Saturday, 25 October 2014
JACK BRUCE'S IMAGINARY WESTERN: AN APPRECIATION
Jack Bruce was actually the most interesting one in Cream, though it was Eric Clapton who was God and Ginger Baker who any number of people used to tell me had only months (or perhaps the length of one more drum solo) left to live. Clapton became more fascinating as he aged, Ginger Baker survived easily to become a crotchety old man making occasional interesting jazz albums, but Jack Bruce seemed never to be able to transfer the buzz of Cream into something more substantial. It may be the classic story of a tremendous sideman who wasn't geared to be a superstar leader. He was Cream's lead singer, and a great one. He and Pete Brown were the primary song-writers. But my guess is that Bruce, to himself, was always a bass player.
And a bass player whose exceptional instincts were actually well off the mainstream that Cream mined so effectively. Clapton and Baker went on to Blind Faith, with Steve Winwood and Ric Grech, then Clapton left and BF somehow became Ginger Baker's Air Force.
But Bruce made two exceptional solo albums after Cream broke up: Songs For A Tailor and Things We Like. They were released in that order but apparently Things was recorded first, while Bruce was actually still a part of Cream. It's all instrumental, with John McLaughlin on guitar, Dick Heckstall -Smith on saxes (sometimes two at once a la Roland Kirk) and Jon Hiseman on drums. Bruce had played with the first two in the Graham Bond Organisation (that's Bruce, Heckstall-Smith, Baker, and Bond in the photo left); Hiseman had also played with Bond, John Mayall, and was starting Colosseum. It's really a proto-fusion jazz album, with an experimental undertone; fine if you were listening to Coltrane's Impressions or Miles Davis at the time.
Songs For A Tailor came out in 1969. It features Hextall-Smith and Hiseman, along with drummer John Marshall, British sax man Art Themen, guest spots by George Harrison and Chris Spedding, and producer Felix Pappalardi. It's a challenging record; a couple of the cuts were intended for Cream's Disraeli Gears but turned down because they weren't commercial enough. But Bruce's vocals and sometimes Brown's lyrics keep them approachable. I'd listen to 'Never Tell Your Mother She's Out Of Tune' or 'Boston Ball Game 1967' (the latter perhaps inspired by Earth Opera's 'The Red Sox Are Winning') and feel a sort of intellectual frisson you didn't get with Cream. It lacked the hooks, though, which is why it wasn't a huge success.
It probably would have done better had it followed Things, instead of come first. Bruce went back to power trios first with Leslie West in West Bruce and Laing, and then the group that recorded Out Of The Storm, guitarist Steve Hunter and either Jim Gordon or Jim Keltner on drums. In 1975 he toured with a group including Carla Bley and Mick Taylor; a live recording of them turned up a few years ago. But his drug problems helped derail all three groups. Bruce continued to make loads of music, and much of it was very good. I have a bootleg disc called Jack Bruce & Friends, Live at the Bottom Line in New York in March 1980. The friends are Billy Cobham on drums (Bruce always attracted great drummers, which I think was an acknowledgement of his bass playing), ex-E Streeter David Sancious on keyboards, and Clemp Clempson from Colosseum and Humble Pie on guitar.
It was odd seeing Cream's reunion concert; Bruce looked like a wee Scottish pensioner, looking older now than Baker. Clapton (like Steve Winwood) seems to have aged remarkably well. But his playing was certainly still there. I watched it, but really didn't want the shadows of memory. Even then I went back to
the originals. And to his own stuff.
Including my favourite Bruce/Brown song, 'Theme For An Imaginary Western'. There's a power version on the Friends bootleg. It was a hit for Leslie West and Mountain, but the best version remains Bruce's on Songs For A Tailor, and it's a truly beautiful song. Listen to it here....RIP Jack Bruce