Fans of saxophonist Clifford Jordan received a very special gift early this summer courtesy of Harvest Song Records. The label released Jordan’s long-lost 1974 recording, Drink Plenty Water May 1. Jordan does not have the notoriety of say a Sonny Rollins, John Coltrane or Charlie Parker, but he recorded and performed with some very well-known figures in his own right. Those figures include and are not limited to the likes of Max Roach, Charles Mingus, and Sonny Stitt. Over the course of his professional career, he released more than three dozen records. That includes albums as a band leader and as a side man. Now thanks – again – to Harvest Song Records and Jordan’s widow, Shirley Jordan, this rare recording, which is Jordan’s only known primarily vocal recording, is available for audiences to own. The 7-song record is an interesting presentation for those who are more familiar with Jordan and his expansive catalog and for those who might be less familiar. Speaking of vocal performances, the vocal performance from David Smyrl in the album’s penultimate track, the spoken word style ‘Talking Blues,’ is one of the more notable performances featured here. Jordan’s daughter, Donna Jordan Harris, serves well as the primary vocalist on ‘Witch Doctor’s Chant’ and on I’ve Got A Feeling For You.’ All three songs are prime examples of what makes this record stand out. When they are considered along with the album’s other spoken word track – the album’s title track – and the album’s unique opener, ‘The Highest Mountain,’ that collection works with the record’s two remaining songs, the whole therein makes Drink Plenty Water one of the most unique of this year’s jazz offerings.
Harvest Song Records’ recent re-issue of Clifford Jordan’s long-out-of-print 1974 album, Drink Plenty Water, is a presentation that a wide range of jazz audiences will agree is intriguing. Known as the well-known saxophonist’s only largely vocal performance record, the record features a number of songs that are anything but what one might think of when they think of jazz and saxophone music. That is proven in part through the album’s penultimate entry, the spoken word song, ‘Talking Blues.’ Featuring spoken vocals by David Smyrl, the song is told from the vantage point of a man who tells the story of his life. That includes the hardships he faced and his better moments. The almost free jazz style musical backing, led by Jordan on the saxophone, has an interesting bluesy touch as Smyrl talks about growing up, facing racism even in the army, being homeless, and drug use among many other topics. There is something about the balance of Smyrl’s vocal performance here that slightly conjures thoughts of Dr. John (mainly because of the sound of his voice against the instrumentation), making for even more interesting. The very tale that Smyrl tells here is completely engaging in itself. Being shared against that notable instrumentation makes it all the more engaging. To that end, this unique vocal track stands out among the album’s entries making it worth hearing.
Another notable addition to Drink Plenty Water is the more musical/vocal track, ‘Witch Doctor’s Chant (Ee-Bah-Lickey-Doo).’ Jordan’s daughter, Donna Jordan Harris, leads the vocals on this unique song. Those vocals take listeners back to some of the soulful jazz tunes from the 1960s what with the distinct style of the delivery. That sense is enhanced through the piano line performed by Stanley Cowell. The elder Jordan’s solo on the saxophone here works in its own right, giving the song a little bit more spice alongside Billy Higgins’ controlled performance on the drums. Higgins adds just enough even as he tosses in some flourishes here and there on the cymbals and snare, and when his work pairs with the work of bassist Bill Lee’s own work, the whole makes the song a surprisingly welcome renewed focus on an era of music gone but obviously not forgotten.
Another track that proves so surprisingly engaging to that record comes roughly midway through its presentation in the form of ‘I’ve Got A Feeling For You.’ This is going to likely come as an odd comparison to many, but the vocal delivery style here works with the song’s instrumentation to make it comparable to the works that were used as the soundtracks to MGM’s classic animated Dr. Seuss television specials. The music for those specials was composed by differing figures in each presentation – Dean Elliott and Joe Raposo were responsible for much of the specials’ music composition while Eugene Poddany composed music for the two earliest specials, How The Grinch Stole Christmas! and Horton Hears A Who – and in listening to them against this song’s arrangement, the similarity is obvious. Now the liner notes included in the record do not make any note of any potential influence of those men’s work so it would be interesting to know if there is any connection or if the similarity in styles is purely coincidental.
Getting back to the subject at hand, the somewhat bluesy approach here, led by the vocals of Jordan Harris and her father make for so much engagement and entertainment. When the elder Jordan steps back and allows Dick Griffin to shine in his trombone solo, it shows so much respect for his fellow musicians as Griffin absolutely goes off while Jordan and his other fellow musicians provide support. The energy in the collective’s performance, including that of Griffin and the vocalists, makes this song stand out so wonderfully on its own merits. When the song is considered alongside ‘Witch Doctor’s Chant,’ ‘Talking Blues’ and the rest of the record’s entries, the whole therein makes Drink Plenty Water a rarity that even being essentially a re-issue still a record that any jazz fan should hear at least once if not more.
Drink Plenty Water, the recently released 1974 record from Clifford Jordan, is a record that jazz fans across the board will agree is an interesting presentation from the late, great saxophonist. That is proven from the record’s opener, ‘The Highest Mountain’ to its two-part finale, ‘Talking Blues’ (which also includes a separate isolated instrumental track as the record’s finale) and in-between, the record offers plenty of interesting content. Audiences who are familiar with Jordan and his work will appreciate it all just as much as those who are less familiar. All three of the songs examined here make that clear. When those songs and the rest of the record’s entries are considered collectively, the whole makes Drink Plenty Water a surprisingly engaging and entertaining offering that any jazz fan should hear at least once.
Drink Plenty Water is available now through Harvest Song Records.
