Johan Budi
The release of the album Innovation by the British ensemble Amalgam marked a significant stylistic pivot in the landscape of European improvised music, as documented by critic Barry McRae in his March 1976 assessment for Jazz Journal. Recorded in late 1974 and reviewed during a period of intense creative flux in the London jazz scene, the album represented a departure from the purely non-idiomatic abstraction that had defined much of the early British avant-garde. Instead, the recording showcased a sophisticated marriage of free-form exploration with rhythmic discipline, anchored by the drumming of John Stevens and the alto saxophone work of Trevor Watts. This shift was not merely a change in personnel but a fundamental reevaluation of how "time" and "pulse" could coexist with the incendiary impulses of free jazz.
Historical Context and the Evolution of Amalgam
To understand the impact of Innovation, it is necessary to examine the trajectory of Amalgam leading up to the mid-1970s. Formed in 1967 by Trevor Watts, the group originally served as a bridge between the rigorous, microscopic improvisations of the Spontaneous Music Ensemble (SME) and a more expansive, jazz-oriented sound. By the time of the 1972 and 1973 sessions that produced the Blackwell & Higgins album, Amalgam had established itself as a premier vehicle for what was then termed "the New Thing" in Britain.
However, by 1974, the aesthetic goals of the group’s leaders began to shift. While the early 1970s had been defined by a total rejection of traditional meter, Innovation signaled a return to the "beat," albeit a beat that was fluid and highly reactive. This period coincided with a broader movement in British jazz where musicians like Keith Tippett and Ian Carr were exploring the boundaries between progressive rock, blues, and avant-garde jazz. The recording of Innovation at Chipping Norton Studios on November 12, 1974, captured this transitional energy, documenting a moment where the "free" players of the 1960s began to reintegrate structural elements of the jazz tradition.
Personnel and Technical Contributions
The lineup assembled for the Innovation session featured a cross-section of the most influential figures in British and American experimental music. At the helm was Trevor Watts, whose alto saxophone style had evolved from a jagged, Ornette Coleman-inspired approach into something more authoritative and tonally varied. On this recording, Watts demonstrated a command of "blistering scalar flurries" while maintaining the ability to pivot into "gentle thematic variations," a duality that became a hallmark of his later work with the Moiré Music ensembles.
John Stevens, the primary architect of the SME, provided the rhythmic foundation. In a notable departure from his more abstract percussion work, Stevens opted to "play time" on every track of the album. This decision was pivotal; by maintaining a consistent pulse, Stevens allowed the other musicians to explore rhythmic departures without the music losing its forward momentum. His playing was characterized by a lack of monotony, utilizing the "play around the beat" technique that ensured the pulse remained a dynamic, living entity rather than a static metronome.
The ensemble was further bolstered by:
- Keith Tippett (Piano): A towering figure in British progressive music, Tippett provided both driving vamps and convictive soloing. His ability to bridge the gap between classical complexity and jazz spontaneity was essential to the album’s success.
- Kent Carter and Lindsay Cooper (Basses): The use of two double bassists provided a thick, resonant harmonic floor. Carter, an American expatriate with deep ties to the Jazz Composer’s Orchestra, and Cooper (not to be confused with the bassoonist of the same name), created a dense contrapuntal environment.
- Terri Quaye (Congas): Quaye’s inclusion added a percussive texture that hinted at the burgeoning interest in "world music" and fusion, though contemporary critics noted that the conga parts occasionally overlapped with the tonal range of the basses, slightly masking their effectiveness.
Track-by-Track Analysis and Structural Innovation
The album is comprised of five distinct compositions that vary in their approach to improvisation and structure. A recurring theme noted by observers of the time was that while the music felt expansive, it was never "played free" in the sense of being entirely untethered from a tonal or rhythmic center.
"When Is Now" and "Austrian Roll"
These tracks are cited as examples of the "classic Ayler way." Referencing the influence of Albert Ayler, these pieces begin with a "germ idea" or a simple melodic cell and build outward gradually. The variations move further from the initial theme as the tracks progress, yet the core motif remains "never out of sight." This method of organic development allowed the band to reach high intensities without sacrificing the internal logic of the composition. "When Is Now" notably spans over 22 minutes, occupying a significant portion of the album’s first side and allowing for deep thematic exploration.
"Suzi Jay"
In contrast to the more experimental tracks, "Suzi Jay" is treated as a standard "changes" improvisation. This piece highlighted Watts’ ability to write and perform within a more traditional melodic framework. Critics of the era drew parallels between this track and "Judy’s Smile," an earlier Watts composition, noting the "delicate solo work" and the sophisticated handling of harmonic progressions.
"Staggering"
This track served as a showcase for Keith Tippett. His soloing was described as having immense conviction, supported by rhythmic vamps that provided the necessary "drive" to propel the ensemble. It is on this track that the synergy between Stevens’ time-keeping and the harmonic freedom of the soloists is most apparent.
"Hello"
"Hello" offered a surprising nod to the blues. While not structurally a traditional twelve-bar blues, the track was noted for capturing the "feeling of the jook joint." This inclusion of blues-inflected language suggested a desire to reconnect with the African-American roots of the jazz idiom, providing a grounded, soulful counterpoint to the album’s more abstract moments.
Data and Discographical Details
The recording remains a significant entry in the Tangent Records catalog (TGS 121), a label known for its commitment to documenting the fringes of the British jazz scene.
Session Information:
- Date: November 12, 1974
- Location: Chipping Norton Studios, Oxfordshire
- Total Running Time: Approximately 43 minutes
- Side A: "Staggering"; "When Is Now" (22:15)
- Side B: "Hello"; "Suzie Jay"; "Austrian Roll" (20:45)
The production quality of the album was a step forward for the group, utilizing the professional facilities of Chipping Norton—a studio more commonly associated with folk and rock acts like Fairport Convention and Baker Gurvitz Army—to achieve a clarity of sound that was often lacking in earlier "lo-fi" free jazz recordings.
Critical Analysis and Broader Implications
The critical reception of Innovation in 1976 highlighted a growing maturity in the British jazz avant-garde. The review by Barry McRae underscored a shift in the "authority" with which these musicians played. By moving away from the "scorched earth" policy of early free jazz—where all traditional elements were discarded—Amalgam demonstrated that technical proficiency and structured thematic development could enhance, rather than stifle, the spirit of improvisation.
The album’s influence can be seen in the subsequent development of the "European school" of jazz, which sought to balance American influences with homegrown classical and folk traditions. Trevor Watts’ transition from "blistering scalar flurries" to "thematic variations" mirrored a broader trend where improvisers began to view themselves as spontaneous composers.
Furthermore, the role of John Stevens on this record cannot be overstated. By proving that a pioneer of free drumming could play "time" without losing his creative edge, Stevens opened the door for a generation of drummers to explore the intersection of polyrhythm and steady pulse. This would eventually lead to the development of jazz-fusion and the more rhythmically driven world-jazz projects of the 1980s.
Conclusion: The Legacy of Innovation
Fifty years after its review, Innovation remains a pivotal document of a time when the boundaries of jazz were being redrawn. It stands as a testament to the vision of Trevor Watts and John Stevens, two musicians who were unafraid to evolve. The album’s successful integration of the "Ayler-esque" build, the blues feeling, and the discipline of "playing time" provided a roadmap for how improvised music could remain radical while becoming more musically coherent.
For historians of the genre, the album serves as a bridge between the radicalism of the 1960s and the structured explorations of the late 20th century. It remains a high-water mark for Amalgam, capturing a group of virtuosos at the peak of their collaborative powers, redefining the meaning of innovation in the context of the British jazz tradition.
