I saw the quintet in October 1988 in Indianapolis at a club called The Place to Start, which is still operating today as The Jazz Kitchen. (I was in graduate school in Bloomington at the time.) The music was mostly from "Angel Street," which had either just been released or was about to be. I think it was Ira Coleman on bass, but it could have been Moffett. I enjoyed the music, but I will say that Tony played louder that night than any jazz drummer I have ever heard in a straight-ahead context, and there were times when Mulgrew was soloing that he would have been justified in waving a white flag of surrender. I also remember that Tony started the set with a drum solo to set up the first tune, and as he started, a older cat in the audience walked up to the bandstand near the drums, raised a camera and snapped a picture with a bright flash right in Tony's face -- it was startling how rude it was. Tony stopped and shook his head in bewilderment; you could tell he was shocked and angry he was. When he started up again, I felt like he was taking out his anger on the drums a little bit and I wonder, in retrospect, if his volume might have been even louder than usual because he was so pissed.
When I saw the Williams quintet in a club in Paris, it was so deafeningly overamplified and Williams so redundantly overmiked that it was impossible to hear what the band was doing. I recall watching Miller solo and realizing that *I couldn't hear the piano* underneath the roaring, distorted drums. It was kind of a waste. I still don't understand the thinking behind that.
After that night I had a kind of grumpy drop in interest in the band and still don't know those records well. This very useful playlist is bringing me back to them!
Sort of a summary for how disrespected though “loved” Tony was in his life. Imagine Keith or Chick being subjected to that. So much pressure, so much time in the public eye. What a story and as always great to hear from you Mark!
Love seeing this appreciation of late-period Tony Williams, which never seems to get the attention it deserves. I saw this quintet four or five times during its run and it would never disappoint. I was more than a bit surprised not to see any tracks from the Neptune Suite on your list. From Angel Heart, I do think the extraordinary "Extreme Measures" ought to receive its due.
One time when I saw the quintet in Chicago, the club layout (Jazz Showcase) was supplemented by a section of chairs in rows that ran all the way up to the stage. Spurred by what I assume was youthful enthusiasm, two kids in their teens took front row seats and proceeded to have their skulls exploded as Tony did what he always does, song after song. During the intermission, I was on line behind these two in the bathroom. For a long while, they peed wordlessly side by side. Then, without warning, one turned to his pal and nearly shouted, "Man, we gotta PRACTICE!" His friend replied with a dreamy tone, "Yeah..."
I feel your comment about the Native Heart album cover reads parochially. You later refer to the quintet’s music as “adult,” which I think is particularly insightful and illuminating of this band’s maturity and sophistication. Yet asking your readers to “overlook” the cover because you feel “we don’t need these images” seems dismissive and a little prude. Isn’t that denying a part of Tony’s vision for the music, even if it isn’t to your taste? I always feel we need to meet artists of Tony’s stature (and Miles’, for a more explicit example) where they are: if they want a bare breast on the cover, maybe there’s a reason for it?
The Tokyo Live album changed my life! I love this band, these tunes and players, that drum and cymbal sound… The drum solo on Warriors in its technical scope and visceral impact is the greatest drum solo I’ve ever heard. I appreciate your review of this discography. Thanks for it!
It’s not my intent to be dismissive. I appreciate your thoughtful comment and I’ll think it over. I share your enthusiasm for Tokyo Live and Warriors in particular. Thanks for reading!
I saw the quintet several times in both Boston and LA. Tony did play very loud, but he was a force of nature and everything fit musically. It was truly awe inspiring. I remember one time they were playing the Regattabar in Cambridge and the opening act was the Benny Green/Christian McBride/Carl Allen trio. For whatever reason, things were running late that night and Tony was by door, where they collected the tickets, and quite frustrated. While the trio was still playing, Tony kept pointing at his watch and saying to the employee, essentially, “It’s not my job to manage this schedule”. I guess he was just in a bad mood, but it was one of those memories that sticks with me.
On the other hand, I saw him at the old Catalina in Hollywood in 1991 (I think) and shortly before the set, Tony was relaxing and smoking a cigar. I mustered up my courage enough to go up to him and tell him how much I loved his music and playing. He was very gracious. I also clearly remember asking him which drummers he liked and he quickly replied “Jeff Porcaro”. Tony was one of a kind!
I was so lucky to see the Quintet numerous times as a teenager. I recorded the first show I saw on a portable boom box I brought with me. I was even able to see every set of a weeklong run at the Bermuda Onion in Toronto, sitting underneath Tony's hihat every night. On the last night, Tony's road manager came to my seat before the show and slid a pair of well-worn Zildjian TW drumsticks into my hands and said "Tony appreciates you being here.". I slept with those sticks under my pillow that night.
I was also so fortunate during the same years to see Mulgrew Miller solo at the very intimate Cafe Des Copains in Toronto.
My teenage jazz goatee snuck me into a lot of licenced venues in those days! 🤣
The first time I saw Tony Williams was with Miles Davis and the Gil Evans Orchestra at the Berkeley Jazz Festival in 1968.
Around that time, I also heard that Miles Davis group at the both/and club in San Francisco, but I had to listen from the sidewalk because I was under age.
The next place was at the Village Vanguard somewhere around 1970. The group was billed as the Tony Williams Trio, and was of course later called the Tony Williams Lifetime. John McLaughlin and Larry Young.
The last time was certainly with his quintet at the Blue Note. I believe the basist was Ira Coleman.
Thanks for this.
I saw the quintet in October 1988 in Indianapolis at a club called The Place to Start, which is still operating today as The Jazz Kitchen. (I was in graduate school in Bloomington at the time.) The music was mostly from "Angel Street," which had either just been released or was about to be. I think it was Ira Coleman on bass, but it could have been Moffett. I enjoyed the music, but I will say that Tony played louder that night than any jazz drummer I have ever heard in a straight-ahead context, and there were times when Mulgrew was soloing that he would have been justified in waving a white flag of surrender. I also remember that Tony started the set with a drum solo to set up the first tune, and as he started, a older cat in the audience walked up to the bandstand near the drums, raised a camera and snapped a picture with a bright flash right in Tony's face -- it was startling how rude it was. Tony stopped and shook his head in bewilderment; you could tell he was shocked and angry he was. When he started up again, I felt like he was taking out his anger on the drums a little bit and I wonder, in retrospect, if his volume might have been even louder than usual because he was so pissed.
When I saw the Williams quintet in a club in Paris, it was so deafeningly overamplified and Williams so redundantly overmiked that it was impossible to hear what the band was doing. I recall watching Miller solo and realizing that *I couldn't hear the piano* underneath the roaring, distorted drums. It was kind of a waste. I still don't understand the thinking behind that.
After that night I had a kind of grumpy drop in interest in the band and still don't know those records well. This very useful playlist is bringing me back to them!
Glad I can help Tom!
Sort of a summary for how disrespected though “loved” Tony was in his life. Imagine Keith or Chick being subjected to that. So much pressure, so much time in the public eye. What a story and as always great to hear from you Mark!
Michael Cuscuna told me that there is additional material in the can of the live in Tokyo session.
Love seeing this appreciation of late-period Tony Williams, which never seems to get the attention it deserves. I saw this quintet four or five times during its run and it would never disappoint. I was more than a bit surprised not to see any tracks from the Neptune Suite on your list. From Angel Heart, I do think the extraordinary "Extreme Measures" ought to receive its due.
One time when I saw the quintet in Chicago, the club layout (Jazz Showcase) was supplemented by a section of chairs in rows that ran all the way up to the stage. Spurred by what I assume was youthful enthusiasm, two kids in their teens took front row seats and proceeded to have their skulls exploded as Tony did what he always does, song after song. During the intermission, I was on line behind these two in the bathroom. For a long while, they peed wordlessly side by side. Then, without warning, one turned to his pal and nearly shouted, "Man, we gotta PRACTICE!" His friend replied with a dreamy tone, "Yeah..."
Hope springs eternal.
Oh if I’d included everything I like it would have been an endless list; I’m a huge fan of the Neptune suite. Great stories, thanks!
One other note: Wallace Roney's strong 1987 record "Verses" on Muse is Tony's quintet with Gary Thomas in for Billy Pierce.
Yes— Verses is happening. Blue In Green is on Verses, which was also in the quintet’s repertoire.
I feel your comment about the Native Heart album cover reads parochially. You later refer to the quintet’s music as “adult,” which I think is particularly insightful and illuminating of this band’s maturity and sophistication. Yet asking your readers to “overlook” the cover because you feel “we don’t need these images” seems dismissive and a little prude. Isn’t that denying a part of Tony’s vision for the music, even if it isn’t to your taste? I always feel we need to meet artists of Tony’s stature (and Miles’, for a more explicit example) where they are: if they want a bare breast on the cover, maybe there’s a reason for it?
The Tokyo Live album changed my life! I love this band, these tunes and players, that drum and cymbal sound… The drum solo on Warriors in its technical scope and visceral impact is the greatest drum solo I’ve ever heard. I appreciate your review of this discography. Thanks for it!
It’s not my intent to be dismissive. I appreciate your thoughtful comment and I’ll think it over. I share your enthusiasm for Tokyo Live and Warriors in particular. Thanks for reading!
Native Heart is a very underrated record. I’m glad to see several songs from it showcased here.
I saw the quintet several times in both Boston and LA. Tony did play very loud, but he was a force of nature and everything fit musically. It was truly awe inspiring. I remember one time they were playing the Regattabar in Cambridge and the opening act was the Benny Green/Christian McBride/Carl Allen trio. For whatever reason, things were running late that night and Tony was by door, where they collected the tickets, and quite frustrated. While the trio was still playing, Tony kept pointing at his watch and saying to the employee, essentially, “It’s not my job to manage this schedule”. I guess he was just in a bad mood, but it was one of those memories that sticks with me.
On the other hand, I saw him at the old Catalina in Hollywood in 1991 (I think) and shortly before the set, Tony was relaxing and smoking a cigar. I mustered up my courage enough to go up to him and tell him how much I loved his music and playing. He was very gracious. I also clearly remember asking him which drummers he liked and he quickly replied “Jeff Porcaro”. Tony was one of a kind!
One of a kind indeed…thanks Peter!
Wonderful: thank you!
Say, have you heard the trio date with Tony, Mulgrew and Coleman, “Young at Heart”?
Yes!
1996 Columbia
Love Young At Heart, listened to it recently
I was so lucky to see the Quintet numerous times as a teenager. I recorded the first show I saw on a portable boom box I brought with me. I was even able to see every set of a weeklong run at the Bermuda Onion in Toronto, sitting underneath Tony's hihat every night. On the last night, Tony's road manager came to my seat before the show and slid a pair of well-worn Zildjian TW drumsticks into my hands and said "Tony appreciates you being here.". I slept with those sticks under my pillow that night.
I was also so fortunate during the same years to see Mulgrew Miller solo at the very intimate Cafe Des Copains in Toronto.
My teenage jazz goatee snuck me into a lot of licenced venues in those days! 🤣
The first time I saw Tony Williams was with Miles Davis and the Gil Evans Orchestra at the Berkeley Jazz Festival in 1968.
Around that time, I also heard that Miles Davis group at the both/and club in San Francisco, but I had to listen from the sidewalk because I was under age.
The next place was at the Village Vanguard somewhere around 1970. The group was billed as the Tony Williams Trio, and was of course later called the Tony Williams Lifetime. John McLaughlin and Larry Young.
The last time was certainly with his quintet at the Blue Note. I believe the basist was Ira Coleman.
Incredible Carl! You witnessed history. Thanks for reading and commenting!
Thanks for this! I enjoyed re visiting foreign intrigue. I used to think the simmons pads were awful but now I love it.