Pairing the almost ludicrously prolific trumpeter-flugelhornist Clark Terry with sui generis piano master Thelonious Monk, In Orbit is an impressive and frequently overlooked album, particularly because it marks Terry’s debut on flugelhorn and is Monk’s only sideman credit for Riverside (the label that propelled him to jazz stardom). Bassist Sam Jones and drummer Philly Joe Jones complete the band. A fresh edition of the album adds yet another gem to Craft Recordings’ Original Jazz Classics series as it’s currently unfolding, available August 30 on 180 gram vinyl.
To absorb the entirety of Clark Terry’s discography is a herculean task; much more sensible is to simply begin with a highly regarded album, preferably from early in his career, and then just roll from there. Two big hunks of Terry’s recorded work capture him in support of celebrated bandleaders Count Basie and Duke Ellington; that’s where a lot of ears get hip to the guy and then branch out to Terry’s own smaller group stuff, which began with a self-titled septet album released by EmArcy in 1955.
It was reportedly Monk who recommended Terry to Orrin Keepnews at Riverside. Monk began recording for the label in 1955. Terry’s first Riverside LP, Serenade to a Bus Seat, followed two years later. As said above, Monk’s alliance with the company pulled him from the jazz margins to the forefront of the scene as that Time magazine cover loomed in the distance. In Orbit being Monk’s sole sideman date for Riverside isn’t unusual; given the nature of his style, it’s actually surprising Monk cut a sideman date at all, at least until Monk and Terry’s relationship, musical rather than personal, is contemplated.
For starters, there is Thelonious Monk Plays Duke Ellington, the pianist’s first album for Riverside. Released in 1955, it was the first of two LPs dedicated to standard material that Monk cut with the intention of building his reputation beyond and easing him into greater public awareness. It worked, as Monk’s playing is sublime.
Plays Duke Ellington was a record Terry could appreciate, as the trumpeter was still playing with Ellington at the time, having been lured away from Basie by Duke (or so the story goes). Terry remained with Ellington until 1959, and in ’57 he gathered a bunch of Ellington sidemen and cut Duke with a Difference for Riverside, the album directly preceding In Orbit.
Monk and Terry’s exercises in Ellingtonia no doubt deepened a mutual appreciation, but it’s important to note how Terry valued Monk’s artistry in relation to his own compositions; In Orbit includes five Terry originals, one piece by Monk (“Let’s Cool One”), two standards (“Trust In Me” and Moonlight Fiesta”), and a striking piece by the neglected songwriter Sara Cassey that closes the album.
Terry is often considered something of a classicist a la Billy Taylor and Art Blakey (Oscar Peterson was a recurring playing partner) but In Orbit shows he could fruitfully engage with musicians from outside the mainstream (a few years later Terry recorded with Cecil Talyor). Monk is encouraged to be recognizably Monk while still clearly operating in support mode for Terry.
The opening title track is fast paced in bop mode, with Terry’s flugelhorn tough and energetic and Monk’s solo an utter delight. Sam Jones (debuting for Riverside here with many records to follow) and Philly Joe Jones (who cut Blues for Dracula, his first album as leader, complete with Bela Lugosi impression, later in 1958 for Riverside) are in excellent form, particularly on “One Foot in the Gutter,” a sweet bluesy dish where everyone excels.
It’s in the slower tempo of “Trust in Me” where the distinctiveness of the flugelhorn is most apparent, but still subtle. Unsurprisingly, the Monkish vibes are the strongest during “Let’s Cool One,” but it’s also a showcase for Philly Joe, who hits hard and swings it big in the middle before socking out a solid solo. “Pee-Eye,” “Argentia,” and “Buck’s Business” reinforce Terry’s compositional skills as the band handles all three with aplomb.
“Moonlight Fiesta” is a unifying nod to Duke with an appealing Latin flavor (co-written by Juan Tizol) leading into Cassey’s “Very Near Blue,” a moody atmospheric piece giving Terry one more opportunity to shine on the flugelhorn. In Orbit helps to undo the stereotype of Monk’s inflexibility as accompanist while illuminating the leader’s versatility and openness. For anyone unfamiliar with Terry, it’ll serve as a splendid introduction.
GRADED ON A CURVE:
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