John Klemmer

[jodigrind]

I'm really interested in this guy, given his background coming up in the mid-60's Chicago scene. His debut album on Cadet is due to be reissued soon. Any takes or comments on his early work (including his stint with Don Ellis)? Thanks!!

[JSngry]

Klemmer, eh? An interesting career - from a pretty undisciplined but undeniably energetic quasi-free player to one of the godfathers of smooth jazz to a pretty undisciplined yet undeniably energetic straight-ahead player.

The stuff w/Ellis was a perfect fit - Eliis was wacky, and so was Klemmer. Ellis had moments of substance, and so did Klemmer. Ellis knew no fear, and neither did Klemmer. You get the picture. Ellis also had Glen Ferris on trombone, and Pete Robinson on keys, so there was a key nucleus of young, energetic players who just didn't give a damn what anybody thought, and the results show that, for good and bad alike. You just can't diss guys who are this far off into their trip, no matter how weird that trip may be, especially when some pretty good stuff actually happens (find a copy of Ellis' AUTUMN and check out the mindfuck version of "Indian Lady" therein)

I've only heard one of Klemmer's Cadet dates, BLOWIN' GOLD, and was not impressed, but neither was I repulsed. I think his "best" work was on impulse!, CONSTANT THROB, WATERFALLS, & INTENSITY. Often bordering on "free funk", these albums will come as a BIG shock to anybody who only knows Klemmer from his BAREFOOT BALLET days. None of it is at all "deep", but it IS all vibrant, and that's gotta count for something.

Some have praised NEXUS quite effusively, but I never heard what the fuss was about, honestly, and Klemmer's featured performances of "'Round Midnight" & "God Bless The Child" (on the Galaxy albums5 BIRDS & A MONK and BALLADS BY FOUR, respectively) are among the very few performances that so totally repulsed me on first listen that I've yet, roughly 25 years later, to even attempt a second listen, so riled did they get me. But Klemmer's not a "bad guy", musically, he just has a spirit and a concept that doesn't reach me overall.

And besides, his prototypical "smooth" output beats the HELL out of what followed in its footsteps. Like Gato Barbieri, the "commercial" settings forced him to curb his most extreme tendencies and focus on playing lyrically, which in both cases was not always a bad thing. However, when Gato went for broke, it quite often moved me. When Klemmer went for broke, it amused me more than anything else.

But THAT'S not really a bad thing either, ya'know?

[Chuck Nessa]

See my post (now 4 minutes old) in the Billy Mitchell thread.