Boston Phoenix
Bob Blumenthal : 04/13/1976

The perseverance of some musicians never ceases to amaze me. Clifford Jordan, who has been playing strong, rhythmically charged tenor for two decades, continues to garner nary a sliver of the recognition due him, yet the man keeps on, stubborn enough to refuse musical compromises or simplifications, daring enough to retain as much of his hard bop heritage as still proves challenging. The rhythm section here – Cedar Walton, Sam Jones, Billy Higgins – has worked with Jordan for years; the group has recorded previously, under Walton’s name and with Louis Hayes in the drum chair, on the two-volume A Night at Boomer’s (Muse). Infrequent New York gigs are supplemented by rare European tours, such as the one which led to this Paris concert recording, produced by Jordan, last March.

Two of the pieces on Night of the Mark VII, Highest Mountain and Blue Monk, were included on the Boomer‘s sets. The present versions emphasize that the now-familiar surroundings of this quartet has hardly caused stagnation. Jordan and Walton have continued to evolve, stressing different moods as well as different techniques; they are honest improvisers. Highest Mountain remains an extraordinary Jordan composition but it is no longer a pyrotechnical tenor exercise. The tempo is heavier and meaner, with more attention given to the harmonic suspensions of the theme. The substitution of Higgins for Hayes definitely makes a difference, but Jordan has also changed, thickening his tone and concentrating more on the lower register, as if he had rediscovered Rollins. (A new horn is another factor – the Mark VII in the title is Jordan’s new Selmer tenor.) Blue Monk is not up to the exceptional Boomer‘s version, but it still offers the occasion for some impressively nimble Walton piano.

Several irritants detract from the album: the sound of the piano, and the balance, could be greatly improved; more imaginative programming wouldn’t have placed three blues in a row; and bassist Bill Lee‘s John Coltrane, while a haunting melodic idea, doesn’t go too far beyond its incantatory mood. A well-programmed studio set is the least this band deserves, and might lead to more sterling performances like One for Amos. Jordan is at his swaggering best here, and Walton’s fleet right hand is every bit as good. Don’t be taken in by those disco trifles Walton has been turning out on RCA; this is his music of preference.

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Cleveland Plain Dealer
Chris Colombi Jr. : 05/07/1976

Recent problems at Strata-East records, an artist-directed co-op label for some of the leading jazz people, have moved the artists to other labels to record. Muse Records, for example, now features the Clifford Jordan Quartet in a new release recorded live in Paris.

Trumpeter Jordan is the group leader on Night of the Mark VII, but it is the hard-driving force of pianist Cedar Walton that steals the show.

While bassist Sam Jones and drummer Billy Higgins provide the rhythm context, Walton is also featured as composer. His Midnight Waltz is given a lengthy and full reading, as is Thelonious Monk‘s Blue Monk. Jordan’s own Highest Mountain is also heard to advantage, as the four skilled improvisers team up nicely.

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Down Beat : 10/21/1976
Howard Mandel : 3.5 stars

As a document from an evening’s gig, this latest disc from veteran Jordan stands up admirably. The clubroom becomes a clear image. A French waitress brings drinks to the table, perhaps they taste watered, but the music sounds fine, and the familiarity with which the musicians react to each other in this overseas bar bespeaks tight traveling companions. Jazz as an American team sport can be exported without losing any authenticity.

Jordan warbles, and also bears down. The line of his Coltrane starts broad and straight, and curlicues at the end. The tenorist listens to his sidemen, picking up a decoration introduced by the pianist and climbing with the rhythm section on Mountain, as though all four were connected by safety ropes. No one seems likely to slip.

Billy Higgins is so crisp on his cymbals that his snare work is in danger of being ignored. Jones counts out the 4/4, pretty much on tonal target, while Cedar tries to startle us again and again. On Monk he succeeds, raising the key on his solo a tone – and subtly resolving back to the original key through a tossed off passing note.

All four musicians are strong, but so well-matched they don’t challenge each other, conversing sensibly within their own language. Walton’s Waltz is ingenious and airy; otherwise, the compositions have the aura of being heard before.

That aura of deja vu results from the calcification of ’60s ideas. Jordan’s fat sound is bluesy – remember, he recorded his favorite songs of Leadbelly a while back. The blues offers variations on formulized musical expressions. Jordan’s interest in Monk and Monksih variations, in Coltrane and his middle period ideas, is as far as his imagination and inner ear take him. For an evening in a club, that distance is far enough.

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Liner Notes by Hank Diamond Smith

How many times have you picked up an album jacket to read the notes, and upon reading them, put the album back where you found it? Personally I’ve done it many times, refusing to be sold by something I’m reading. Preferring, instead to be sold by the content of the music inside. I am forced to recognize that every album cannot be as ‘Fantastic’ or as ‘Great’ as the notes would indicate. Also that is impossible for every person who writes liner notes to be an authority on music. I am not an authority. On Jazz or anything else. I am a listener and one who has a strong appreciation for Jazz. And perhaps an even stronger appreciation for the men and women who play it and/or write it. I’m sure that you and I have many a common interest, in good music.

These notes are intended to help awaken some people to the Clifford Jordan Quartet. To those of you who have not heard the group before, we welcome you. You’re in for a treat. To those of you who are familiar with Clifford’s previous recordings, this will be a welcome addition to your collection. I might further add, that this is the very first recording with his Mark 7 horn. (Made by Selmer) Thus while being a new horn, it could have produced a few difficulties. However none occurred and just the opposite effect was reached. (more freedom… more sound) However sound is a fraction of what music is all about. And sound is only a part of what makes this such a groovy album. As you will see. Personally I was impressed with the relationship between the musicians. The common interests of each man, and the beautiful spirit of unity they shared. With the most beautiful part of it all being their strong awareness of their audience. Thus it was not a matter of simply playing, but one of relating. As I’m sure the more than 300 in the audience would attest. Not only was the music exciting, but between tunes, there was humor… laughter, warmth and wit. And again and most important… communication. Even though the faces and the names in the audience are vague and blurred, they will always be remembered as a beautiful audience. Remembered because they provided the final link in the relationship. Of having given as much as they received. Of listening and responding. With this same concept coming from the bandstand, the circle was complete. Communication.

Performing is one thing and communication is another. One has absolutely nothing to do with the other… The creative process called Jazz had begun. Jazz was alive and not kicking. Jazz was the thought and the feeling… and Jazz was the response. The Jazz of life… of living… of Being… of Giving. See that mountain, take all your children there and lead them… teach them… to understand the world thats now…” These words were written by Clifford Jordan last year, and are a part of the song Highest Mountain. After leaving Africa, Liberia, Ghana, Egypt, Spain, and Tunisia, Clifford felt perhaps he could put some of his thoughts into words. The song continues… “Plan… choose… take plenty of time… you’ll never lose, Show them all the steps between, in the back that’s unseen… The lyric seems to formulate itself as Clifford prepares to arrive in Lebanon, Finland, Denmark… Luxembourg… Switzerland… Upper Volta… Germany. The song continues… “Give them the Light of everyday, and lead them right all the way, Make your move and take your time, that makes it easy to climb…” Meanwhile… its up again and in-flight again. This time its Japan, Australia, Italy, France, Senegal, The Netherlands, Sierra Leone, Morocco… “Wise man on a cliff down there, why don’t he come up here… No fear… just Eden” Clifford Jordan, Jr…. world traveler, musician, composer, lyricist, arranger, and a man who has something to give… something to say… something to share with his people, his friends… his world… with you.

This is Clifford’s most recent album. Recorded March 26, 1975 in Paris France. Of this particular evening he recalls: “We opened the set out of left field, with Cedar‘s Midnight Waltz… 8pm had suddenly turned into midnight with the speed of light… we had turned time around, and started the concert from the middle out.” And this is the way that evening was. The audience was anxious and ready. They were not to be disappointed. A rapport was instantly established and continued. Each of the musicians have it all here on record. We invite you to listen.

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John Coltrane… written by Bill Lee begins with a rhythm intro, with the bass line developing as beautifully as you can imagine. Clifford takes over and states the main theme, which is a combination of 3 rather haunting refrains. Out of the collage, a solo is developed which blends back into the opening theme. After which the voices take over the chorus “John Coltrane… Black Spirit… John Coltrane, First New-born” This song was just performed by Clifford Jordan in Concert at the Countee Cullen Branch of the New York Library in 1968. The program was a dedication to Charlie Parker, Lester Young, and John Coltrane.

Highest Mountain… a Jordan composition so extraordinary in form that Cedar Walton claims it took him 5 years to comfortably play it. (Clifford admits it took him 6 years) The A-B chorus consists of two 23 bar passages. According to the composer, “it wasn’t planned… it just happened that way” After a rather sparkling piano solo, there’s a shout chorus and a solo featuring Billy Higgins (one can easily understand why Billy is one of the most sought after percussionists around the city of New York) The theme is restated and the song ends with a serious of Amens…

Blue Monk, a Thelonious Monk composition. Needless to say, its full of magic. Everyone here seems to really ‘get down’ Its a standard B-flat Blues.

Midnight Waltz by Cedar Walton. This is indeed one of Cedar’s tunes. Its easy to tell that. Beautifully written and beautifully played by Cedar especially. He seems to really stretch out, taking liberties never before taken and taken well. He wins this one. Sam Jones plays a beat here that would bring your blood-pressure down 10 points.

One for Amos by Sam Jones, leads off with a short piano intro, followed by bass and sax in unison; Sam has his customary fine solo and the game continues as the ball is tossed to Cedar, Billy and Clifford. Everybody sounds good.