung hero for his beautiful work with Blue Note in his various capacities. The “Other” Duke.
To wrap up this week’s column, here’s more from my 40 Years 40 Poems project, celebrating the 40th Anniversary of KUVO Jazz.
JAZZ IS JAZZ
The music called Jazz is an intrinsic sound of triumph.
Its history coinciding and spanning the growth and enlightenment of a nation. Evolving into songs of power and joy.
We don’t take the music, its development, capacity, spirituality, or importance lightly.
It’s more than a 12 or 32 bar system of notes with syncopation and surprise; it’s a way of living.
It’s the survival of humanity in the face of catastrophe.
The achievement of this musical form is our unique gift to the world. The word Jazz can be daunting, like you need a degree to understand it or like it. All you need to know is
the beat, the heat, when you feel it in your feet,
sour, mad, or sweet… coming out of the swamp or the street.
It’s America coming out of drums and horns in every corner of the world.
Any music you hear has swing in its blood and soul.
It’s a state where you arrive as a human being
It’s the place where we are whole.
CO-PILOT
Hammering downpour windshield wiper metronome
only the radio to the rescue
Jazz noir in the downbeat darkness
Street light reflections on soaked asphalt
And Elvin Jones is lightning and thunder
The driver has company
A voice in the night on a microphone far away
And then the storm recedes
And a new song starts to play.
In the upcoming weeks, I’ll include more of my poetry inspired by KUVO and Jazz. It’s an honor to be part of KUVO JAZZ.
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