Joanne Brackeen is a jazz pianist with thunderous talent. She's an original who soars as a soloist, in duets, in trios, quartets and beyond. Her hands hit the keyboard with enormous power and her churning style mixes abstraction, bop and hard bop, turning standards inside out and setting her own originals on fire. I love her playing. It's daring, fierce and emotionally organic. She's all in and always finds her way out with clarity and polish. [Photo above of Joanne Brackeen from a publicity still]
Born in Ventura, Calif. in 1938, Brackeen was a child prodigy who admired the balance and order of pop music until she heard jazz in the late 1940s. She began playing professionally at 12, performing in the late 1950s with saxophonists Dexter Gordon, Teddy Edwards and Charles Brackeen, whom she would marry. The couple moved to New York in 1965, where she began her recording career by playing and recording with vibraphonist Freddie McCoy from 1965 to 1968. [Photo above of Joanne Brackeen from a publicity still]
Her first solo album was Snooze in 1975 for the Choice label. Then she went on to have an extraordinary career as a leader, recording more than 20 albums under her own name in groups that included Joe Henderson, Eddie Gomez and Jack DeJohnette. She also recorded on albums led by Stan Getz and Freddie Hubbard, among others.
Between her work with Freddie McCoy and Snooze, she was hired by Art Blakey in 1969 to tour extensively with the Jazz Messengers. They recorded just one album—Jazz Messengers '70. If Blakey ever had a true partner on par with his percussive intensity, it was Brackeen on piano. Recorded in Tokyo in February 1970 for the Japanese JVC label, the Messengers album featured Bill Hardman (tp), Carlos Garnett (ts), Joanne Brackeen (p), Jan Arnet (b) and Art Blakey (d). The tracks were Moanin', Blues March, Whisper Not, It's Only a Paper Moon, Garnett's What the World Needs Now Is Peace and Love, Hardman's Politely and A Night in Tunisia.
Brackeen is miraculous on this album. Blakey and Brackeen power the rest of the band with muscular playing. The way Brackeen and Blakey feed off of each other is spellbinding. I'll even go so far as to say that this is arguably the finest studio recording by any Jazz Messengers lineup. That's why this album is a perfect introduction to Brackeen if you're unfamiliar with Brackeen and you can find it. Then I suggest you move forward with her leadership discography. She's the musical definition of remarkable.
Which brings us to the inevitable question: If Brackeen is so special, why isn't she better known? The decline of pure jazz recording in the 1970s certainly had something to do with her not being celebrated in jazz circles early on. By the 1980s, Brackeen's expressionist style wasn't as in vogue as those playing bop and other familiar forms and therefore not commercially desirable. Sexism also probably played a role, as it often did in jazz and rock of the period. And certainly raising four children would have made touring difficult.
But now you know. Many of Brackeen's recordings are readily available, and exploring her music has never been easier. When you do explore her albums, trust me, you're in for quite an adventure.
JazzWax tracks: Though I own Jazz Messengers '70 digitally, I've never seen a CD of the album. But if you own a turntable, buy it. You'll find the tracks here and here on vinyl.
JazzWax clips: Fortunately I found a track on YouTube. Here's What the World Needs Now Is Peace and Love...
Here's Moanin'...
Here's It's Only a Paper Moon...
Here's Brackeen in 1986 and a stunning solo performance of Bewitched, Bothered and Bewildered...
And here's Brackeen being interviewed in 2018, the year she became an NEA Jazz Master...
