Chet Baker
Chet
Art Blakey/Jazz Messengers
Caravan
Bill Evans
Everybody Digs Bill Evans
Jimmy Heath
Really Big!
Flora Purim
Butterfly Dreams
Concord Music
Keepnews Collection
Producer/founder of Riverside Records Orrin Keepnews is cherry picking his favorite sessions, cleaning up the production, and adding some interesting insight on the liner notes in this essential series of reissues.
Either in spite of, or because of, the lack of vocals on this 58-59 recording, “Chet” is usually one of the most popular releases by the tormented trumpeter. His gentle horn works to greatest advantage on this collection of subdued standards like “Alone Together” and “September Song.” Lyrical and lonely, he is perfectly matched in musical temperament by Bill Evans (p), Kenny Burrell (g), Paul Chambers (b) and Philly Joe Jones or Connie Kay (d). Pepper Adams and Herbie Mann add to the mood with dreamy bari and flute work. This is music to build a dream on, when California cool was completely smog free.
Drummer Art Blakey lead one of his hardest driving bands, a seamless sextet that included a youthful and energetic set of young men like Wayne Shorter and Freddie Hubbard. Both men contributed to the writing chores, and their front line, along with Curtis Fuller on trombone, was formidable, to say the least. Cedar Walton and Reggie Workman complete the V8 rhythm section, which tears through the likes of “Caravan” and “Thermo”. The surprise here is the beautiful ballad work; Hubbard is luminescent on “Skylark”, and Fuller is warm and gentle on the latter. Still fresher than 90% of what most bands put out today, and, judging by the photos, a bit better dressed as well!
Bill Evans hadn’t formed his “classic” trio yet, but this record represents a band that was dangerously close. All throughout his career, Evans seemed to weave in and out of drummer Philly Joe Jones’ path. This early work, along with drummer Sam Jones, is considered his first tried and true success. Recorded just before “Kind of Blue” in 1958, this session features definitive versions of the gentle “Peace Piece” and the swinging “Oleo.” Jones’ drumming adds an extra sock on songs like “Night and Day”, and Evans’ harmonic complexities are in full blossom. A definitive desert island disc.
Tenorist Jimmy Heath is still with us, and sounds good as ever. Never having as high a profile as his brothers, he has managed to put out a remarkable series of highly original sessions. This one from 1960 may well be his best. Featuring a 10 man “mini-big band” consisting of Clark Terry, Nat and Cannonbal Adderley and Pat Patrick (!), Heath puts together a set of clever and undeniably swinging arrangements of standards and originals. The bluesy “Nails” with Cannonball slamming it on the alto, is a kicker, and the richly melodic work on ”My Ideal” is an aural joy. This disc is so unified conceptually, that it could almost be considered a suite. As seamless as an Italian suit.
Vocalist Flora Purim, along with husband/percussionist Airto Moreira, took the fusion world by the storm back in the early 70s, working with Return to Forever. This, her first solo recording, is also her best. With a supporting cast of Joe Henderson, George Duke and Stanley Clarke, Flora can do no wrong. Heavily percussive and plugged in, the band is rocking on songs like “Dr. Jive” and “Light as a Feather”. Her vocals are incandescent, particularly on the lovely standard “Dindi”. Most music (and film) from the 70s has not aged well. This one is an exception, and is in fact a highlight from the nascent fusion era.
-George W. Harris
Kenny Cox
Introducing Kenny Cox and the Contemporary Jazz Quintet
Frank Foster
Manhattan Fever
Andrew Hill
Change
Blue Note Connoisseur Classics
My nephew is a viticulturist; which means he is learning to make wine. How that relates to these reissues is that these three latest Blue Note releases are on the Connoisseur Series label, meaning that they are of a special vintage, and for discerning tastes, just as if they were a select choice of wine. The comparison fits, as these three rarities have exquisite taste, and will get better with age with each sampling.
Pianist Kenny Cox lead a band for a very short time in the late sixties, and quickly dropped from the scene. There is no evidence for his band’s demise on this disc, which consists of his two Blue Note releases. The band had a heavy debt to the 60s Miles Davis Quintet, but don’t let you think that this band was a pale impoesonation; it had it’s own sound, with a bit of extra soul dashed in for distinction. The band goes through a seires of original compositions that all sound fresh and vibrant; Cox’s rhythm section with Ron Brooks (b) and Danny Spencer is snapping like a whip, as on the hard blowing “Eclipse”. Tenorist Leon Henderson (can anyone find this guy?!?) is amazing, particularly on his creative work on the delightful “Number Four”. Cox’s “Trance Dance” was originally performed and recorded by the Jazz Crusaders, but this version, with some clever work by the leader, gets the nod. Hard bop fans will love this discovery.
Frank Foster’s two recordings of a sextet and septet back in 68 and 69 will almost make you think that he missed his calling. Instead of being a key tenorist, arranger and writer in the most famous swing band in the world, he could very well have given up the security of Basie’s band and made recordings like these delightful gems. The only problem being, these two recordings sold abysmally when they were initially released. The music, while a commercial flop, is an absolute sonic wonder. Foster’s small band, with the likes of Jimmy Cleveland, George Cables, Marvin Stamm, Buster Williams and Mickey Roker, s sounds like a mix of Miles Davis/ESP, Herbie Hancock/Maiden Voyage and Art Blakey/Big Beat. The music varies between modal spaciousness and hip shaking hard bop. Unforgettable pieces like the seductive title track or the pungent “Seventh Avenue Bill” feature incendiary horn work by Stamm and trombonist Garnett Brown. The rhythm section is able to float or sting on command. Foster himself is simply astonishing on tenor, sounding like no one but himself, as on the luscious “Loneliness”. Where has this disc been all my life?
Andrew Hill’s release has been hidden in the cellar for a long time as well, and it’s time for it to be uncorked. Originally released in 1966, the first 6 tracks didn’t see the light of day until they came out on a Sam Rivers release (Involution) in 1976. The other two cuts have only been available on the now long out of print Mosaic set. Hill’s other recordings of the same period have already been released on the 3CD Mosaic Select set from last year. This release puts together a one of a kind quartet, with Hill and Rivers being joined by Walter Booker (b) and JC Moses (drums). The music is a thought-provoking mix of advanced bop and free, just having the toes touch the line of the outer limits. This is what Rivers and Hill were best at: going to the limits, but only hinting at going too far. Explorative, dark, pungent, songs like “Illusion” and “Hope” mix melody and mournfulness. “Violence” features a startling duet with the two leaders. Free, but also easy.
-George W. Harris
Billie Holiday
Lady Day: The Master Takes and Singles
Sony Legacy
There’s really only essential one reason to get this 4 cd set by Billie Holiday: it’s for sale. In other words, if you don’t have anything by the most important jazz singer during her strongest vocal period, this is the set to get. Get it now, or else!
Simply put, these recordings are the definition of small group vocals. Presented with possibly the most maudlin of Tin Pan Alley material, Holiday turns coal into diamonds. Backed by the best swing musicians on the planet during her reign on Columbia Records ((1935-42), she gives definitive and defining versions of “Miss Brown To You”, “Some other Spring”, “The Man I Love” and countless others. More than her vocals alone was her musical partnership with tenorist Lester Young. Together, they defined the term “making beautiful music together.” From his first session with Holiday which produced the classics “I’ll Get By” and “Mean To Me”, Young changes the way a saxophone supported a singer. His lithe obbligatos and solos throughout these 4 discs are some of the all time highlights of recorded music, period. Relaxed, and minimally rehearsed, the various bands with musicians like Buck Clayton, Roy Eldridge andTeddy Wilson set the standard for small group ensembles that has rarely, if ever been equaled. Many aspire, but few attain. These are probably some of the most influential vocal records of any singer anywhere, so if you aren’t privy to this music yet, put down what you’re doing, and order up this set. Your musical life will immediately improve by quantum leaps.
-George W. Harris
Johnny Mercer
Mosaic Select 28
Mosaic Records
So what do you do when you’ve made a ton of money writing songs like “Skylark”, “Laura” or “This Time The Dreams On Me?” Well, if you’re Johnny Mercer, you start your own label, of course. Mosaic Records has put together 79 of the best of Johnny Mercer’s tracks from the birth of Capitol Records from 1942-47, featuring Mercer with the likes of Jack Teagarden, Cootie Williams, Benny Goodman and Nat King Cole. The riches from these 3 discs would make the Count of Monte Cristo blush.
Besides delivering his own compositions, Mercer serves as vocalist for a wide variety of contemporary standards, usually backed by the adept Paul Weston Orchestra. What is surprising about Mercer is his complete ease on these songs. His warm-yet relaxed Southern drawl is perfectly suited for uptempo pieces like “Ac-Cent-Tchu-Ate The Positive” and “Indiana.” Iven more surprising is his convincing treatment of ballads. He takes his own “One For My Baby” and delivers it with a world weariness that rivals Ol Blue Eyes. His sitting in session with the King Cole Trio is an absolute festival of fun and jive. Tenorists Herbie Haymer and Eddie Miller capture the lion’s share of the solos, and each one is a peach. No real complex arrangements; simple orchestration with a few gentle strings here and there. The emphasis is on the songs, if you’re looking for en encyclopedia of music for your Fake Book, this is the place to go. These songs have become the fiber of America, and to have them delivered by one of this world’s greatest writers is an added treat. Essential listening, through Mosaic Records. Limited to 5000 www.mosaicrecords.com.
-George W. Harris
Jaco Pastorius
The Essential
Sony Legacy
John McLaughlin
The Essential
Sony Legacy
Two legends of the fusion era are given their due respects on these generous retrospectives cumulated and released by Sony Legacy. Both 2 cd collections contain music from a variety of labels, therefore truly giving a complete history of these jazz-rock legends. It’s truly impossible to underestimate the impact that bassist Jaco Pastorius and guitarist John McLaughlin have had on modern music; not just on jazz per se, but in all of music.
“The Essential Jaco Pastorius” does a remarkable job covering the highlights of the all-too-short career of the genre-defining bassist. The generous portion of his groundbreaking solo recording that is on this 150+ set hasn’t lost it’s ability to astonish and amaze. Iconic tunes from Weather report, like “Teen Town”, “Havona” and the famous bass/conga duet “Donna Lee” have all become points of entry for aspiring bassists. The music from visionary Word of Mouth big band produced songs like“Liberty City” and “John and Mary’ that are utterly captivating, as is his work as a “sideman” on the creative Joni Mitchell sessions. Any electronic bassist must have this 2 disc set as both an inspiration and a “music minus one” workshop. Possibly the last real catalyst in modern music.
Likewise, John McLaughlin put the electric guitar back on the map with his groundbreaking Mahavishnu Orchestra back in the 70s. This 2 disc set does an excellent job of building up to that climax, including early recordings with Graham Bond’s band (therefore with a pre-Cream Jack Bruce and Ginger Baker), Miles Davis, and the earth shattering Tony Williams Lifetime. If nothing else, McLaughlin played with a ferocity that has never been rivaled; it is still jarring to hear songs like “Birds of Fire” and “Spectrum.” Most surprisingly is how he is able to changes moods when he switches to acoustic guitar. His work with the wondrous Indian/jazz group Shakti, the guitar summit with Al DiMeola and Paco De Lucia, and his orchestral work “The Mediterranean” provide an oasis of peace and beauty amongst the electronic intensity. Absolutely captivating and thought provoking music by one of jazz’s most influential guitarists.
-George W. Harris
