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Home , Ahmed Abdullah, Brent Fischer, CIMP, Clare Fischer, Denis Charles, Four Altos

CADENCE COLUMN

PAPATAMUS CD, Book, and Vinyl Reviews

A collection of sometimes disparate material though generally relating to music recordings or performances.

The second half of the 1960s was a prime time for new music/avant-garde in City and for CHARLES LLOYD in particular. Lloyd had broken away from Chico Hamilton, started his own band and simultaneously become part of the group. By the ‘70s Lloyd seemed to have lost the hard passion of the Avant-garde and moved to the more pastel sounds of the flower power west coast, where he toiled through most of the '70s. Charles Lloyd’s STORIES [Resonance cd 2016], a 2-CD set, finds some prime Lloyd, in 1965 concerts from Judson Hall and Slugs, with Gábor Szabó [gtr], [b], and Pete La Roca [dms]. But not all is prime, what this does well is capture some of the discovery energy of the time, but also the lack of direction of the period. Best is the Judson Hall material, more focused and disciplined while the Slugs material does not stand up well to the more directly produced material of the period. Slugs was in the East Village of NYC, a near slum and home to many improvising musicians. Slugs had the informality of the original 5 Spot (on Bowery) but not the ambiance, in the air was the anticipation of violence. Like the 5 Spot it was a musical crucible which on some nights yielded greatness and at other times something of a lesser nature. None-the-less, as I remember it, somehow it was always exciting. And I’d wonder, of the many nights I’d leave—talking excitedly about what I just heard, how those performances would sound today, sans the atmosphere. As usual Resonance has done a beautiful job in presentation, including a 38-page booklet of notes and attractive packaging. The program references “Lady Gabor” at both venues plus “Sweet Georgia Bright” and “How Can I Tell You” from Judson, and “Slugs’ Blues” and "Dream Weaver" from Slugs. Inviting, but overall I’d give it an A+ for packaging but something less for performance. Trost records has issued the ALEX VON SCHLIPPENBACH [p] trio’s FIRST RECORDINGS [tr-132]. The trio in this case includes [ts/ss] and Paul Lovens [dms] and first recordings [April 2, 1972] refers to the trio, not the individual members, all of whom already had established reputations as players of instant composition/free form jazz. Two of the four tracks here, “With Forks And Hope” and “Then Silence” previously appeared on a limited edition FMP record box and I find it odd that FMP did not issue the trios strongest performance “Deals”. At 38 plus minutes—it is possibly it was purely due to length that it did not get issued here. Over the years these three have met numerous times and between them have been part of ground breaking groups and some of the finest recorded of the last half century. Here the pianist develops lines that are nothing short of screamingly terrific. Lovens lays down a barrage of sound that helps create a slash and burn pattern while Parker comes in with distortions and ripping reed work that nicely puts a bow on the proceedings. There are some quiet moments as well that serve to offset the intense times. But overall the trio seems a wound-up unit of intensity itching to get out of the gate. 50 years later most of North America is still trying to catch up with and understand the creative charge these three were a part of. This is some intense and joyful and insightful music! The packaging on ALL THE WAY [Unit 4352] by the MALTE SCHILLER [ts/flt/b-clt] Octet [Dan Weinstein, Lauren Franklin-Steinman, Liron Yarviv, Sol Kim-cellos/ Jan Rodt-gtr/Andreas Lang-b/ Reinhold Schmölzer-dms] is basic but the music is anything but basic. Six of the seven tracks are Schiller compositions (the seventh is by Tom Waits — a very melodic “The Briar And The Rose”). This recording has a very dynamic use of strings that can reach out and grab you as a vine looking to attach. This is Schiller’s second CD for Unit and perhaps it is his only second CD period. There is a genuine talent exhibited both in the writing and execution of the compositions. Schiller is very modest with his tenor sax work, which is very effective improvising counterpoint over and against the strings. I’ve had this as a default in my CD changer so when I claim this holds up very well on repeated listens, it does and better yet it grows in depth and pleasures. Unit (Swiss) is not an easy label to find but one assumes it is on iTunes so I’d heartily recommend you download this and give it 9 or 10 listens for deepened joy, although one listen is enough of a start for discovery. A fine free jazz blowout comes from WILLIAM HOOKER [dms] & LIUDAS MOCKUNAS [ss/as/ts] called LIVE AT VILNIUS FESTIVAL [NoBusiness Records nbcd 68]. There is a bit of everything here; some parallel playing, individual features, some excellent solo/duo developments and while I did find some of this work had meaningless moments, overall it’s a pleasant 50+ minutes of listening. In the last decade or so eastern Europe has emerged as a receptive outlet for improvised music with better known Americans mixing it up with lesser known elements. So while Hooker turns in one of his best efforts, he brings along Mockunas, who has recorded many times before (including numerous times on NoBusiness Records) but is largely unknown in the states. This kind of marriage has been going on for years with Americans and European and Scandinavian Artists as Jazz/creative improvised music truly becomes a world music. Also from NoBusiness comes TURNING POINT [nbcd 70] by [p] with [tbn]. This is the third (of five) suite by Burrell that deals with the Civil War. This is a very formal and structured music [“One Nation”, “Battle Of Gettysburg”, “Church Picnic Celebration”, “Paradox Of Freedom”, “Disease Hits Contraband Camp”, “Fancy Trade Nightmare”, “Battle At Vicksburg”] with Swell taking both written and improvised rolls. Full program notes are offered in the 8-page booklet. Not so much a jazz issue as , and worth a listen. Distinctive. Also somewhat formal is a duo concert [May 8, 2011] with [vln] and WILLIAM PARKER [b] called MEDICINE BUDDAH [NoBusiness cd 71]. This is a rather subdued concert (of 5 originals by Parker or Bang) for what seems a very subdued audience. I’m mentioning the recording here because Billy Bang was a distinguished voice in improvised music and there is undoubtedly limited amount of unreleased material, making anything by Bang notable at this point. Also included is a very warm tribute to him by Parker in the liner notes. With the proliferation of labels and the relative ease of issue a fair amount of music which could not find a home, when recorded, is now getting issued. On one hand some excellent music now sees the light of day but also some music, usually because of name appeal, is issued which is not of high quality. With that in mind, I was skeptical when I encountered INNERCONNECTION [NoBusiness cd 72-73] by ’s ENERGY MODULE [Daniel-horns/-ts/-saxes & flt/Richard Pierce-b/Tatsuya Nakamura-dms] recorded November 8th, 1975. This is a 2-CD set [83:33] and a very good one as well. Basically a free quintet, Ed Hazell’s very fine liner notes inform, they only played 2 gigs in one week in the fall of 1975. Free jazz, no other pretensions, it is what it is, and what it is is some fine, fine, blowing with good momentum over 5 tracks [Jiblet/Innerconection/The Probe/Ghosts/Entering-Congenility-Pagan Spain]. A solid concert, after which, you exhale. XYQUARTET is a quartet of NICOLA FAZZINI [as], ALESSANDRO FEDRIGO [acc.b-grt], SAVERIO TASCA [vbs] and LUCA COLUSSI [dms] and have issued XY [cdr 05 nusica.org] who’s basic packaging houses music which for me held many delights.The eight originals, by Fazzini and Fedrigo are very structured, offering a variety of composed terraced platforms from which the players construct their statements. Fazzini has a sour toned alto, Tasca’s vibes offer heavy use of vibrato and single note hits which is very effective in moving the music up and forward over which Fazzini fashions exciting statements. Colussi often uses rock patterns while Fedrigo keeps a tempo or shadows a soloist. It is hard to tell where composition ends and improvisation begins, the transitions are natural and seamless, but make no mistake this is (free bop) jazz and damned good. XYQUARTET had an earlier [March 2, 2012] release, IDEA F [03 nusica.org], this issued also as a CDR and with the same minimalist packaging. Again the program is eight originals, but the construction of the music is not as distinctive or perhaps as firmly constructed as XY. In addition, Fazzini’s (listed as leader on this release) tone is sweeter and at times sounds a bit like a clarinet. Overall Idea F offers a less distinct group sound which may indicate XYQuartet is not only sticking it out but zeroing in on it’s distinct sound. These two recordings cover 2012 and 2013. 2014?, stay tuned. The NO SQUARE JAZZ QUARTET [Matthieu Durmarque-saxes, Matthieu Roffé-p, André Hahne-el b, Alexandre Ambroziak-d] has issued BUENOS AIRES/PARIS [Altrisuoni 334]. The work is a kind of free flowing bop, that develops and digs in powerfully over the nine group originals. My main problem, besides the use of electric bass, is the sax playing is rather generic. Durmarque plays strongly but one would be hard pressed to identify him from dozens of other generic players. Matthieu Roffé does seem to have an individual style and on occasion will go a bit outward bound when he is not building a platform, with Ambroziak, under the sax. And if Hahne played acoustic bass I feel he could take this quartet deep into improvised exploration, electric bass just seems to keep improvised music at a certain level, especially when it’s as up-front as heard here. The title refers to the CD music recorded in Paris in February, 2014 and an accompanying DVD recorded in Buenos Aires in August 2013. Good listening if a bit faceless. There is nothing innovative about JENNIFER PORTER’s EASY LIVING [Cougar Moon Music 004] but it is fresh. Ms. Porter has chosen her repertoire well [Easy Living/The Very Thought of You/Nice Work if You Can Get it/Crazy He Calls Me/But Not For Me/The Best Things in Life are Free/Gone With the Wind/Yesterdays/I’ve Got My Love to Keep Me Warm/I Cover the Waterfront/Travlin’ Light/You’d Be So Nice to Come Home To/Where or When] as it complements her nice, somewhat smokey and distant, voice. And while she sings many of the songs associated with there is no attempt to emulate her, she seems her own person. Her back-up [Sonny Barbato-p/Jim Lyden-b/Les Harris-dms/Matt Langley-sax/Jason Anick-vln/Vinny Raniolo-gtr] frequently steps out for solos that compliment the 1940s (?) mood of the music. If you’re in the mood to be wooed it is a good bet this will do it. Other JENNIFER PORTER recordings on Cougar Moon Music are HYACINTH BOY BLUE [77131], a collection of originals [circa 1997] in a mellow folkish pop vein backed by an acoustic quintet. Songs with impressionistic prose of wanting, introspection and love; touches of Joni Mitchell and Laurie Anderson. A 2012 recording finds her again as a jazz singer on THE WAY YOU LOOK TONIGHT [Cougar Moon Music 003]. Again the repertoire is standards [The Way You Look Tonight/There’s a Small Hotel/Sophisticated Lady/I’ll Get By/A Foggy Day/Don’t Explain/No Greater Love/Ain’t Misbehavin’/ I’m Beginning to See the Light/Can’t Help Lovin’ That Man/Rollin’ in My Sweet Baby’s Arms] many of them beautifully handled in fresh interpretation. As with Easy Living, Porter delivers this material with an effortless suspended sincerity. Porter backs herself on piano and is joined by a small and tasteful combo which includes, among others, saxman Matt Langley (who has been a regular with Charlie Kohlhase) Trent Austin[tpt] and Kevin Barry [gtr]. Jennifer Porter also appears, as singer and pianist, on 40 WEST [Cougar Moon 79344735112] the original motion picture soundtrack recording for which she both composed and performed the music. The offering is made up mostly of sour-full, blues-tinged, new age-y piano deliberations. This obviously is a multi-talented woman with a wide range of musical ability and deserves to be more on the rader. But as concerns this column it is her two jazz vocal recordings [CM 003 & 004] which deserve one’s attention as there is magnificence there. Vocalist CAROL McCARTNEY has issued a rather fun CD called BE COOL [Moxy 014]. Joined by a fine sextet of Brian Dickinson [p], Lorne Lofsky [gtr], Kieran Overs [b], Terry Clarke [dms], Chris Robinson [ts/as] and Mike Malone [flg]. This is a strong group who obviously came to play and credit goes to producer McCartney, who obviously encouraged the instrumentalist to step out. And in that regard special kudos to Lorne Lofsky who consistently turns in fine solos. McCartney projects an ease and joy in her singing with just the slightest hint of attitude. This recording lists no credits but does credit make-up, which often suggests the emphasis is not on music (I’ve gotten music where there is credit for make-up, hair, gowns etc. but NO credit for the back up musicians) but here the music is wonderful. The program is: Be Cool/ I’m Old Fashioined/For Heaven’s Sake/ Tulip Or Turnip/ Yesterdays/ Ev’rthing I’ve Got/ Solitary Moon/ Just You, Just Me/ S’wonderful/West Coast Blues/Almost Twelve/More Than You Know (includes verse). Vocalist CYNTHIA FELTON has a new release out, SAVE YOUR LOVE FOR ME [Felton Entertainment 004]. The disc, Subtitled Sings The Nancy Wilson Classics has 11 tracks [including another “West Coast Blues”] that are loosely associated with Ms Wilson and when you compare them with Wilson's versions there is a resemblance between the two. Felton is a bit for a shouter and coaxes with less subtlety. That said, this record sits very well on listening repeats and is recommended. Back up comes in various competent groupings which include; Donald Brown [p], Cyrus Chestnut [p], Patrice Rushin [p], Robert Hurst [b], Jeff Watts [dms], Ernie Watts [ts], Terri Lyne Carrington [dms], Jeff Clayton[as], Wallace Rooney [tpt] and Ndugu Chancler [vbs]. There a long ongoing discussion/debate as who is or isn’t a jazz singer and what makes a singer a jazz singer. My best answer is— I don’t know but I know one when I hear one. I am a big fan of Ethel Merman and Barbra Streisand, unique voices but not jazz. Both Jon Hendricks and Mark Murphy also possess unique styles and voices and are undeniably jazz singers and to that I would add MARC POMPE. Like Hendricks and Murphy, Pompe’s technique is often imperfect as regards to technique,(i.e. pitch and so forth) and it is precisely for those reasons, and because of their jazz instincts—that they are such great jazz singers. There are many singers who sing from the jazz songbook and enjoyable thou they may be, are not jazz singers. To be clear, just because a singer has vocal imperfections it doesn’t necessarily make them a jazz singer either. I guess what I am saying is jazz is a sensibility. MONK’S DREAM [no name 7075417/96293] is only Marc Pompe’s seventh cd and as the singer is approaching 80, the effects of aging are starting to affect his range and pitch. Pompe’s latest effort was recorded in 2014 and is made up of ten standards, including; “Ask Me Now, “Monk’s Dream”, “In a Sentimental Mood”, “The Song is You” and one original. Pompe is backed by an 11 piece band arranged and conducted by Bob Ojeda [tpt]. In my opinion a less than perfect album but it has some gifts. I’d be remiss if I didn’t mention (full disclosure) that I have produced recordings of Pompe for CIMP and CadenceJazz records. MARLENE VERPLANCK, now in her 80s, shows no signs of voice deterioration as far as I can tell. On her latest recording, I GIVE UP, I’M IN LOVE [Audiophile cd 347], once again she seems, effortlessly, to hit it out of the ballpark. This set, of what could broadly be characterized as songs from the Great American Songbook, is wonderfully balanced with fresh material (covering emotions from humorous to pining) from writers ranging from Strayhorn to Sondheim. The program is nicely mixed up with trios, quartets [featuring Warren Vache or Harry Allen] and Glenn Franke’s big band. I don’t wish to imply that this is a wonderful singer considering she is in her 80s, this is wonderful without qualification. SARAH McKENZIE’s [p/voc] latest is WE COULD BE LOVERS on the Australian ABC label [379 4794]. This is a fun record, McKenzie has an upbeat delivery (on up tempo numbers) as well as an improviser’s phrasing that clearly declares this is a jazz singer. She includes three notable originals, that suggests her talents as a composer [That’s it, I Quit/We Could Be Lovers/Quoi,Quoi,Quoi], along with ’s, “The Music Is The Magic” and Betty Carter’s, “Tight”. Filling out the program are six standards [I Was Doing Alright/At Long Last Love/Love You Madly/Lover Man/Moon River/I Won’t Dance]. Backing up the pianist/vocalist is Hugh Stuckey [gtr], Alex Boneham [b] and Marco Valeri [perc] plus notable appearances on various tracks by Ingrid Jensen [tpt] Troy Roberts [ts], Yosvany Terry [as] and Warren Wolf [vibes]. This is at least her third recording and she seems to have retained a certain artistic integrity. Credit, I guess, also goes to producer, Brian Bacchus, who it would seem not only appreciates a singers turn but instrumental space as well. A talent worthy of your attention. MARK JENNETT offers up a fresh tenor voice on EVERYBODY SAYS DON’T [Jazzizit Records cd 1462]. Here he takes 14 mostly un-worn songs by well worn [Sondheim/Bacharach/David/Styne/Coleman/Fields/The Gershwins/Rodgers/Hammerstein/Lane/Lerner/Bushkin/DeVries/Simon/Webb/Newman/Loesser] and approaches them in a way that grabs your attention to the lyrics and believe in his, somewhat fay, delivery. His, often theatrical, delivery marks the style, at times similar to Andy Bey, and one becomes very aware of words and story lines. This is a singer/arranger who makes things he approaches matter. Even though his treatment of a song like “You’ve Got to be Carefully Taught” is upbeat and celebratory, the juxtaposition of the lyrics with the music, takes away from neither. Nicely backed by a capable quintet [Rob Barron-kbds/Geoff Gascoyne-b/Sebastiaan de Krom-dms/Martin Shaw-tpt/Andy Panaji-ts-flt]. This is a stylist to watch for. The MIKE LONGO [p] TRIO [Paul West-b, Ray Mosca-dms] CELEBRATES LIVE [Consolidated Artists CAP 1048], comes from a concert in NYC on 6/25/13 that was in tribute to OP. There was no attempt to try to recreate Peterson but to play tunes associated with him. What you have are 13 standards handled in direct fashion, freshly delivered and this strikes me as one of Longo’s finest of his led sessions. There are times here when the memory of OP is evoked [Tenderly] but more times when tunes are newly addressed [A Child Is Born]. A fine jazz concert. Other standards are: Love you madly/Sweet Georgia Brown/Always/Fascinating rhythm/Love For Sale/Honeysuckle Rose/Yesterdays/Work Song/52nd Street Theme/ I Remember You/Daahoud [74:58]. CHRIS LOMHEIM [p] has produced TIMELINE [Lomstradamus Music 707541804691] a trio recording [Gordon Johnson-b, Jay Epstein-dms] of ten Lomheim originals. I played this CD a number of times but failed to find any gravitas, sense of struggle, dynamic shifts/coloring other than what I would call a cheery sense of comforting optimism/contemplation. Now I know some like their jazz without struggle and in that regard Mr. Lomheim succeeds well. THEO KAPILIDIS [gtr] ULI HEINZLER [b] and TONY RENOLD [dms] also succeed well on THE SHADOW AND THE LIGHT [Unit cd nr 4557], a trio recording of ten originals. The sound here is light and suspended. Kapilidis’ guitar almost has the sound of an electronic fret board, the kind you touch not strum, (there is some pluck and strum) as much of his playing seemingly has little or no resonance. It is this quality that helps give the floating effect to the music. So smooth is this trio that the bass work dovetails with the guitar and in some ways sounds like a guitar. Renold uses brushes most of the time, which adds to the lithe quality of the whole. This is jazz with, an unintentional I’m sure, touch of country, yet still far removed from it. Peaceful not somnolent. CHRIS BIESTERFELDT [gtr] demonstrates his chops on PHINEAS [br 1002], a trio [Matthew Rybicki-b/Jared Schonig-dms] recording paying tribute to pianist Phineas Newborn Jr. The 13 tracks here are made up of three Newborn compositions, one original [Blues For Phineas], Donald Brown’s, “Phineas”, and eight standards [Cookin’ At The Continental/Midnight Sun/Caravan/Reflections/Juicy Lucy/Domino/Manteca/Sweet And Lovely]. There is a touch of in this guitarist, not so much in his block chords/octaves but in his rapid fire lines and build up. Fortunately the touch is not enough to confuse the listener or suggest a cloning. A couple of notes: 1] Newborn's first name was pronounced, Finest, by himself and family. 2] His tune, “”, as played here and credited to Newborn, is the folksong, titled I believe something like, “Soon I Will Be Through the Troubles of the Day". Since I know longer have the vinyl, I could not compare it with Newborn’s recording. Much to enjoy here. From Marge records comes a 2011 live recording of SOPHIA DOMANCICH [p], [b] and [dms] called COURTEPOINTE LIVE AT THE SUNSIDE [Marge 51]. This is great fun listening and it sounds like the trio is having great fun playing. The seven tracks are all originals and this trio plays them with humor and an ease of camaraderie and there is solo space for all. This is very mature post bop and by that I mean the trio individually is so attuned to the post bop format that they are intuitive to the format and thus spend energy on the creative elements not so much on a strategy. It is a beautiful thing when this happens and the participants are creatively up to the opportunity. Veterans. Hunt this one down and share the spirit. DON THOMPSON [vbs] in the company of Reg Schwager [gtr] and [b] also succeeds well on SOME OTHER SPRING [Cornerstone crst 144] a relaxed program of standards [One Morning In May/Nuages/Some Other Spring/Blood Count/East Of The Sun/The Heather On The Hill] and four originals on a program dedicated to Peter Appleyard. Thompson’s vibes shimmer throughout, not in a saccharin manner but in a relaxed, thoughtful and positive manner. And there is plenty, well used, space for Schwager and Swainson as well. This is music which falls easy on the ears while avoiding insult to the brain. An understated gem! MOSTLY OTHER PEOPLE DO THE KILLING, a group started by MOPPA ELLIOT [b] in 2003, which (music aside) through the years has given pause with album covers that have reproduced, in tone, the graphics from classic covers of iconic jazz artists. Now they have issued BLUE [Hot Cup 141]. What MOPDTK has done this time is not to suggest a redo of a classic cover but to reproduce the music note for note of a classic recording; . At first blush you might think— so what? [excuse me, I just couldn’t resist] it’s been done before, Louis Armstrong’s trumpet solos come to mind. Ascension has had more than one “duplication” but in that case the form was used for inspiration not reproduction. This is sure to get people scratching their heads in puzzlement and thinking about jazz’ place in music. One of the many purposes art has is to get people thinking, and this project got me thinking many things. Perhaps MOPDTK was suggesting jazz is now in its second century and within those years there has been produced in its cannon some iconic performance of instant composition, so if we elevate this to written composition then it can be interpreted by many much the same way a Beethoven symphony can be interpreted by Toscanini or Bernstein. I still appreciate the effort that had to go into this project but I’d rather have MOPDTK create fresh music. Two things: one, while I was writing this up someone asked to me if I was playing Miles’ recording; two, I of course got Miles’ original and put it on the CD turntable in bay 2 of my changer, with the MOPDTK in bay 1. I had played the MOPDTK numerous times previously. This time I had gotten involved with writing and meanwhile bay 1 finished and the changer defaulted to bay 2. I didn’t notice the change BUT my mind got distracted by the brilliance of playing which demanded my attention. My first thought was how had I not noticed this on the numerous playing of MOPDTK, but a glance at the CD changer told me I was listening to the original —telling. So make of this what you want—it’s a curiosity and maybe it is pointing the way of the future. Permit me one related aside, I do not think Kind Of Blue is the greatest jazz album, that’s a subjective and silly evaluation, it may be [objectively] the best selling album. As an Interpretation of the Kind Of Blue this MOPDTK album is flat. Along with Elliot, Rounding out MOPDTK is Jon Irabagon [s], Peter Evans [tpt], Kevin Shea [b], and Ron Stabinsky [p]. Those with an interest in Mingus compositions or sax quartets might find interest in MINGUS: Reloaded [unit 4517] by SPITTIN’ HORNS. This is a sax quartet; Cristoph Grab[ts], Reto Suhner[as], Thomi Geiger [ss/as] led by BARBARA WUTZL [bari s]. With one exception, “Tropensturm" written by the leader, the 12 compositions are all Mingus compositions. Much of this is notable and enjoyable for its compositional elements as much as anything, the sax blends bring little to the CD and tire before the CD ends; a situation I find with endemic with many sax quartets. Spittin’ Horns fails to bring fun to this music and the CD fails to live up to its perceived promise. PAUL ROGERS [b], ROBIN FINCKER [ts/clt] and FABIEN DUSCOMBS [dms] do more with less on their Mingus tribute, WHAHAY [Mr Moron Records 009/ Bable records]. Nine well known Mingus compositions are given, beyond the themes, a wonderfully rich improv. The entire trio does a fine job of holding my attention but if I had to pick one voice to listen to it would be Mr. Rogers and his 7-string bass. Rogers rarely seems content with the common and obvious and his playing is always purposeful. However this is a group effort and a successful one. Another successful group effort comes from trumpeter VANCE THOMPSON and his group FIVE PLUS SIX on SUCH SWEET THUNDER [Shade Street Records 666295 157674] a reimagining of music by Strayhorn, Ellington, Monk and Dolly Parton. It’s nice to note Ms. Parton is included as her considerable talents are overlooked by the jazz world, but good music is good music, no matter the genre or source. The group accesses the familiar here [Pannonica/Isfahan/Little Sparrow/Ugly Sparrow/Such Sweet Thunder/Prelude To A Kiss/Rockin’ In Rhythm/4 In 1/He’s Gone Away] in a fresh manner, fine solos supported by strong . A recording as fine as this one buoys my belief that great jazz is where you find it and is not necessarily restricted to , Chicago and so forth. This was recorded in Franklin,Tenn. Of course it is where the media is that writes the history or in this case the criticism/publicity. Okay off the soapbox— the rest of the group is: Michael Wyatt and Joe Jordan-tpts, Tyler Bullion Sean Copeland-tbns, Jamel Mitchell, Greg Tardy and David King-reeds, Keith Brown-p, Taylor Coker-b, Nolan Nevels-dms. I thought SAX APPEAL did themselves an injustice by naming their latest release FUNKERDEEN [Jazzizit cd 1460] and opening with the title tune, a backbeat funky rouser. After I put the opener behind me, and forgave myself for jumping to conclusions, I quite enjoyed the production and thought perhaps this should be called Fun Kerdeen, what ever Kerdeen means, because the album sure is fun. Sax Appeal is a group established in the early 90’s and headed by DEREK NASH [as/ss] which over the years has had a remarkably consistent personnel. The basic make-up is five saxes and rhythm. Derek Nash wrote and arranged the nine tracks and they are the basis for the fun here as they cover many styles of rhythm music. Nash wields a sax quintet from to a big band blend to blues and boogie, it’s all tasty and marvelously arranged and boasts fine solos. If your tastes are for the sax blend or for just a good fun listen this is for you. Music for anyone, but leave your preconceived notions and prejudices behind. Nicely packaged with the leaders notes on each composition and full discography and soloist credits. LENNY BREAU [1941-1984] was one hell of a guitarist, a fact attested to by the numerous CDs still available 30 years after his murder along with a following and respect, which not only remains today, but I think has grown over the years. Guitarchives has issued L.A. BOOTLEG 1984 [270201]. This set was recorded 8/4/84 at Donte’s in . Joining the trio is Ted Hawk [dms] and Paul Gormley [b] on a lively set [66:00] of 12 (mostly) standards. As expected Breau’s playing is jaw droppingly brilliant and in no way sounds dated these 30 years later. Joining him are two LA based musicians who do a notable job keeping up and in support, although Breau really did not need support as his improvised lines, harmonies and permutations seems boundless and stand alone very well. For those not familiar with Lenny Breau who think they have found the sine qua non in another guitarist make some space for Breau. BOY WONDER [guitarchives gtr 0004] gets to the other end of LENNY BREAU’s life with 27 mostly solo pickings from when he was just 15. The music here is loosely country reflecting Chet Atkins and to a lesser extent Les Paul. The tracks range from under a minute to melodies over 6 minutes. At the end there is an interview with Lenny’s mother and the recordings producer, which is short but enlightening and to the point. The legacy remains very much alive and Guitarchives is doing a first class job of maintaining it with a catalogue of half a dozen Breau releases. There continues to be more and more duo releases. Duos can be a greater challenge than solo or trio recordings; with solo performance you don't have to try to fit in with another music line and with a trio weight can be carried by other members when needed. DAVID ROITSTEIN [p] and LARRY KOONSE [gtr] have produced a duo recording called, CONVERSATIONS [Compass jc 1024].This is not so much a conversation as a hand in hand stroll. The ten tracks here, although sometimes sounding derivative of other compositions, go down very easy. The program includes Monk’s, “Think of One”. One senses that given a chance to record this again, or play it in concert that it would sound pretty much the same as the recording here. Enjoyable thought it may be, it is not so much of a jazz outing as a stroll through very familiar territory. As a side musician AKUA DIXON [cello] has added her talents to many recordings over the past almost 50 years but the eponymous AKUA DIXON [Akua’s music records 88295 190121] is only her second led session. I love the sound and range of the cello and I enjoyed the ten standards addressed on this album. Enjoyed, but was not moved or inspired. Ms. Dixon, joined, in various groupings, by a number of other strings, including John Blake and Regina Carter, rarely moves past the expected or makes this listener reach. One of the compositions played here is Ellington’s “Freedom” which is surprisingly little heard on other recordings, except Duke’s, own. GAVIN TEMPLETON [as] makes his leadership debut on SOME SPINNING, SOME AT REST [Orenda 0009]. Templeton leads a trio [Richard Giddens-b Gene Coye-dms] which brings to mind the trios of the mid 1960s in the sound separation of the instruments and the bluesy plaintive sound of the alto. That is not to suggest Templeton is at all like Ornette, he isn’t, his sound is lighter and he plays with longer lines. On the seven originals here, little more than catchy heads, this altoist shows good command of his instrument, searching and seemingly never at a loss for ideas. The rhythm seems well attuned to the music, stepping out at times, in what seems like appropriate moments, by finding space and signaling the musical urge forward. Repeated listenings expose new components. Good music. From the English label, Leo, comes IMAGINARY IMAGES [cd lr 709] a series of free improvs by the duo of LUKAS LIGETI [perc] and THOLLEM McDONAS [p]. Free/abstract music is not easy, well let me amend that by saying to be meaningful, successful, through sound logic, is not easy. It is a subjective good, even more subjective than dealing with more traditional forms of music. Imaginary Images is neither bombastic nor pointillistic though such imagery is employed at times but falls somewhere in the middle and the duo listens and responds and develops in a logical and meaningful manner. If your ears accept post bop directions I’d direct you to this. Also from Leo is WHY DO YOU RIDE? [cd lr 711] by DARRELL KATZ and the JCA ORCHESTRA. The music here is inspired by actual or apocryphal quotes from Albert Einstein. Also addressed here is “Monk’s Mood" by the JCA SAX QUARTET. The Jazz Composers Alliance has been around since the late ‘80s and is a large group (20 players here) of dedicated musicians (some on board almost from the beginning) based in the area. Having produced a number of their records I would justifiably be suspect in commenting on this recording except to say look into this group they deserve your attention. Cornet player RON MILES has a new release out with [gtr] and [dms] called CIRCUIT RIDER [Enja/Yellowbird 767522774528]. This is a wonderful trio sparked by Miles’ lyrical cornet, Frisell’s choppy angular guitar while Blade’s drumming cantilevers over both of them. There are times when it seems a hoedown is kicking up. Along with a wonderfully fresh reading of “Reincarnation Of A Lovebird”, there are five originals plus another Mingus tune, “Jive Five Floor Four”, and Giuffre’s “Two Kinds Of Blues". NATE BIRKEY is another type or horn player, he’s a trumpeter and JUST A CLOSER WALK [Household Ink 147] is another kind of blues. This is a program of church music or gospel inspired music but with a modern jazz perspective that makes for interesting listening. This is not gospel according to Mingus, Silver or Kirk the connection is more traditional but modern in approach on ten tracks which blend original and traditional as well as compositions from Bach, Gabriel, and so forth. The one piece, “O Sacred Head, Now Wounded”, is played straight in the same way Monk played “Abide With Me”, and serves as a prelude to "A Closer Walk With Thee" which opens using the traditional second line approach of mourning/rejoicing. This was recorded [8/20/13] in a church and it has some churchy ambiance and it is music that should appeal to a wide range of, non-purists, jazz tastes. The remainder of the quintet is Tom Buckner [sax], Jamison Trotter [p], Jim Connolly [b] and Peter Buck [dms]. HOWELL DEVINE turns in fine performances on MODERN SOUNDS OF ANCIENT JUJU [Arhoolie 550]. Leaders of this group are JOSHUA HOWELL [gtr/harm/voc] and PETE DEVINE [dms/washboard] and they are joined by Joe Kyle on bass. This is acoustic blues from the Mississippi Delta to Sonny Terry. The eleven tracks here present compositions by Muddy Waters, Frank Stokes, Sonny Boy Williamson ll, Booker White, Al Duncan and five originals all set in the tradition. The program ends with a tour de force on “Railroad Stomp”— an almost eight minute live cut with the group emulating a steam locomotive pulling out of, then into, a station. It is a scene used by many blues and jazz artists over the years, but I don’t remember hearing it as well developed as Howell Devine do it here. This is a spirited and gentle and compelling blues album new/old and fresh. Arhoolie has also issued THIS AIN’T NO MOUSE MUSIC [Arhoolie 545 a & b] this 2-CD set (original soundtrack) is from the story of Chris Strachwitz and his Arhoolie Records. This set contains 38 cuts, mostly from the Arhoolie catalogue of blues/jazz/tex mex etc.. A good amount, close to half, of this is previously unissued but what really makes this more than a sampler is the 34-page booklet in which Chris Strachwitz comments on each track and the background of the recording. Fascinating stuff from the founder of one of the notable roots labels. Also from a motion picture is GENTLEMEN [Moserobie mmlcd 095], the original jazz tracks from the film, composed by JONAS KULLHAMMER [reeds] who leads a trio of Torbjörn Zetterberg [b] and Johan Holmegard [dms] through the 12 tracks which are augmented at various times by Carl Bagge [p], Bernt Rosengren [ts], Goran Kajfeš [cnt[ and Mattias Ståhl [vbs]. Other musicians appear in the film but are not heard on this CD. The director [Mikael Marcimain] wanted music that reflected the music of the ‘60s and '70s as might be played in night clubs in Scandinavia and Paris and Kullhammer does that with aplomb. As is often my way I assess these recordings without paying much attention to the packaging and such was the case here. As I was taking care of other matters this music grabbed my attention for its seamless swing and ease of delivery. I thought it might have been an historical release of Scandinavian bop and when I looked at the cover I was surprised it was from a film and even more surprised it was Jonas Kullhammer, whose work is generally in the post bop area. It helps to have someone present like Bernt Rosengren, who was a leader in the Scandinavian cool bop movement before Kullhammer was born. The music here swings along without fanfare or claim; just good natural swing. Big band fans will herald a new GARY URWIN orchestra recording called A BEAUTIFUL FRIENDSHIP [Summit cd 638]. This features Bill Watrous [tbn], Pete Christlieb [sax], and Carl Saunders [tpt], heavily on the 12 (mostly standards) tracks. Urwin has recorded these three in varying combinations in other of his bands on Seabreeze Records going back to about 2000. That may account for the sense of camaraderie and general upbeat optimism that the music evokes or more probably it’s the compositions and Urwin’s arrangements, this projects itself as a some-what generic stage band with the occasion echo of Neal Hefti (Basie). The soloists are overall strong, Watrous is in wonderful form, Christlieb is as expected—strong and Saunders has some trades with Wayne Bergeron and then with Bobby Shew that are attention grabbing. A good foot tapper for those who like to tap. PACIFIC JAZZ [Clavo Records 201408] with the BIG BAND directed by presents 13 cuts (6 standards). There is a light ambience present here partially due to the effective use of electric piano but also the imaginative arrangements of Clare and Brent Fischer. “I Loves You Porgy”, “” and “Cherokee” are all familiar melodies made fresh by Clare Fischer’s arrangements, and by fresh I mean FRESH as in re-orchestrated re-imagined and re-worked, Fischer senior was an early advocate of electric piano and I remember covering his Great White Hope LP [1970], on Revelation Records, where he played solo on organ and piano on the whole record. I was not happy with it. On this recording he plays solo on “I Loves You Porgy” on a Roland RD-1000 and on a Roland D-550 with the 2 instruments blended together. With the sound on the RD-1000 modified by Clare and with a sound designed on the RD-500 by Brent, it is quite remarkable, almost -ish. Brent informs me that when a note or chord is held the warmth of the D-550 sound then gradually envelops the original tone, giving it a fatter texture with increased low end and infinite sustain. If the note or chord is held long enough, eventually the RD-1000 sound will fade away as the D-550 sound continues. Clare Fischer died in January 2012. Fischer Jr’s notes give full and affectionate background and credits in the enclosed 12-page booklet. What matters most is the music; light/airy and totally wonderful and hip. This album is a terrific tribute to Clare Fischer and it is my hope that there is more to come. Warning: there is heavy use of electric piano however, as one who rarely has a use for the electric piano, I will say here it works well giving it a fresh ambiance overall. Previous to this issue other thoughtful recordings were issued, made during 2011 and 2012 and they are; CLARE FISCHER: VOICES….AND SOMETIMES INSTRUMENTS [Clavo 201107], THE CLARE FISCHER BIG BAND: CONTINUUM [Clavo 201108] and THE CLARE FISCHER LATIN JAZZ BIG BAND: RITMO [Clavo 201109], CR201107 is made up of about half standards and opens with a delightful “Tom Cat" [C.F.] which sets the stage for a wonderful listening of 20 cuts all arranged by Clare or Brent Fisher. Folks who enjoyed the Singers Unlimited will find a kindred spirit in this program. The Fischer’s share all keyboard duties, except for Cor Bakker, on “Bachi”, and Bryan Fischer, on "America". I may have to qualify my views on electric piano for it seems, with few exceptions, electric piano fits well in this Fischer music. Again Brent Fischer’s notes give full wheres and whys for the music and the care that went into these sides. CR 201109 features the Clare Fischer Latin Jazz Big Band and, as with other Clavos here, no specific recording dates are given but as Clare again gets keyboard credit and introduces the liners, commentating on his long background with latin jazz, one can assume its pre 2012. Some of the parts of this music were pre-recorded, even-so had I not read it in the program booklet I’d have no sense of it. As is often the case of Clare Fischer music the dynamics of the music are light, swinging, harmonically challenging and at its spine the use of electric keyboards. This is more than Latin jazz— it’s very much straight jazz in its solos. The piece, “Guarabe” comes from a concert and is a nicely stretched out reading [9:40] sporting some strong solo work. According to the notes in directing the band he instructed the guys that he wanted the middle section on this tune as soft as possible. When Alex Acuña responded with “Okay, you mean almost not playing?” Fischer shot back with “Yes, but with feeling!” This recording sits very well and is with feeling. Many wonderful compositions, as for soloists I often am not sure who does what as artists are listed cumulatively. This recording notes , Alex Acuña, Peter Erskine, , Don Shelton, Carl Saunders and Andy Martin among those featured along with the compositions and arrangements. Those fans of Latin jazz who want a break from the heavy dynamics of east coast Latin bands, look no further than Ritmo!. Clavo 20118 is a straight ahead big band drawn from a pool of some 50 players, featuring Don Shelton, Bob Sheppard, Alex Budman, Ron Stout; Carl Saunders, Steve Huffsteter, Andy Martin, Scott Whitfield and Peter Erskine. Actually the players, except for the fact that they are outstandingly professional, are secondary, what is primary here is the orchestrations and the arrangements of the Fischer’s. I’ve been emerged in these 4 CDs for the better part of almost 4 days and in that time over and over it is the voicing of the music that gets my attention. Yes, the soloists are well presented but again the wrapping of the instruments which is so interesting and offers such a fine setting for the instrumentalists. Clavo productions are very inviting, each packaged in digi-packs with notes about each composition which is all presented in a familiar and caring manner. I never met the Fischers but through the music and their exciting assessment of their music I really have gotten a feel of knowing. Clavo—Bravo! Check them out. Pi Records, was an early champion of TYSHAWN SOREY [dms] and has just issued ALLOY [Pi 156]. Recorded in 2014, it finds Sorey in the company of Christopher Tordini [p] and Cory Smythe [b] playing four of Sorey’s compositions. If this is an alloy one might conclude it favors the composer and pianist. It’s hard to say what is written of this music and what is improvised [and it only matters to a degree]. Certainly the framework is all notated but where that stops it is hard to say. Sorey to a great degree is unheard as a drummer and when he is heard, the sense is it’s very structured. Smythe is the main voice heard here, often picking single notes seemingly playing with them as if examining them for tonality. On music that is deliberant and unswinging, it brings to mind Anthony Davis of a couple decades back. With the exception of one composition “Template”, the shortest [7:16] of the four tracks, the meditative mood is consistent throughout the recording and the suspension of the music is remarkable. Classical by design. Also classical by design, most defiantly, is JOSEPH DALEY’s PORTRAITS: WIND, THUNDER AND LOVE [Joda Music 616892244141]. This is a series of portraits [Warren Smith, Bill Cole, Wanda Daley], which brings to mind Ellington, in its rhythmic sections, the rest somewhat is in the manner of early 20th century classical orchestral music. Unfortunately the most traditional of the pieces “Doretha And The Blues/Portrait Of Wanda Daley”, a hauntingly lovely piece and featuring a fine solo by Charles Burnham [vln], is faded out after 6:08 minutes. The whole program is quite intriguing and is made up of five portraits of Warren Smith [perc], totaling about 23 minutes, “Shadrack/portrait of Bill Cole”, featuring Bill Cole [nagaswarm] and Akua Dixon [cello] and “Industria”, featuring Warren Smith, Elektra Kurtis [vln], Benjamin Brown [b] and [b]. Other guest artists include Jerry Gonzales [tpt], Onaje Gumbs [kbd], Satoshi Takeishi [perc], Richard Hundley [perc] and Gregory Williams [fr.hn]. Joseph Daley (aka Joe Daley) has undertaken an ambitious project, involving over 2 dozen musicians, for which he is the conductor and composer and has pulled it off seamlessly, compellingly and joyfully. This is quite a satisfying achievement. Two years earlier (2012) JOSEPH DALEY recorded SEVEN HEAVENLY VIRTUES [Joda Music 001] bringing together the same group of players, sans Gregory Williams. Once again with portraits: “Whispercussion”for Warren Smith, "Billy Bang Sketch” [Charles Burnham soloist] and “Bill Dixon Sketch” [soloist Jerry Gonzalez]. Along with seven compositions reflecting the recording theme [Patience/Diligence/Chastity/Humility/Charity/Kindness/Temperance]. Daley’s use of strings to me has an Ives-ian, and thus New England feel to it. The writing is quite non-angular and flowing and again the whole production reflects a strong sense of caring not just in the patience of the music but in the attention to credits and honoring of musicians. I suspect Daley realizes that it is only through the skills and attitude of the musicians that these works come to fruition on this level. Out some 6 years now, and assuming this column will run after the holiday season is past, but relevant still as good music is pianist MARK KRAMER’s trio [Charles Fambrough-b, Jim Miller-dms] playing JAZZ GREETINGS [Dreambox Media 1118] This is a collection of ten traditional and standard seasonal tunes played with intelligence, creativity and warmth. Omar Hill [perc] and Leslie Burrs [flt] make brief guest appearances and my only complaint is the occasional fade out. Neither the jazz novice nor purist will be upset by the evergreen quality of this recording. Also on Dreambox Media is ALONE TOGETHER [Dreambox Media 1140] with the duo of DIANE MONROE [vln] and TONY MICELI [vbs]. Ms. Monroe, a onetime member of the Uptown String Quartet and The Sting Trio Of New York, has a trained style with just enough grit and adventure to make it interesting. Mr. Miceli brings to mind Gary Burton but plays mostly with just two mallets as opposed to four. What puts this CD over the top is the program which offers a wide reference of material [Icarus/Spain/East of the Sun/Bachianus Brasileiras #5/Tennessee Waltz/Here’s That Rainy Day/Wade In The Water/Eronel/Alone Together/Theme From Star Trek], which, along with an original from each duo member, makes for wonderful and engaging listening. A number of the tunes here are approached in a very original manner. There is nothing ho-hum about this recording and suggests a lot of thought went into it; time well spent for both the musicians and the listener. Just out is vocalist JOAN BELGRAVE’s MERRY CHRISTMAS BABY [ Jazz Musicians Co-op no #] a short CD [19:03] of 4 seasonal tunes backed by a quintet featuring husband, Marcus Belgrave on trumpet along with Marcus Elliot [ts], Michael Malis [p], Gayelynn McKinney [dms] and Ibrahim Jones[b]. Inoffensive as jazz but not terribly memorable either.

BOOKS IF IT SWINGS IT’S MUSIC is the autobiography of flute and reed master GABE BALTAZAR [225 pp, illustrated, soft cover. Published by University of Hawaii Press. $24.00]. This work, done in the first person, is a collaboration with Theo Garneau who researched and gathered a significant amount of background on the subject and had at one point produced a 250 page biography of Baltazar. Then taking that as an outline, he interviewed Baltazar and then removed his [Garneau] voice. So what you have here is an oral history which gives the story of not just the subject but a lot of information on parts of the music/jazz scene of Hawaii as well as part of the west coast studio scene. Baltazar was born in Hawaii in 1929 and the autobiography starts there. Growing up the subject recounts the usual handful of brilliant but mythical instrumentalists who never were recognized. Having done many oral histories it would seem for every Roland Kirk or Oscar Denard that made it out of their territory there are twice the number of talents that are considered legendary by those who remember them but are undocumented in print or on recordings. I say that not to cast aspersions, for it may in fact be true, and it does make me wonder how many Parkers or Tatums remained and still remain only in urban or country legend. But such is life and it in no way diminishes the brilliance of the documented. In 1956 Gabe enrolled, on his GI Bill, as a music major at L.A. City College and it was at this point that he became really immersed in the jazz world/scene. Then in1959 Baltazar got the call to join Stan Kenton’s band and this is where the general jazz fan will find the work gets more interesting with tales of working with the Kenton band, Onzy Matthews, the road and recording scene and the importance of being liked by contractors. One interesting point, which I don’t remember being aware of before, in talking about the ghost writing situation in the studios [movies] he says Gil Fuller claimed to have written "The Shadow Of Your Smile” and when he complained that he wanted credit for it because he wrote it—the studios released him. Things have not changed much 50 years later, it’s still a plantation system. I know of many situations where musicians will never get a recording gig as they are perceived as trouble makers, simply for making simple requests or observations. Then in 1969 Gabe returned to Hawaii, played local gigs and backed visiting artists. He also took the occasional gig in L.A. to keep his union membership active and took up golf. Then in the early ‘80s, Gabe opened up and ran a series of jazz clubs foolishly using his own money and in turn loosing it as ventures failed. From then on it was marriage, a series of festivals and reunion dates and recording on and under the radar. A select discographical listing, bibliography and index is included. A must read especially for Kenton and west coast and/or Hawaiian jazz fans.

VINYL

FRANK LOWE [reeds] quartet OUT LOUD on Triple Point Records [209] is just the third release in about four years from this label, who it would seem specializes in issuing, on vinyl, previously unreleased music. This is a 2 LP release, an edition of just 550 [$94.00], which includes a 40 page 11 1/2” X 9 1/2” booklet, that well accounts for Lowe’s activities up to these recordings and of the recordings themselves. The recordings are from 5/1/74 [Untitled1&2/Vivid description/listen/logical extensions (originally to be a record called “Listen” with titles), Act Of Freedom parts 1-5] and a session, possibly from Spring/Summer 1974 (from Studio Rivbea; Whew/Untitled 3]. The quartet here is William Parker [b], [tbn] and [dms] and on the Studio Rivbea recording, [tpt] sits in on “Whew". The musicians here for the most part would emerge as leaders in the post Coltrane improvised music scene. Here they are all stretching in the early part of their careers. What Lowe lacked in technique he compensated for with energy and a sincerity to learn and willingness to look past his limited technique, as he fell in with masters who recognized his strengths and encouraged him. From my experience with he played a great deal by letting the music inform and in that way was a true creative improvising musician. The studio date from May is at times ragged but it suggests every way sincerity for this was, as Val Wilmer says, “as serious as their life". Already there are musical prints on this music that would remain with Lowe for the rest of his too short, life [1943-2003]. The Studio Rivbea session is much more cohesive but less spontaneous as it feels possibly over rehearsed and it also seems to have some rather shallow parts. The production of these sets is beautiful and suggests it houses something of value and it does; a document and account of an artist’s heart and the world he lived in. I knew and dealt with Frank Lowe for over two decades, with time out for bad behavior on both our parts. My impression of him was a person all about music, a fan and a very intelligent and sensitive person who hid both his intelligence and his sensitivity. Frank moved through some of the musical excesses that trapped others and refined a sound and style that was recognizable as his own. This set treats Frank Lowe the way he deserves. First Class. In the July 2014 edition of Papatamus I marveled at a recording by a trio, MOSKUS [Hubro 2535] and now a recording from 1/12 has been brought to my attention. MOSKUS [Anja Lauvdal-p, Fredrik Dietrichson-b, Hans Hulbaekmo-dms], SALMESYKKEL [Hubro 3518] is issued as an LP and like the more recent recording contains ten fairly short accessible tracks. I did not find this recording as adventuresome as the later outing, though there are unpredictable moments and again the trio seems very in tune with each other to the point of easy listening but not dull or unoriginal but alas not lasting. From Wide Ear Records [Swiss] comes a group [Manuel Troller-gtr/Alex Huber-dms/Marc Unternahrer-tuba/Achim Escher-as-bs] calling themselves HAPPY END on an LP called LANCIA THEMA [Wide Ear 7640138 448560]. Six unnamed tracks make up the Lp (three on each side) that play as side long extended improvisations. This is a group that has very distinct individual sounds. Their music starts out in a pointalistic manner then as comfort and inspiration dictate they come together and with an increased volume to make statements and unity. It’s a fairly familiar approach to free improvisation, a strategy almost dictated by the form and one that has developed over the past 40 years as an alternative to the balls-to-the-wall approach of the ‘60s. There is excellent separation of the sounds on this recording and while the strategy may be familiar the individual approach of the quartet’s members is not. Let’s face it there really is no objective mapping of this kind of free music—either you like it or you don’t. It worked for me.

REISSUES Classics before a certain era continue to be issued in 2-fer sets by the English company Avid . THE EXTROVERT SPIRIT OF SLIM GAILLARD [amsc 1141] reissues a number of albums, singles and 45s issued between 1945 and 1958. Gaillard was the mouth of the emerging bop and jive period of the late ‘40s and early ‘50s and perhaps best known for his collaborations with Slam Stewart, starting in the late '30s. The guitarist and pianist was known for his jive songs and “McVouty” vocabulary, which I think pre-dated Cab Calloway’s Hipster’s Dictionary, which was picked up or borrowed by the emerging Hep cats of the '40s. This reissue gives a good sampling of the fun and includes back up from Lucky Thompson, Teddy Edwards, Wild Bill Moore, Zutty Singleton, , , Jack McVea, Dodo Marmarosa, Howard McGhee, Marshall Royal, Dick Hyman, Buddy Tate, Maceo Williams, Bam Brown, , Harry Carney, Ben Webster, Ray Brown and others. If so inclined one could write a doctoral thesis on the Gaillard phenomenon and the lyrics or one could just sit back and enjoy it and think about the implications. Anybody who enjoys Rhythm Music should try this out; it has my highest recommendation. One specific note, this set reissues in its entirety the 1958 Dot recording. This was issued after a five year layoff from recording and it would be almost 25 years until Gaillard would record again. I had this record, it referenced a number of standards [Oh Lady Be Good/Ghost Of A Chance/How High The Moon/I Love You/Blue Heaven/Don’t Blame Me] and still today when I hear some of those songs played by others— I hear Slim’s take. Jonathan and Darlene Edwards’ work has also implanted some of itself in my mind in the same way. I believe this is the first CD issue. Wonderful listening. [org/p]: FOUR CLASSIC ALBUMS [Avid amsc 1140] brings together, not necessarily classic, albums from her Prestige period [Great Scott///Happy Talk]. I think Scott was a very underrated organist and I base this on a series of albums she did for Impulse beginning in 1964 where she exhibited a wonderfully light touch similar to her piano playing, briefly exhibited on her Like Cozy recording from 9/27/60. These are all trio albums with the exception of Hip Soul which adds ’s tenor as the dominate voice. All in all nicely swinging, bluesy, organ recorded from 1958 to 1962. Avid has also issued a pair of 2-fers [Avid 1144 & 1146] entitled THREE CLASSIC ALBUMS PLUS. 1144 pulls together Young Bloods, Bird Feathers, Bird’s Night and 2 tracks from Jazz Alive [2/6&7/59] while #1146 pulls together; Four Altos, Phil Talks With Quill, Phil And Quill and 11[of 12] tracks from Phil And Quill. Woods came on the NYC scene in the mid '50s when it was boppin’. He made hundreds of jazz sessions and studio sessions up through 1970, he must have been on every contractor’s first call list. He was, still is. a great player. What Monk was to Lacy, Bird is to Woods. date [11/256] pairs Woods with another comer, Don Byrd, plus Al Haig [p], Teddy Kotick [b] and Charlie Persip [dms] for an effective bop date of mostly Woods originals. The Bird Feathers date is a mishmash of 1957 sides [two from woods, one from Jackie Mclean and three from Hal McKusick]. This is not typical of Avid as not only do they have some wrong dates but this is hardly a full Phil Woods LP. The Jazz Alive, a club date, is really a - set as Phil is only brought in for half the record [Wee Dot/After You’ve Gone] and as you might expect is a hip affair as Woods fits in well with , who blew some of their finest in the relaxed confines of the Half Note where they often hung with their rhythm section [, Knobby Totah, and for this session, Paul Motian]. The final Lp reissued here, Bird’s Night, was a , Five Spot club outing [8/12/1957] notable, as the third sax here is Frank Socolow [ts], who pretty much withdrew form the scene, (after 20 years) by the ‘60s. The rhythm section is [p], Wendell Marshall [b] and [dms] (listed as Arthir Marshall here). Four of Bird’s compositions [Parker’s Mood/Steeplechase/Buzzy/Scrapple From The Apple] are nicely stretched out, averaging over 11 minutes, and nobody crowding anyone out. This set alone recommends this 2-fer. Avid 1146 nicely brings together most of the led sessions with Woods and fellow altoist, Gene Quill. Quill [1927-89], also very active on the NYC jazz and studio scene and, like Woods, was a hard cutting alto player, perhaps a bit lower in tone. On Four Altos, it is alto madness with and joining in on alto with a rhythm section of [p], [b] and Louis Haynes [dms]. On Phil And Quill there is a rather remarkable occurrence on “Night In Tunisia”, as throughout the 9:08 run of the song the theme is returned to again and again so that every member of the quintet [Bob Corwin-p, -b, -dms] gets a crack at the 4 bar break. On Phil And Quill, Sol Schlinger adds his baritone sax to the sextet [Dave McKenna-p, Bobby Jones-b, Shadow Wilson-dms]. The baritone sax is a welcome voice to the alto madness as it takes a bit off the top and the music seems less frenetic. My reservations aside— the two 2-fers, intense though they may be, offer a good look at early Phil Woods. arrived in NYC in the ‘50s and almost immediately fell in with an A list hard bop crowd; Blakey, Mobley, Silver and the like. FOUR CLASSIC ALBUMS [Avid amcs 1133], this 2-fer corrals some of his earliest led sessions [Byrd’s Word/Byrd’s Eye View/Byrd Blows On Beacon Hill] and one of the group stretchers that Prestige was wont to issue during the ‘50s and '60s [All Night Long]. Byrd, owing a nod to Clifford Brown, had a wonderfully clear, slightly burnished sound. It was a great fortune that he recorded as heavily as he did in the 1950s because it would seem he may have blown himself out by the '70s, as he recorded a slew of faceless, by the numbers, sessions before totally selling out to funk-ie commercial dates. So if you only know Byrd from his Blackbyrd and commercial work, check out this 2-fer as it contains some of his best work and also excellent examples of creative improvised music of 1955/1956. The Prestige jam included Hank Mobley [ts], Jerome Richardson [flt/ts], [gtr] Mal Waldron [p], Doug Watkins and Art Taylor [dms], all part of the Prestige stable, on four cuts averaging over 9:00 each. These were informal romps and one can hear the lack of precise preparedness of the proceedings, one can almost feel the hand signals and finger pointing that must have been going on during the music to indicate among the musicians who was going to solo etc. They made for nice, if rarely memorable, listening. Some of Byrd’s best. QUINTET FEATURING [Acrobat 824046 707620] is a set of 4 CDRs that boasts it is all of the last tour 1960. Confused?, it doesn’t make sense to me either. With Coltrane and Davis—all the accolades are true even if some of the material isn’t grade A (on moments JC sounds terrible) it matters little as on the surface this has undeniable appeal, Miles-Trane-Kelly-Cobb and PC—Wow! But if you are a collector of such you may and probably have this material issued by various labels, though I couldn’t find some of the titles as specifically dated [3/21, 3/24, 3/30, 4/3, 4/8, 4/9, 1960]. Trying to match up the discography (some titles I could not find at all) was quite frankly a pain and better to just listen and enjoy. A 38-page booklet accompanies. Classics from a later time continue to come from Martin Davidsons’s Emanem label. For instance, ’s SCHOOL DAYS [Emanem 5016]. When this 1963 recording was first issued in 1975 it both looked back and forward at the same time and sparked interest in Steve Lacy. Here the quartet [-tbn, Henry Grimes-b, -dms] address the music of Monk, a fascination which Lacy had for about 12 years. Today this music sounds a bit dated but it was once radical. Lacy already had established a beachhead when this recording was made and was somewhat entrenched by the time it came out. Even so, in hindsight, it seems to me it was this record, in the bareness and simplicity, that seemed to grab the attention of the avant audience, at least in America. Tacked on to the end of this disc are two tracks from 8/27/60 of Lacy playing as part of the Monk quintet. One note, Emanem often has reissued items multiple times, as this has been, the copyright date on this issue is 2011 but I just received it so I suspect this is not a new reissue, but if it’s slipped your notice the last time around don’t let it slip by this time. STEVE LACY: CYCLES [Emanem 5205] is a 2-CD set; a reissue of HatArt LP 1982/83 and new [solo] material from 11/19/76, 11/14/77, 12/16/77, 12/18/80. He was a master at constructing solo performances and here are fine examples, though some of the upper-upper register work I find grating. Lacy did not record, the almost two and a half hours of music here, at one sitting and I’d not recommend one listen to it in that time frame; it may not blow your mind but good headache may be induced. Emanem has also issued OLIV & FAMILIE [Emanem 5033] by JOHN STEVENS’s SPONTANEOUS MUSIC ENSEMBLE [SME]. While this is not my preferred SME listening, due to its emphasis on voices [Pepi Lemer/Norma Winston/Maggie Nicols/Carolann Nicholls], which here I find un-developing as instruments yet at the same time they can dominate the advancement of the music. That said, let me mention John Stevens [perc] as perhaps the father of the British New Music/Free scene who died in 1994 at the age of 56. Through the SME every member, I believe, of the the British new music scene passed and he was responsible for giving encouragement and a voice to them. It is my feeling he was the nucleus of the British branch of the avant scene of the second half of the 20th century. As with many artists on Emanen, Martin Davidson, seems to be the curator of much of Steven’s body of work and Davidson may have a handle on the scope of this very exciting movement. One might hope he would write it up in a book (hint). This particular release reissues the Marmalade’s lp of 2/7/69 and unissued material from 1/68. Accompanying players include; Trevor Watts, Evan Parker, Derek Bailey, Dave Holland, and Johnny Dyani to name a few. Trumpeter ROY BURROWS [1930-96] was probably best known for his tenure with and while he made a few recordings after Duke he made few as leader. The French label Marge has reissued a 3/10/80 date, LIVE AT THE DREHER [Marge 14]. This was a sextet [Richard Raux-reeds/Patrice Caratini-b/George Brown-dms/Roger Raspail-perc] date featuring Mal Waldron [p]. This is most notable, besides being one of Burrows’ few led sessions, for Waldron as he has a number of features which display his (moderated) militant style which he so wonderfully displayed on a number of recordings in the ‘70s. The piano sounds a bit sharp on this date of eight originals by the leader. Futura Ger, one of imprints of the Marge label, has reissued LE MASSACRE DU PRINTEMPS [Futura ger 22] by JEF GILSON. Gilson, who for awhile had his own interesting label [Palm], is a rather mysterious figure. He was born in 1926 and died, with little notice, in 2012. He played a number of instruments and seemed to be an entrepreneur, with an adventurous musical spirit, that leaned to the modern and experimental. This release is all electronic with Pierre Moret [Honer organ], Jean-Claude Pourtier [dms], and Gilson on Electra Hoher piano, all recorded on various dates in 1971. An adventure in electronic sound not without sense to these ears. Gerard Terrones is the man behind the Marge family of labels and there is a great back catalogue, some of the reissues are issued there multiple times around while other worthwhile recordings remain in LP limbo, including Mal Waldron. Saheb Sarbib and others. ESP has reissued BUD POWELL; LIVE AT THE BLUE NOTE CAFE, PARIS 1961[Esp 4036]. The first three tracks here are the trio [Pierre Michelot-b, Kenny Clarke-dms, Zoot Sims-ts], and present solid undistinguished jazz. The remaining eight tracks are, it states, from later that same year, Powell was known to be an erratic player. On this material he is right on the ball, not at his most brilliant but still on target. The Powell discography is a bit messy but I'm guessing this was previously issued on the Mythic Sound label. Audio Fidelity has reissued GEORGE BENSON: BREEZIN’ [185]. This is George Benson at his commercial best, Recorded in January 1975 and originally issued on Warner Bros. This is a SACD surround sound, 2-channel stereo cd, numbered limited edition. Mine is # 2975 so it is not too limited, and in a way is not every issue a limited edition? Jazzizit records has issued CONTEMPLATION [5032396 014632] 15 tracks featuring singer TRUDY KERR. A collection of tracks from her previous Jazzizit albums. She is a singer of considerable breath, her jazz instincts are wonderful but she also moves into popular as well. Her back up here draws from many including Mulgrew Miller, Michael Garrick, Dick Pearce, Derek Nash, Alan Skidmore. The album boasts “15 of the best”. It’s not the 15 I’d pick but there is enough here to make me go back to previous issues. Hopefully this issue doesn't mean the end of her association with Jazzizit. Trudy Kerr can, as they say, really sell a song. Archeophone is a record company dedicated to restoring recordings now in public domain to digital reissue. Their latest is ISHAM JONES: HAPPY [6008], a 2-CD set of his 37 sides made with his Rainbow Orchestra for Brunswick records, from 6/20 to 12/20. This is known as a Mickey Mouse band, probably because it was often used as the background to silent cartoon movies (some of Ellington’s Jungle period music also made its way in this capacity), for me it often brings to mind old films, where images always have people moving spastically as in a light show. Jones kept a band going into the 1940s but it was never a breeding ground of jazz talent. This issue is throughly documented by a 32-page booklet giving background and critique and the music is amazingly and clearly reproduced and not a click can be heard. A beautiful effort. Robert D. Rusch

from Volume 41, No. 1: January 2015 issue For more information, go to www.cadencemagazine.com Copyright 2014 Cadence Media, LCC All rights reserved