Sound Colour Vibration (Music | Art | Film)

John McLaughlin, Tony Williams and Stanley Clarke. Photo from stanleyclarke.com

Super groups come in short waves in this era and when they do form it has more to do with pr work than it does musicianship. Turn back the hands of time to the early 70′s and you have a much different landscape of musical relationships occurring. If you were not involved in a super group, your career had little longevity. The three men who grace this live video all come from the highest institutions of musical foundation. Individually, they define the qualifications for musical excellence in group and solo improvisation with calculated precision, technicality, fluidity and accuracy. These three men: Tony Williams, Jean-Luc Ponty and Stanley Clark.

Tony Williams had begun an extensive branching of many genres into his sound in collaborations with many after his stint with the famous Miles Davis Quintet between 1964 and 1968. Toted as one of the best and youngest drummers around, Tony Williams started Lifetime with fusion pioneer and keyboard player Larry Young. Prior to this recording date, Stanley Clark had graced the Pharaoh Sanders recording Black Unity was gigging regularly with the top musicians in the evolving jazz scene at the turn of 70′s. His works with Return to Forever, Joe Farrel and many others showcase his silky smooth tones and his virtuoso set of techniques. One of the best doesn’t even begin to describe where this guy takes a stand up or electric bass. Jean-Luc Ponty is the wild man of the bunch, having played with Frank Zappa to Mahavishnu Orchestra to Elton John, Jean-Luc pointy conjures up the spirit of Jimi Hendrix on the violin with the precision and lightning speed virtuosity of flamenco players like Carlos Montoya. All three men have changed the face of music and this performance is a summation of all these realities in the most jaw dropping way.

Jean-Luc Ponty. Photo from ponty.com

The contents of this newly surfaced black and white pro shot film are out of this world. The first sequence is dedicated to Stnaley Clark and Jean-Luc Ponty as the two strike line after line around each others melodic voice and phrasing. They both listen with such focus that each switches off to rhythm duties at the exact moment the other switches from that state into soloing. The two men exchange idea after idea and change the dynamic, a feet that should be noted from the usual state these two instruments are used. They both command something new, something more alive and demanding of ones attention than the background situations violin and stand up normally get placed in. There is really beautiful close up shots of each musician and the camera work is always steadily moving, so you don’t ever get the same view for too long outside of the obvious frontal shots.

After this duo exchange is complete the two men leave the presence of the cameras and now all focus is given to drummer Tony Williams. Placing the kick drum as his anchor, he explores his kit in all the different modes of sound before him along with those present. As the drum solo moves further into the corridor of Tony’s thoughts and impulses, you can see him become aware of his kit and the rest of the world just tunes out. His subtle facial expressions and movements of his upper body show how much of a meditative process the drums is. By the end of his solo, his hands are moving so fast and he is sub dividing the beat that it becomes very tranquil, it’s one of the most engaging drum solos I have ever experienced.

After this phenomenal drum solo, Stanley Clark and Jean-Luc Ponty present themselves again and the group goes into a very loose 20 minute ride of musical ideas and possibilities together. Stanley Clark and Jean-Luc Ponty melt into John Coltrane’s A Love Supreme, an ode to one of the highest creators in the last century, John W. Coltrane. Tony Williams is attacking his kit so ferociously at times that pieces of the set start to dance and jump away from him, causing him to reposition his kit while keeping perfect time. A true professional. I can also hear what sounds like a Miles Davis bass line from his electric Jack Johnson recordings in 1970. The very end is met with a brief drum solo from Tony Williams, than the band really lets loose and really shows how technically adept they are to adding one of the cleanest endings to a cohesive jam on the spot and in the moment. The source is irrelevant in the big picture. What is relevant is the fact that this gem has been unearthed for all music lovers to appreciate. One of the best pieces of archival footage I have seen in a long time.

- Erik Otis

Tony Williams, Jean Luc Ponty and Stanley Clarke
Chateauvallon, August 1972
PAL DVD

From dimeadozen member matthughen:

Duration: 0:30:45 // Data Size: 1.22 GB // Bit Rate: 5.69 Mbps

Video Tracks: 224 MPEG-2, 720 × 576, 4:3, 25 fps, 7.00 Mbps, lower field first

Audio Tracks: 160 PCM stereo, 48 kHz, 1.54 Mbps

proshot > unknown DVD transfer > purchase > DIME

Here is another great video from the French vaults. Chateauvallon in August of 1972 saw some great performances including this one from a power trio with Jean-Luc Ponty, Tony Williams and Stanley Clarke. It’s black and white but quite crisp video great audio quality. No chapters or menu. Purchased from a bootlegger in South America and liberated here.

Jean-Luc Ponty – Violin
Stanley Clarke – Bass
Tony Williams – Drums

Download:

• Part 1: http://www.megaupload.com/?d=2ZMDZB51
• Part 2: http://www.megaupload.com/?d=94GILLVE
• Part 3: http://www.megaupload.com/?d=NFTHG4N8