Hal Galper
1973
Inner Journey
01. Inner Journey 7:04
02. Invitation To Openness 6:27
03. P.M. In The A.M. 5:04
04. Joy Ride 4:12
05. My Funny Valentine 5:20
06. Wandering Spirit 4:26
07. Take The Coltrane 4:31
Double Bass – Dave Holland
Drums – Bill Goodwin
Piano – Hal Galper
Hal Galper’s Inner Journey, released in 1973 on Mainstream Records, marks a pivotal moment in the pianist’s career, showcasing his evolution as a bandleader, composer, and performer. This album, his third as a leader and final release for the Mainstream label, captures Galper at a turning point, moving away from the electric piano to embrace the acoustic piano exclusively, a decision that shaped his artistic identity. With a trio featuring bassist Dave Holland and drummer Bill Goodwin, Inner Journey is a bold exploration of post-bop and fusion sensibilities, blending introspective originals with inventive takes on standards.
By 1973, Hal Galper was an established figure in the jazz world, having worked with luminaries like Chet Baker, Stan Getz, and the Cannonball Adderley Quintet, where he replaced George Duke. Born in Salem, Massachusetts, in 1938, Galper studied at Berklee College of Music and honed his craft in Boston’s vibrant jazz scene, playing at venues like the Stable and working with Herb Pomeroy’s band. His early influences included bebop pioneers like Red Garland and Wynton Kelly, as well as the freer explorations of Ornette Coleman, which gave him a versatile foundation that blended straight-ahead jazz with more experimental tendencies.
Inner Journey was recorded at a time when jazz was undergoing significant transformation. The early 1970s saw the rise of fusion, with artists like Herbie Hancock and Chick Corea blending jazz with rock and funk elements. Galper, who had played electric piano in earlier recordings, chose to pivot toward a purer acoustic sound for this album, reflecting a desire to return to the roots of jazz piano while still pushing boundaries. The trio format, with Holland and Goodwin, allowed Galper to explore complex rhythmic and harmonic ideas, drawing on the chemistry he would later refine with Goodwin in Phil Woods’ group.
The album comprises seven tracks: five original compositions by Galper, a reimagined standard, and a Duke Ellington cover. The tracklist reflects a balance between introspective, cerebral pieces and more energetic, groove-oriented explorations. Below is a detailed breakdown of each track, based on available descriptions and critical commentary.
Inner Journey (7:10)
The title track opens the album with a driving, introspective energy. Described as a “challenging original,” it sets the tone for the album’s exploratory spirit. The piece features intricate interplay between Galper’s piano, Holland’s elastic basslines, and Goodwin’s dynamic drumming. The composition’s structure allows for extended improvisation, with Galper’s angular phrasing and harmonic daring taking center stage. The track’s intensity and forward momentum make it a standout, reflecting Galper’s ability to blend post-bop complexity with emotional depth.
Invitation to Openness (6:33)
This track is a spacious, reflective piece that invites a sense of freedom in its execution. Galper’s use of open harmonic structures and subtle dynamic shifts creates a meditative atmosphere, with Holland’s bass providing a grounding presence. Goodwin’s understated percussion adds texture without overpowering the composition. The title suggests a philosophical underpinning, aligning with Galper’s reputation as a thoughtful musician and educator who explored psychological aspects of performance, such as stage fright.
P.M. in the A.M. (5:11)
This playful, upbeat original showcases Galper’s knack for crafting memorable melodies within a complex harmonic framework. The title’s whimsical nature is reflected in the track’s light yet intricate feel, with the trio engaging in tight, conversational interplay. Holland’s bass work shines here, offering countermelodies that complement Galper’s rapid runs and chordal explorations. Goodwin’s crisp drumming keeps the piece grounded, making it one of the album’s more accessible moments.
Joy Ride (4:19)
As the name suggests, “Joy Ride” is a lively, swinging track that injects a sense of exuberance into the album. The uptempo pace and rhythmic drive highlight the trio’s chemistry, with Galper’s fleet-fingered soloing evoking the bebop roots he absorbed early in his career. Holland and Goodwin provide a propulsive foundation, allowing Galper to take risks in his improvisations. The track’s brevity keeps it focused, making it a concise burst of energy.
My Funny Valentine (5:27)
Galper’s take on the Rodgers and Hart standard is a highlight of the album, offering a darker, more introspective interpretation than typical renditions. Described as having “plenty of twists” and a “far darker” tone, the arrangement subverts the song’s usual romanticism with unexpected harmonic shifts and rhythmic dislocations. Galper’s cerebral approach transforms the familiar melody into something haunting and unpredictable, while Holland and Goodwin provide sensitive support. This track exemplifies Galper’s ability to reimagine standards with a modernist edge.
Taking the Coltrane (4:34)
This track, a cover of Duke Ellington’s “Take the Coltrane” (misidentified on the album as “Taking the Coltrane”), is a rapid-fire blues riff that pays homage to John Coltrane’s intensity. Galper’s treatment is adventurous, with blistering piano runs and a freewheeling energy that channels the spirit of Coltrane’s exploratory style. Holland’s solo space is particularly notable, showcasing his ability to blend technical precision with emotional depth. Goodwin’s series of drum breaks add a dynamic flourish, making this one of the album’s most electrifying moments. Note that the track order is reversed with “Wandering Spirit” on the album due to a printing error on the original release.
Wandering Spirit (4:37)
The album closes with another Galper original, a cerebral and introspective piece that precedes “Taking the Coltrane” due to the aforementioned tracklist error. “Wandering Spirit” is a contemplative composition, with Galper’s delicate touch and nuanced phrasing creating a sense of searching. Holland’s basslines weave seamlessly with Galper’s piano, while Goodwin’s subtle percussion adds a layer of texture. The track’s modal structure and open-ended feel align it with the fusion and modal jazz influences of the era, making it a fitting closer to the album’s journey.
Inner Journey is often categorized as a post-bop album with elements of fusion, though its acoustic focus sets it apart from the electric-heavy fusion of the time. Galper’s decision to abandon the electric piano was a bold move, signaling a commitment to the acoustic trio format and a return to the jazz tradition’s roots. However, the album is far from conservative; it pushes boundaries through its complex harmonies, rhythmic freedom, and adventurous improvisations.
The trio’s interplay is a key strength, with Holland and Goodwin providing a responsive and dynamic foundation. Holland, already a rising star known for his work with Miles Davis, brings a virtuosic yet lyrical quality to the bass, while Goodwin’s drumming is both precise and exploratory, anticipating the chemistry he would later share with Galper in Phil Woods’ group. Galper’s piano work is the centerpiece, blending bebop fluency with freer, more experimental approaches influenced by his time with Sam Rivers and his exposure to Ornette Coleman’s innovations.
The album’s originals, particularly “Inner Journey” and “Wandering Spirit,” showcase Galper’s compositional voice, which balances structure and freedom. His arrangements of standards like “My Funny Valentine” and “Take the Coltrane” demonstrate his ability to reinterpret familiar material with a fresh perspective, a hallmark of his later work in the rubato style he developed in the 2000s.
Critics have praised Inner Journey as one of the finest recordings of Galper’s early career. Ken Dryden’s review for AllMusic describes it as “one of the very best recordings from Hal Galper’s early days as a leader,” highlighting its challenging originals and inventive arrangements. The album’s blend of introspection and intensity has been noted for its forward-thinking approach, bridging the gap between straight-ahead jazz and the experimental currents of the 1970s. Its rarity, due to the demise of Mainstream Records, has also contributed to its cult status among jazz collectors.
The album has been described as “heavyweight fusion” by some sources, though this label may overstate its fusion elements given its acoustic focus. Its reputation as a “rare album” underscores its significance in Galper’s discography and its appeal to collectors of vinyl and reissued CDs, such as the limited Japanese remaster.
Inner Journey represents a turning point in Galper’s career, marking his transition to a fully acoustic pianist and establishing him as a serious composer and bandleader. The album’s emphasis on trio interplay foreshadowed his later work with groups featuring Jeff Johnson and John Bishop, where he explored the rubato style that became his signature in the 2000s. Tracks like “Invitation to Openness” hint at the freer, more flexible approach to time and harmony that Galper would later refine.
The album also showcases the early brilliance of Dave Holland, whose contributions add depth and virtuosity to the recording. The collaboration with Goodwin laid the groundwork for their later work together, particularly in Phil Woods’ group, where their chemistry was a driving force. For fans of post-bop and early 1970s jazz, Inner Journey remains a hidden gem, offering a glimpse into Galper’s evolution as an artist who could honor tradition while pushing into new territory.
Produced by Bob Shad, Inner Journey features a clean, well-balanced recording that highlights the trio’s interplay. The cover design by MPI Graphics and photography by Raymond Ross give the album a distinctive early-1970s aesthetic, with a gatefold vinyl release that has become collectible. The tracklist error (reversing “Wandering Spirit” and “Taking the Coltrane”) is a minor quirk that adds to the album’s idiosyncratic charm.
The album’s limited availability, due to Mainstream Records’ closure, has made original vinyl copies rare, though digital releases on platforms like Spotify, Apple Music, and TIDAL, as well as a Japanese remastered CD, have kept it accessible to modern listeners.
Hal Galper’s Inner Journey is a compelling snapshot of a pivotal moment in his career, blending post-bop precision with the exploratory spirit of the early 1970s. With a stellar trio featuring Dave Holland and Bill Goodwin, the album showcases Galper’s virtuosity as a pianist, his creativity as a composer, and his ability to reimagine standards with a modernist edge. Tracks like the title cut, “My Funny Valentine,” and “Taking the Coltrane” highlight the group’s chemistry and willingness to take risks, making Inner Journey a standout in Galper’s discography.
For listeners seeking a blend of introspective lyricism and adventurous improvisation, Inner Journey remains a rewarding listen. Its rarity and critical acclaim cement its status as a must-have for jazz enthusiasts, offering a window into Galper’s early brilliance and the broader evolution of jazz in the 1970s. While not as widely known as some of his later work, Inner Journey is a testament to Galper’s enduring artistry and his ability to navigate the balance between tradition and innovation.