Vibist
Lynn Blessing is best known for his membership in the jazz-rock band
Advancement, who recorded a single, self-titled album in 1969, and as a member of
Bill Plummer's Cosmic Brotherhood and
Gabor Szabo's studio band. Previously, however, he and
Plummer were also an integral part of cornet master
Tommy Peltier's Jazz Corps, one of the house bands at the famed
Lighthouse between 1963 and 1967.
Blessing was a Midwesterner who met
Freddie Hubbard in high school and formed his first jazz group with him at that time (
Blessing played drums). He also worked with
Paul Horn,
Martin Denny,
Tony Bennett, and
Fred Katz.
Sunset Painter is
Blessing's only date as a leader and was originally issued on
Epic in 1969. Produced by
Paul Horn, the LP also features pedal steel guitar whiz
Sneaky Pete Kleinow, bassist
Wolfgang Melz, drummer
Mel Telford, and guitarists
John Beck and
Robert Hirth.
Sunset Painter is deeply influenced by sounds coming from Los Angels and San Francisco at the time, particularly those of Laurel Canyon. As such, this is not a "jazz" record per se. It is a collection of almost entirely instrumental pop tunes, four of which were written by the rock icons of the day:
"Mother Nature's Son," by
Lennon and
McCartney;
"Pinball Wizard," by
Pete Townshend;
"Country Pie," by
Bob Dylan; and
"Child of the Universe," by
Roger McGuinn. The rest were either self-penned or by the sidemen on the date;
Melz and
Hirth wrote one apiece. The sound is loose, breezy, laid-back, and full of Eastern tinges (acoustic guitars played like sitars with open droning lead and rhythm parts as on the title track with its shimmering 12-string, and
Blessing's single-note melodies). Then there is
"Mother Nature's Son" done country-raga style -- no kidding. The warm feel of the set offers the same feel as many of
Gary McFarland's sides on
Skye but is less pop-oriented and more psychedelic in texture. The opener,
"Cosmic Cowboy," features
Blessing on a pair of harmonicas playing one just behind the other, a popping electric bassline, and breakbeats skittering around the middle before
Blessing's vibes enter, resembling something cut out of the hoedown section of
Aaron Copland's
Billy the Kid. The lithe openness on most of this recording is caught perfectly in
"Anacalyspsis," where the pedal steel -- playing more like a slide guitar -- engages with
Blessing's vibes, and the drums widen out in a slippery country stroll given dimension, texture, and depth by
Blessing's solo and sophisticated melodic improvisation. And while it's true that the album is relatively brief, clocking in at exactly 38 minutes, it is a minor masterpiece. It's very much of its time and stands in stark contrast to so much of the jazz that was being recorded on the American side of the pond at the time. In some sense, it's not a jazz record, but neither is it a pop, or psych or folk or rock record either. It is all things at once and none of them, but its sense of order, focus, and attention to melody, atmosphere, and brevity make it a wonderfully focused listen. While
Charles Lloyd was messing about trying out his singing in trying to bring the rock and blues sensibilities to his records, he might have tried hanging out with
Blessing, who had the boundaries down and was interested in integration more than extrapolation.
Fallout Records in the U.K. reissued this gentle treasure in 2007, and it is well worth seeking out as an experiment that succeeded aesthetically, even if it failed commercially. ~ Thom Jurek
