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| 4.380 Ft
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| 1. | Maha-Samana
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| 2. | Sannyasin
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| 3. | Yamabushi
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| 4. | Sannyasin Two
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| 5. | Bhikkhu
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| 6. | Sannyasin Three
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| 7. | Tri-Dandin
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| 8. | Chakka
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Jazz / World Fusion
John Mayer's unreleased 1976 album
John Mayer - Musical Direction
Chris Taylor Flute
Clem Alford Sitar
Denis Preston Producer
Gary Kettel Percussion
Harold Fisher Drums
Henry Lowther Trumpet
John Leach Cheng, Koto
John Macksmith Engineer
Jonathan Mayer Liner Notes
Michael J. Dutton Remastering
Neil Cotron Sarod, Tanpura
Terry Emery Percussion
Toni Campo Bass
Tony Coe Clarinet, Saxophone
Tristan Fry Percussion
Zack Laurence Piano
Dhammapada is a John Mayer work that was commissioned by EMI in 1976 but remained unreleased for 30 years. His work with Joe Harriott on Indo-Jazz Suite and Indo-Jazz Fusions is justifiably lauded, but Dhammapada expands on his East-West fusion by adding instrumentation not just from India (sitar, sarod, tabla) but also from Japan and China (koto and cheng, respectively) to his British jazz combo (sax/clarinet, trumpet, flute, piano, bass). In addition to drums and tabla, he utilizes a trio of percussionists who play everything from glockenspiel to marimba to temple bells. He also makes use of Japanese and Chinese scales in addition to his indian classical influences. The results are amazing. The seemingly odd instrumentation works surprisingly well together as an ensemble, and Mayer's enormous talents as both composer and arranger really come to the fore. The longer pieces play like suites within a suite, with thoroughly composed sections seamlessly giving way to jazzy improvisational solos and musical conversations (for example, the trumpet/sitar dialogue on "Maha-Samana") before the introduction of new themes. Mayer's use of polyrhythms and counterpoint is fantastic and the band's ability to transition from chamber ensemble precision to jazz-rock vamping is incredible. There are no lengthy solos to speak of; the playing is concise and extremely focused but everyone gets a turn. The longer pieces are separated from each other by progressively more elaborate arrangements of the same theme inspired by "Rag Kafi," "Sannyasin." Starting with just glockenspiel and crotales (basically bells), sax is added, then galloping bass and percussion. These pieces keep the album tied together nicely thematically, and also highlight Mayer's arranging skills. The recording itself is also excellent -- crisp and clear, taking full advantage of the stereo spectrum so each instrument is clearly identifiable with no muddiness in the mix (no easy task with a 13-piece ensemble). That this album sat unreleased for 30 years is almost a crime. It's a brilliant, groundbreaking work that sounds fresh even after languishing for three decades. It's a shame that Mayer didn't live to see the eventual release of Dhammapada. It could well be his finest achievement. ~ Sean Westergaard, All Music Guide
Jon Mayer
Active Decades: '90s and '00s
Born: 1938 in New York, NY
Genre: Jazz
Styles: Hard Bop, Post-Bop
Jon Mayer, a talented bop pianist, has had a long and colorful career while remaining greatly underrated. He had classical piano lessons and attended the High School of Music and Art and the Manhattan School of Music. Mayer picked up early experience playing with Pete LaRoca and Ray Draper and jamming in New York clubs. He worked with the Kenny Dorham big band and Tony Scott's Quartet (where he replaced Bill Evans), and also recorded with Jackie McLean (1957's Strange Blues) and John Coltrane (I Talk to the Trees). Mayer worked in Paris with Chet Baker and in the 1960s and '70s gigged with the Thad Jones-Mel Lewis Orchestra, Kai Winding, Sarah Vaughan, and the Manhattan Transfer, while also doing session work in the studios. In addition, he wrote pop songs recorded by Les McCann, Nancy Wilson, Vicki Carr, and Gladys Knight, among others. Settling in the Los Angeles area in the 1980s, Mayer worked with Freddie Hubbard, McCann, and his own groups. Jon Mayer's first opportunity to record as a leader was a date for Pullen in 1995; he has since used Ernie Watts occasionally in his quartet.
---Scott Yanow, All Music Guide |
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