When jazz musicians use the waltz form, I sometimes hear it right away (for instance, in Sonny Rollins' Valse Hot or Bill Evans' Waltz for Debby, two favorites). Frankenstein took me three listens but I finally could discern the relationship between it and the Blue Danube, which is, in fact, there underneath all along. Makes the cut more impressive when you do find the thread, start following it and realize how intricately modern a structure these guys have been able to build on the waltz foundation, and not illogically. Everything Jackie McLean produced from the early to late '60s was pretty much a Frank Lloyd Wright.
Grachan Moncur III produced a couple laudable sessions (Evolution and Some Other Stuff) in this period as well, so the pairing of the two, who are complementary, is a bonus. The use of a rhythm section with Bobby Hutcherson on vibes instead of a guitar or piano also makes this interesting. Teen Tony Williams, pre-Miles, is the drummer. He has a solo on Saturday and Sunday that shows why Miles would soon steal him.
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