CLARK TRACEY QUINTET
– Meantime…
TenToTen Records TTTCDS 762
Clark Tracey (drums); Chris Maddock (alto & tenor saxophones); Henry Armburg Jennings (trumpet & flugel); Harry Bolt (piano); Daniel Casimir (bass)
Recorded 17th February 2014
With much contemporary jazz that is currently being lauded for being cutting edge and pushing the boundaries of the music ever forward, Tracey and his men remind us of some of the essential ingredients of the music that is often missing…the ability to swing! From the outset, the band lay their cards on the table, recapturing that ability to propel the music with that irresistible foot tapping joy that lifts the both heart and spirits.
The programme is a nice mixture of familiar compositions from the pens of Tony Williams and Cedar Walton, along with some cracking originals from the leader. The opener, Williams’ ‘Lawra’ finds the two horns in a marvellously controlled duet with their lines flowing imaginatively with and around each other without ever clashing.
What is truly staggering is the tender age of the young turks that Tracey has surrounded himself with. All are under twenty five and all demonstrate an understanding of their chosen that belies their years. Of the front line, Trumpeter Armburg Jennings plays with real grace and maturity, whilst saxophonist Chris Maddock wields both alto and tenor with equal authority. Also, hear how the two horn men make short work of the breakneck tempo of ‘Suddenly Last Tuesday’, both playing solos that are alive with imaginative ideas that still permit the music to breathe and not simply a barrage of notes.
Not to be outdone, bassist Casimir and pianist Harry Bolt, the youngest member of the quintet at just twenty two, both get in fine solos as well as being the clue that hold the fabric of this invigorating music together. Casimir’s solo on ‘Rim Clicker’ is absolutely top drawer, and if Bolt’s comping skills also deserve a mention listen out for the intro to his solo on ‘Ojos De Rojo’.
A timely reminder then of just what good jazz should be, from one of the most dynamic outfits on the scene. And if it gives some of our emerging young talent the opportunity to flex their muscles and gain some valuable playing experience then more power to them.
Reviewed by Nick Lea
TenToTen Records TTTCDS 762
Clark Tracey (drums); Chris Maddock (alto & tenor saxophones); Henry Armburg Jennings (trumpet & flugel); Harry Bolt (piano); Daniel Casimir (bass)
Recorded 17th February 2014
With much contemporary jazz that is currently being lauded for being cutting edge and pushing the boundaries of the music ever forward, Tracey and his men remind us of some of the essential ingredients of the music that is often missing…the ability to swing! From the outset, the band lay their cards on the table, recapturing that ability to propel the music with that irresistible foot tapping joy that lifts the both heart and spirits.
The programme is a nice mixture of familiar compositions from the pens of Tony Williams and Cedar Walton, along with some cracking originals from the leader. The opener, Williams’ ‘Lawra’ finds the two horns in a marvellously controlled duet with their lines flowing imaginatively with and around each other without ever clashing.
What is truly staggering is the tender age of the young turks that Tracey has surrounded himself with. All are under twenty five and all demonstrate an understanding of their chosen that belies their years. Of the front line, Trumpeter Armburg Jennings plays with real grace and maturity, whilst saxophonist Chris Maddock wields both alto and tenor with equal authority. Also, hear how the two horn men make short work of the breakneck tempo of ‘Suddenly Last Tuesday’, both playing solos that are alive with imaginative ideas that still permit the music to breathe and not simply a barrage of notes.
Not to be outdone, bassist Casimir and pianist Harry Bolt, the youngest member of the quintet at just twenty two, both get in fine solos as well as being the clue that hold the fabric of this invigorating music together. Casimir’s solo on ‘Rim Clicker’ is absolutely top drawer, and if Bolt’s comping skills also deserve a mention listen out for the intro to his solo on ‘Ojos De Rojo’.
A timely reminder then of just what good jazz should be, from one of the most dynamic outfits on the scene. And if it gives some of our emerging young talent the opportunity to flex their muscles and gain some valuable playing experience then more power to them.
Reviewed by Nick Lea
SUE McCREETH – No Evil
Tru-nu TNCD353
Sue McCreeth (vocals); Steve Waterman (trumpet & flugelhorn); Jim Mullen (guitar); Andrew Cleyndert (double bass)
No recording dates given
Having review Sue’s album 500 Miles High back in 2004 the singer seemed to disappear off my radar so it is with great pleasure that I have the opportunity to reacquaint myself with her work some ten years later on this latest album.
Having built a reputation for mostly performing original material, with a scattering of covers, this is the first recording McCreeth has made where all the material are standards, and in doing so demonstrates just how versatile a performer she is.
Working with a paired down line up, sans drums, was an inspired choice and presents some of these well-known and well-loved songs in a less familiar setting than with the more conventional piano, bass, drums and horns. The repertoire suits McCreeth well, allowing the expressiveness in her voice to shine through, and there is no weak or second rate offering on the disc.
McCreeth has a distinctive edge to her voice that adds a further freshness to the material and her phrasing and delivery of the lyrics is never less than captivating, as if hanging on to her every word. Nice to hear as well a gently swinging ‘Honeysuckle Rose’ that is taken at a nigh on perfect tempo, and the singer proves her worth with material from Great American songbook tackling Harold Arlen’s ‘Stormy Weather’ and ‘Come Rain Or Come Shine’ with panache. More contemporary tunes come from the writing talents of Wayne Shorter and Horace Silver on ‘Speak No Evil’ and ‘Pretty Eyes’ respectively; and the band swing hard on a stellar reading of ‘Devil May Care’.
Guitarist Mullen and Andy Cleyndert on bass provide the ideal support, unobtrusive but highy effective in accompaniment, and stepping up to the mark with some great solos. Trumpeter, Steve Waterman, is not heard on every track but makes his presence felt when he does put the horn to his lips as on the aforementioned ‘Speak No Evil’ and the ballads ‘Weaver of Dreams’ and ‘Very Early’.
This is a strong album from Sue McCreeth, and I for one will be making every effort to ensure that she does not disappear off my radar again anytime soon.
Reviewed by Nick Lea
Tru-nu TNCD353
Sue McCreeth (vocals); Steve Waterman (trumpet & flugelhorn); Jim Mullen (guitar); Andrew Cleyndert (double bass)
No recording dates given
Having review Sue’s album 500 Miles High back in 2004 the singer seemed to disappear off my radar so it is with great pleasure that I have the opportunity to reacquaint myself with her work some ten years later on this latest album.
Having built a reputation for mostly performing original material, with a scattering of covers, this is the first recording McCreeth has made where all the material are standards, and in doing so demonstrates just how versatile a performer she is.
Working with a paired down line up, sans drums, was an inspired choice and presents some of these well-known and well-loved songs in a less familiar setting than with the more conventional piano, bass, drums and horns. The repertoire suits McCreeth well, allowing the expressiveness in her voice to shine through, and there is no weak or second rate offering on the disc.
McCreeth has a distinctive edge to her voice that adds a further freshness to the material and her phrasing and delivery of the lyrics is never less than captivating, as if hanging on to her every word. Nice to hear as well a gently swinging ‘Honeysuckle Rose’ that is taken at a nigh on perfect tempo, and the singer proves her worth with material from Great American songbook tackling Harold Arlen’s ‘Stormy Weather’ and ‘Come Rain Or Come Shine’ with panache. More contemporary tunes come from the writing talents of Wayne Shorter and Horace Silver on ‘Speak No Evil’ and ‘Pretty Eyes’ respectively; and the band swing hard on a stellar reading of ‘Devil May Care’.
Guitarist Mullen and Andy Cleyndert on bass provide the ideal support, unobtrusive but highy effective in accompaniment, and stepping up to the mark with some great solos. Trumpeter, Steve Waterman, is not heard on every track but makes his presence felt when he does put the horn to his lips as on the aforementioned ‘Speak No Evil’ and the ballads ‘Weaver of Dreams’ and ‘Very Early’.
This is a strong album from Sue McCreeth, and I for one will be making every effort to ensure that she does not disappear off my radar again anytime soon.
Reviewed by Nick Lea
LEE KONITZ - First Meeting, Live in London, Volume One
Whirlwind Records, WR 4638
Lee Konitz (alto and soprano saxes) Dan Tepfer (piano) Michael Janisch (bass) Jeff Williams (drums)
Recorded live on May 19th & 20th 2010 at the Pizza Express Jazz Club, Soho, London
Throughout a long career, Lee Konitz, 82 at the time of this recording, has doggedly pursued his distinctive, austere aesthetic to become acknowledged as one of the most original and compelling voices in jazz. Not always fashionable and too easily classified as one of the founding members of the `cool school` he has ploughed his own furrow in diverse musical settings rarely making any concession to passing fads. First and foremost an improviser adept at dissecting familiar themes and reassembling them in a way that makes us look at the music anew, in his latest recording he teams up with a group of younger but similarly inclined musical scientists for an exercise in spontaneous improvisation that harks back to his early experiences with Lennie Tristano in the late nineteen forties.
We are told than there was no rehearsal or pre-conceived plan just like `Intuition` and `Digression`, the recordings made with the Tristano alumni. What makes this set particularly remarkable is that the musicians were free to decide whether to participate of not and that it was recorded live in a nightclub, namely the Dean Street Pizza Express –hardly a musical laboratory. Konitz sticks to familiar themes that he has recorded many times over the years but not I believe out any nostalgic affection for them or easy familiarity because he tosses them away quickly without any lingering romanticism and sets about the business of re-defining them that is often contrary to expectations and making close attention mandatory – not really music for dining but the audience seem attentive and appreciative. Never one for familiar licks, bluesy phrasing or cheap emotional effects Konitz has become more of an aesthete with the passing of time concentrating on improvisational integrity at the expense of easily won recognition. He neither luxuriates in the melodies –mostly songbook standards – nor seeks tonal opulence as though these stylistic elements might deaden the listeners’ ear to his more serious intent. Consequently some of his deliberations can seem awkward and acerbic but they are never less than challenging and stimulating.
Likewise, Konitz has never been averse to placing himself in challenging situations whether it be the hermetic atmosphere of a Tristano master class, the bold as brass sound of the Kenton band, the stripped down setting of a bass’n drums combo as in his magnum opus `Motion` or pitted against another master improviser like Warne Marsh, he rarely finds himself outside his comfort zone and we can take some comfort in the fact that there are contemporary musicians to be found who are prepared to rise to his challenge, three of whom feature in this recording.
Dan Tepfer is a New York based Franco –American pianist who shares Konitz’s forensic approach to improvisation and can be heard listening very closely to the leader’s line of development and adding support by way of carefully wrought harmonics and fills. Janisch and Williams, both Americans domiciled in the UK achieve a similar rapport as well as demonstrating their own formidable instrumental prowess. On five of the eight tracks they play together as a quartet but Konitz and Tepfer perform as a duo in their pitiless vivisection of the standard `Body and Soul` and Konitz stays clear of a dense, oblique version of `Giant Steps` in which Tepfer demonstrates his powerful and highly original command of the keyboard.
If you believe that jazz musicians should always strive to have something original to say then delight in the fact that Lee Konitz is still doing it at an age when many relax into platitudinous ease and is still making records that add lustre to his distinguished and voluminous discography. Another disc of even freer more exploratory work by the quartet is promised but in the meantime there is plenty to get your teeth into here.
Reviewed by Euan Dixon
Whirlwind Records, WR 4638
Lee Konitz (alto and soprano saxes) Dan Tepfer (piano) Michael Janisch (bass) Jeff Williams (drums)
Recorded live on May 19th & 20th 2010 at the Pizza Express Jazz Club, Soho, London
Throughout a long career, Lee Konitz, 82 at the time of this recording, has doggedly pursued his distinctive, austere aesthetic to become acknowledged as one of the most original and compelling voices in jazz. Not always fashionable and too easily classified as one of the founding members of the `cool school` he has ploughed his own furrow in diverse musical settings rarely making any concession to passing fads. First and foremost an improviser adept at dissecting familiar themes and reassembling them in a way that makes us look at the music anew, in his latest recording he teams up with a group of younger but similarly inclined musical scientists for an exercise in spontaneous improvisation that harks back to his early experiences with Lennie Tristano in the late nineteen forties.
We are told than there was no rehearsal or pre-conceived plan just like `Intuition` and `Digression`, the recordings made with the Tristano alumni. What makes this set particularly remarkable is that the musicians were free to decide whether to participate of not and that it was recorded live in a nightclub, namely the Dean Street Pizza Express –hardly a musical laboratory. Konitz sticks to familiar themes that he has recorded many times over the years but not I believe out any nostalgic affection for them or easy familiarity because he tosses them away quickly without any lingering romanticism and sets about the business of re-defining them that is often contrary to expectations and making close attention mandatory – not really music for dining but the audience seem attentive and appreciative. Never one for familiar licks, bluesy phrasing or cheap emotional effects Konitz has become more of an aesthete with the passing of time concentrating on improvisational integrity at the expense of easily won recognition. He neither luxuriates in the melodies –mostly songbook standards – nor seeks tonal opulence as though these stylistic elements might deaden the listeners’ ear to his more serious intent. Consequently some of his deliberations can seem awkward and acerbic but they are never less than challenging and stimulating.
Likewise, Konitz has never been averse to placing himself in challenging situations whether it be the hermetic atmosphere of a Tristano master class, the bold as brass sound of the Kenton band, the stripped down setting of a bass’n drums combo as in his magnum opus `Motion` or pitted against another master improviser like Warne Marsh, he rarely finds himself outside his comfort zone and we can take some comfort in the fact that there are contemporary musicians to be found who are prepared to rise to his challenge, three of whom feature in this recording.
Dan Tepfer is a New York based Franco –American pianist who shares Konitz’s forensic approach to improvisation and can be heard listening very closely to the leader’s line of development and adding support by way of carefully wrought harmonics and fills. Janisch and Williams, both Americans domiciled in the UK achieve a similar rapport as well as demonstrating their own formidable instrumental prowess. On five of the eight tracks they play together as a quartet but Konitz and Tepfer perform as a duo in their pitiless vivisection of the standard `Body and Soul` and Konitz stays clear of a dense, oblique version of `Giant Steps` in which Tepfer demonstrates his powerful and highly original command of the keyboard.
If you believe that jazz musicians should always strive to have something original to say then delight in the fact that Lee Konitz is still doing it at an age when many relax into platitudinous ease and is still making records that add lustre to his distinguished and voluminous discography. Another disc of even freer more exploratory work by the quartet is promised but in the meantime there is plenty to get your teeth into here.
Reviewed by Euan Dixon
MILES DAVIS – Manchester Concert-Complete Live at the Free Trade Hall
In Crowd Records 996692 (2 CD set)
Miles Davis (trumpet); Sonny Stitt (alto & tenor saxophones); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums)
Recorded at the Free Trade Hall, Manchester, England, September 27, 1960
Bonus Tracks
Miles Davis (trumpet); George Coleman (tenor saxophone); Herbie Hancock (piano); Ron Carter (bass); Tony Williams (drums)
Recorded at ‘Jazz Villa’, St. Louis, May 29, 1963
It is all too easy to discuss Miles Davis’ career in terms of transitional periods between the many innovative phases and influential bands and/or recordings, however with hindsight it is often forgotten that there time during the great man’s career that his musical progress was no so much as ‘in transition’ as had simply stalled.
If one such period came immediately after the classic Birth of the Cool recordings (the last of these sessions was in 1950), when Miles drug addiction put paid to any progress until 1954 when he began a series of superb albums for first Prestige and then Columbia that continued right up until 1960 when John Coltrane left to form his own Quartet. The loss of his saxophonist hit Davis hard, resulting in another stall in progress. Whilst some fine music was recorded over the next few years, most of it recorded live in concert halls or clubs, it would not be until 1964 when Wayne Shorter joined the band, and the second Great Quintet was born that Miles would once again start producing truly innovative music.
This live recording from the Free Trade Hall, Manchester, England immediately follows Coltrane’s departure with Miles hiring his old friend Sonny Stitt. As marvellous a player Stitt was, his was never right for Davis’ band and working methods. The material is the trumpeter’s staple repertoire of the time, a mixture of standards, originals and some blues, but the saxophonist sounds very time locked, unable to shake his bebop roots and the legacy of Charlie Parker. You can clearly hear the rhythm section having to adapt to the different roles required of them to keep the music flowing, and there is a huge difference in the way that they accompany Miles in his solos to that of the saxophonist. This see sawing of the rhythm section when accompanying the soloists produces its own internal tension which is not conducive to any of the cuts being wholly satisfying performance, and often this tension is only relieved when the horns drop out for Kelly’s solos and the trio once again as the tight knit unit that are, and had been previously prior to Coltrane’s departure.
The bonus tracks that make up the remainder of this 2 CD set come from another live performance some three years later when Miles’ new rhythm section of Hancock/Carter/Williams when once again churning this up for the trumpeter, and preparing him for his next creative phase. The saxophonist George Coleman has often been maligned, but history has shown that he was indeed a fine foil for Davis, less time bound than Stitt, more assertive than Hank Mobley, and rhythmicall and harmonically adept enough to cope with the barrage that was to come from the young rhythm section.
Immediately these performances are ultimately more satisfying. Coleman sits out on ‘I Thought About You’ and as was customary at this time Davis would play it with just rhythm section, with his full and luminous trumpet sound truly captivating. The tenor man makes his presence felt on with a rhythmically charged and fragmented solo on ‘All Blues’ that show his stature and worth. The bonus tracks sign off with ‘Seven Steps To Heaven’ the Victor Feldman tune that Miles would record in an album of the same name that would be his first studio recordings with his new young rhythm section, and his first studio album since Someday My Prince Will Come in 1961.
An interesting recording that shows the void that Coltrane left in the band, and the struggle to fill his shoes. Essential for Miles completists, and of historically as this is the only recording that I know of on silver disc of Miles playing live in England.
Reviewed by Nick Lea
In Crowd Records 996692 (2 CD set)
Miles Davis (trumpet); Sonny Stitt (alto & tenor saxophones); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums)
Recorded at the Free Trade Hall, Manchester, England, September 27, 1960
Bonus Tracks
Miles Davis (trumpet); George Coleman (tenor saxophone); Herbie Hancock (piano); Ron Carter (bass); Tony Williams (drums)
Recorded at ‘Jazz Villa’, St. Louis, May 29, 1963
It is all too easy to discuss Miles Davis’ career in terms of transitional periods between the many innovative phases and influential bands and/or recordings, however with hindsight it is often forgotten that there time during the great man’s career that his musical progress was no so much as ‘in transition’ as had simply stalled.
If one such period came immediately after the classic Birth of the Cool recordings (the last of these sessions was in 1950), when Miles drug addiction put paid to any progress until 1954 when he began a series of superb albums for first Prestige and then Columbia that continued right up until 1960 when John Coltrane left to form his own Quartet. The loss of his saxophonist hit Davis hard, resulting in another stall in progress. Whilst some fine music was recorded over the next few years, most of it recorded live in concert halls or clubs, it would not be until 1964 when Wayne Shorter joined the band, and the second Great Quintet was born that Miles would once again start producing truly innovative music.
This live recording from the Free Trade Hall, Manchester, England immediately follows Coltrane’s departure with Miles hiring his old friend Sonny Stitt. As marvellous a player Stitt was, his was never right for Davis’ band and working methods. The material is the trumpeter’s staple repertoire of the time, a mixture of standards, originals and some blues, but the saxophonist sounds very time locked, unable to shake his bebop roots and the legacy of Charlie Parker. You can clearly hear the rhythm section having to adapt to the different roles required of them to keep the music flowing, and there is a huge difference in the way that they accompany Miles in his solos to that of the saxophonist. This see sawing of the rhythm section when accompanying the soloists produces its own internal tension which is not conducive to any of the cuts being wholly satisfying performance, and often this tension is only relieved when the horns drop out for Kelly’s solos and the trio once again as the tight knit unit that are, and had been previously prior to Coltrane’s departure.
The bonus tracks that make up the remainder of this 2 CD set come from another live performance some three years later when Miles’ new rhythm section of Hancock/Carter/Williams when once again churning this up for the trumpeter, and preparing him for his next creative phase. The saxophonist George Coleman has often been maligned, but history has shown that he was indeed a fine foil for Davis, less time bound than Stitt, more assertive than Hank Mobley, and rhythmicall and harmonically adept enough to cope with the barrage that was to come from the young rhythm section.
Immediately these performances are ultimately more satisfying. Coleman sits out on ‘I Thought About You’ and as was customary at this time Davis would play it with just rhythm section, with his full and luminous trumpet sound truly captivating. The tenor man makes his presence felt on with a rhythmically charged and fragmented solo on ‘All Blues’ that show his stature and worth. The bonus tracks sign off with ‘Seven Steps To Heaven’ the Victor Feldman tune that Miles would record in an album of the same name that would be his first studio recordings with his new young rhythm section, and his first studio album since Someday My Prince Will Come in 1961.
An interesting recording that shows the void that Coltrane left in the band, and the struggle to fill his shoes. Essential for Miles completists, and of historically as this is the only recording that I know of on silver disc of Miles playing live in England.
Reviewed by Nick Lea
NAT BIRCHELL QUINTET
- Live in Larissa -Divine Harmony in the Duende Jazz Bar
Sound and Soul Spirit Records NB003 double LP/download
Nat Birchall (tenor and soprano saxes, bells, shaker, tambourine) Adam Fairhall (piano) Corey Nwamba (vibes, bells) Nick Blacka (bass) Paul Hession (drums)
Recorded live at the Duende Jazz Bar, Larissa, Greece, May 2013
This recording represents my first encounter with Nat Birchall and his music and whilst I can say with confidence that I’m very glad to make his acquaintance I am slightly troubled by questions of authenticity and originality. Birchall appears to be a custodian of the post `Love Supreme` music of John Coltrane in the same way that Scott Hamilton is a custodian of the Zoot Sims style and Bob Rockwell of Dexter Gordon. Both Hamilton and Rockwell are brilliant musicians who produce thrilling records without being troubled by any responsibility to advance the language of jazz: instead they keep the flame burning for those who did. By my estimation Birchall falls into the same category though he invests his interpretation of the Coltrane style with such power and conviction than one could be convinced that they were hearing it for the first time.
Consequently I’m reluctant to dismiss him as a copyist but prefer to see him as a disciple whose deep veneration for Coltrane’s music has found expression in the almost ritualistic re-creation of the modal expressionism that changed the direction of jazz in the sixties. Birchall and his group are all accomplished musicians and this live set which is available as a download or a vinyl double album is beautifully recorded achieving a warm resonant sound that will demonstrate the capabilities of high end audio systems: the sound of Blacka’s bass is particularly thrilling.
The programme offers seven long tracks (nothing less than ten minutes) all but two composed by Birchall: some are song form melodies with Middle Eastern leanings, others hymn like anthems, all played over hypnotic modal vamps or free floating harmonics that create a trance like mood in which Birchall would appear to find a form of communion with some metaphysical dimension given the titles of his pieces. However, don’t be put off if, like me, you don’t readily identify with these quasi- religious sentiments because the music stands up for itself and much satisfaction is to be derived from the sheer musicality of both the individual and collective performances.
Of these, Fairhall fulfils the McCoy Tyner role to perfection and adds a degree of urgent pungency for extra bite; Blacka’s massive sound drives all before him and Hession proves adept at maintaining the required polyrhythmic carpet but is ready to sweep away the clutter when something softer and simpler is needed. The inclusion of Corey Nwamba on vibes proves to be an inspired choice for his crystalline patterns texture and ventilate the dense modal harmonies as well as providing a cool aural contrast to the multi-phonic sax excursions and the pounding keyboard backdrop.
In conclusion I would say that whilst Birchall may not be doing anything to break the mould, through his passionate avocation of the Coltrane style he is ensuring that the vessel remains intact and that it can be experienced anew and appear, through the benefit of modern recording techniques, like a shiny artefact restored by loving hands and put on display for the present generation to appreciate.
Reviewed by Euan Dixon
Sound and Soul Spirit Records NB003 double LP/download
Nat Birchall (tenor and soprano saxes, bells, shaker, tambourine) Adam Fairhall (piano) Corey Nwamba (vibes, bells) Nick Blacka (bass) Paul Hession (drums)
Recorded live at the Duende Jazz Bar, Larissa, Greece, May 2013
This recording represents my first encounter with Nat Birchall and his music and whilst I can say with confidence that I’m very glad to make his acquaintance I am slightly troubled by questions of authenticity and originality. Birchall appears to be a custodian of the post `Love Supreme` music of John Coltrane in the same way that Scott Hamilton is a custodian of the Zoot Sims style and Bob Rockwell of Dexter Gordon. Both Hamilton and Rockwell are brilliant musicians who produce thrilling records without being troubled by any responsibility to advance the language of jazz: instead they keep the flame burning for those who did. By my estimation Birchall falls into the same category though he invests his interpretation of the Coltrane style with such power and conviction than one could be convinced that they were hearing it for the first time.
Consequently I’m reluctant to dismiss him as a copyist but prefer to see him as a disciple whose deep veneration for Coltrane’s music has found expression in the almost ritualistic re-creation of the modal expressionism that changed the direction of jazz in the sixties. Birchall and his group are all accomplished musicians and this live set which is available as a download or a vinyl double album is beautifully recorded achieving a warm resonant sound that will demonstrate the capabilities of high end audio systems: the sound of Blacka’s bass is particularly thrilling.
The programme offers seven long tracks (nothing less than ten minutes) all but two composed by Birchall: some are song form melodies with Middle Eastern leanings, others hymn like anthems, all played over hypnotic modal vamps or free floating harmonics that create a trance like mood in which Birchall would appear to find a form of communion with some metaphysical dimension given the titles of his pieces. However, don’t be put off if, like me, you don’t readily identify with these quasi- religious sentiments because the music stands up for itself and much satisfaction is to be derived from the sheer musicality of both the individual and collective performances.
Of these, Fairhall fulfils the McCoy Tyner role to perfection and adds a degree of urgent pungency for extra bite; Blacka’s massive sound drives all before him and Hession proves adept at maintaining the required polyrhythmic carpet but is ready to sweep away the clutter when something softer and simpler is needed. The inclusion of Corey Nwamba on vibes proves to be an inspired choice for his crystalline patterns texture and ventilate the dense modal harmonies as well as providing a cool aural contrast to the multi-phonic sax excursions and the pounding keyboard backdrop.
In conclusion I would say that whilst Birchall may not be doing anything to break the mould, through his passionate avocation of the Coltrane style he is ensuring that the vessel remains intact and that it can be experienced anew and appear, through the benefit of modern recording techniques, like a shiny artefact restored by loving hands and put on display for the present generation to appreciate.
Reviewed by Euan Dixon
ART BLAKEY & THE
JAZZ MESSENGERS – Complete Studio
Recordings
Jazz Dynamics 009 (5 CDs) 24 page booklet
Art Blakey (drums); Lee Morgan (trumpet); Wayne Shorter (tenor saxophone); Bobby Timmons (Jazz Dynamics 009 (5 CDs) 24 page bookletpiano); Jymie Merritt (bass)
Recordings 1960/61
This 5 CD set of probably Blakey's best band playing at its peak is a joy: Blakey the great percussionist, Shorter, the great composer and improviser, Morgan peerless brass master, Jymie Merritt fluent bassist and composer and pianist Timmons character and way of playing in that piece.
'A Night in Tunisia' draws energetic performances from Blakey Shorter and Morgan. Some have described it as 'over the top' but lots of Blakey's groups were. The music is played with the power and conviction of the best hard bop. Shorter in both his writing and his playing is starting the career which continues to the present day. Morgan plays with power, lucidity and precision and makes you sad that he had little longer to live.
The package is excellent. There are the albums from Blue Note 'The Big Beat', 'Like Someone in Love', 'A Night in Tunisia', 'Pisces', 'Roots and Herbs', 'The Witch Doctor', 'The Freedom Rider 'and 'Jazz Messengers!!!!' from Impulse In addition the booklet contains all the original liner notes and some reviews from magazines of the time. Most of the tracks, of course, were recorded by Rudy Van Gelder and the audio presentation on these re-issues is excellent.
Blakey nurtured so many from Clifford Brown to Wynton Marsalis. His contribution to the direction of jazz is unrivalled. To this drummers continue to draw inspiration from his playing and his passion.
The five CDs are now an historical document of one of the fiercest bands of the early sixties. Not just history but wholly enjoyable. Just check out the price.
Reviewed by Jack Kenny
Jazz Dynamics 009 (5 CDs) 24 page booklet
Art Blakey (drums); Lee Morgan (trumpet); Wayne Shorter (tenor saxophone); Bobby Timmons (Jazz Dynamics 009 (5 CDs) 24 page bookletpiano); Jymie Merritt (bass)
Recordings 1960/61
This 5 CD set of probably Blakey's best band playing at its peak is a joy: Blakey the great percussionist, Shorter, the great composer and improviser, Morgan peerless brass master, Jymie Merritt fluent bassist and composer and pianist Timmons character and way of playing in that piece.
'A Night in Tunisia' draws energetic performances from Blakey Shorter and Morgan. Some have described it as 'over the top' but lots of Blakey's groups were. The music is played with the power and conviction of the best hard bop. Shorter in both his writing and his playing is starting the career which continues to the present day. Morgan plays with power, lucidity and precision and makes you sad that he had little longer to live.
The package is excellent. There are the albums from Blue Note 'The Big Beat', 'Like Someone in Love', 'A Night in Tunisia', 'Pisces', 'Roots and Herbs', 'The Witch Doctor', 'The Freedom Rider 'and 'Jazz Messengers!!!!' from Impulse In addition the booklet contains all the original liner notes and some reviews from magazines of the time. Most of the tracks, of course, were recorded by Rudy Van Gelder and the audio presentation on these re-issues is excellent.
Blakey nurtured so many from Clifford Brown to Wynton Marsalis. His contribution to the direction of jazz is unrivalled. To this drummers continue to draw inspiration from his playing and his passion.
The five CDs are now an historical document of one of the fiercest bands of the early sixties. Not just history but wholly enjoyable. Just check out the price.
Reviewed by Jack Kenny
ANDREW RATHBUN - Shadow Forms ll
Steeplechase Records SCCD 31762
Andrew Rathbun, saxophones, bass clarinet, electronics; Scott Lee, bass; Jeff Hirshfield, drums
One of Andrew Rathbun's crowning attributes must surely be his purity of tone, whether playing soprano or tenor sax or the illustrious bass clarinet. Most of the music is scored by all three musicians, but Rathbun and Lee have made some individual contributions too. One such piece stood forth particularly to my ear: Track 5, 'Drums and Symbols' by Lee has opening, melodious statements from the saxophonist which are followed by three further improvisational statements, but each is introduced and in turn terminated by audible nods from the drums. Fine play on words too.
This mode never sounds like a device or a trick: it is simply a constructural methodology that allows the band to experiment with shape and that is important to the musicians, because the other side of their experimentation relates to their creating interactions between composition and 'free-form' or openly improvised music.
The band, in the piece described, offers a complete paragraph of sentences made up of a number of clauses and phrases, each sentence carrying its full stop. Each sentence is a logical, melodic unit that anticipates further development – this leads to the paragraph. I have expressed this in this manner, as an acquaintance commented on his lack of understanding of jazz, but I wonder if he ever listens to it.
The album is another variation from Rathbun, who likes to experiment with instrumental settins; he has tried duets and big bands before this. The three musicians sustain their empathy throughout all of their explorations of these richly coordinated and melodic pieces and the improvisations are perceptive and incisive. This is a very good album indeed and the music adapts itself to quiet playing in the background or a full-frontal performance on your super hi-fi.
Reviewed by Ken Cheetham
Steeplechase Records SCCD 31762
Andrew Rathbun, saxophones, bass clarinet, electronics; Scott Lee, bass; Jeff Hirshfield, drums
One of Andrew Rathbun's crowning attributes must surely be his purity of tone, whether playing soprano or tenor sax or the illustrious bass clarinet. Most of the music is scored by all three musicians, but Rathbun and Lee have made some individual contributions too. One such piece stood forth particularly to my ear: Track 5, 'Drums and Symbols' by Lee has opening, melodious statements from the saxophonist which are followed by three further improvisational statements, but each is introduced and in turn terminated by audible nods from the drums. Fine play on words too.
This mode never sounds like a device or a trick: it is simply a constructural methodology that allows the band to experiment with shape and that is important to the musicians, because the other side of their experimentation relates to their creating interactions between composition and 'free-form' or openly improvised music.
The band, in the piece described, offers a complete paragraph of sentences made up of a number of clauses and phrases, each sentence carrying its full stop. Each sentence is a logical, melodic unit that anticipates further development – this leads to the paragraph. I have expressed this in this manner, as an acquaintance commented on his lack of understanding of jazz, but I wonder if he ever listens to it.
The album is another variation from Rathbun, who likes to experiment with instrumental settins; he has tried duets and big bands before this. The three musicians sustain their empathy throughout all of their explorations of these richly coordinated and melodic pieces and the improvisations are perceptive and incisive. This is a very good album indeed and the music adapts itself to quiet playing in the background or a full-frontal performance on your super hi-fi.
Reviewed by Ken Cheetham
DINO SALUZZI GROUP – El Valle De la Infancia
ECM 377 0032
Dino Saluzzi (bandoneon); Jose Maria Saluzzi (classical & requinto guitars); Nicholas “Colacho” Brizuela (classical guitar); Felix “Chachara” Saluzzi (tenor saxophone, clarinet); Matias Saluzzi (electric bass, double bass); Quintino Cinalli (drums, percussion)
Recorded March-May 2013
This album is very much the bandoneonist-composer-improviser returning to his roots, and although he has been featured on many ECM albums, this is the first to focus on his ‘family’ band since Juan Condori in 2005. A family affair it is too, with the band being made up of Dino’s brother Felix tenor and clarinet) his son Jose Maria on guitars and nephew Matias on bass. Unfortunately the closeness of the family connection makes this a very personal music, and for this listener, giving the impression of an outsider looking in. Music of this nature has become so inextricably linked to the performers, and the intense closeness of their relationship with each other and the music they collectively perform I found it very difficult to get into this music other than on a superficial level.
With the album, the family Saluzzi set out to explore their origins in North Argentina, and whilst there are many attractive melodies to be heard within the compositions, nothing has set me alight. The performances credited on the outside of the CD indicate eight individual pieces, but when playing the disc these are displayed as sixteen tracks with four of the compositions having multiples parts. The music is indeed rhythmically and harmonically varied, but in this instance I have found the delivery to be very dry, and have been unable to identify with the music on an emotional level, although the skill of the musicians is undeniable.
Having said that, the most impressive and memorable pieces come with Felix Saluzzi’s clarinet on ‘Churqui’, and his tenor playing on ‘Urkupina’, which has been up to this point fairly anonymous, comes to life with the tone of the reedsman taking on quite a distinctive and personal sound.
In summary, attractive music played with much skill and facility, but sadly for this listener atleast, not immediately communicating its message to all.
Reviewed by Nick Lea
ECM 377 0032
Dino Saluzzi (bandoneon); Jose Maria Saluzzi (classical & requinto guitars); Nicholas “Colacho” Brizuela (classical guitar); Felix “Chachara” Saluzzi (tenor saxophone, clarinet); Matias Saluzzi (electric bass, double bass); Quintino Cinalli (drums, percussion)
Recorded March-May 2013
This album is very much the bandoneonist-composer-improviser returning to his roots, and although he has been featured on many ECM albums, this is the first to focus on his ‘family’ band since Juan Condori in 2005. A family affair it is too, with the band being made up of Dino’s brother Felix tenor and clarinet) his son Jose Maria on guitars and nephew Matias on bass. Unfortunately the closeness of the family connection makes this a very personal music, and for this listener, giving the impression of an outsider looking in. Music of this nature has become so inextricably linked to the performers, and the intense closeness of their relationship with each other and the music they collectively perform I found it very difficult to get into this music other than on a superficial level.
With the album, the family Saluzzi set out to explore their origins in North Argentina, and whilst there are many attractive melodies to be heard within the compositions, nothing has set me alight. The performances credited on the outside of the CD indicate eight individual pieces, but when playing the disc these are displayed as sixteen tracks with four of the compositions having multiples parts. The music is indeed rhythmically and harmonically varied, but in this instance I have found the delivery to be very dry, and have been unable to identify with the music on an emotional level, although the skill of the musicians is undeniable.
Having said that, the most impressive and memorable pieces come with Felix Saluzzi’s clarinet on ‘Churqui’, and his tenor playing on ‘Urkupina’, which has been up to this point fairly anonymous, comes to life with the tone of the reedsman taking on quite a distinctive and personal sound.
In summary, attractive music played with much skill and facility, but sadly for this listener atleast, not immediately communicating its message to all.
Reviewed by Nick Lea
BENNY GOODMAN & HIS ORCHESTRA - Benny in Brussels
Phoenix 131601
Benny Goodman ( clt ) Taft Jordan ( tpt 0 John Frosk ( tpt ) Emmet Berry ( tpt ) Billy Hodges ( tpt ) Rex Peer ( tmb ) Vernon Brown ( tmb ) Willie Dennis ( tmb ) Zoot Sims ( tnr ) Seldon Powell ( tnr ) Ernie Mauro ( alto ) Al Block ( alto ) Gene Allen ( bar ) Sir Roland Hanna ( pno ) Billy Bauer ( gtr ) Arvell Shaw ( bass ) Roy Burnes ( drs ) Jimmy Rushing ( vocal ) Ethel Ennis ( vocal )
Recorded live at the Brussels World Fair, Belgium, May 25th to 31st 1958
The album was originally issued as two separate LPs but have now been combined into one CD with the addition of two extra tracks “Stompin’ at the Savoy” and “Flying Home”. There are many of Benny’s old favourites on the album and the odd one s which are not so well known. Vocalists Jimmy Rushing and Ethel Ennis are present and add variety to the mix. There is a mixture small group pieces as well as the full band numbers.
The band personnel is made up of players Benny generally called up for these overseas tours with Zoot Sims and Seldon Powell on tenor saxophones plus Taft Jordan and Emmet Berry in the trumpet section, all are seasoned players and capable of lifting the band’s performance
David Bee’s composition “Obsession” was a favourite with the Ted Heath Orchestra during the Fifties but this version by Benny’s full band has the edge. On the small group version of “More than you know” Benny’s clarinet is a joy to listen to and Roland Hanna’s piano solo is free flowing and full of ideas and this is followed by the small group again on “The world is waiting for the sunrise” which has some Krupa like drumming from Roy Burnes.
The tenor’s of Zoot Sims and Seldon Powell are featured to good effect onMary Lou Williams’ “Roll ’em” and after some fine trumpet solos from the section Benny’s clarinet soars over them. Jimmy Rushing adapts one of his usual repertoire pieces to “Brussels Blues” which pleases the audience. New to the band is “Balkan mixed grill” which was written by trombonist Mladen Gutesha who Benny met in Germany and makes an interesting change from the more familiar numbers.
If you don’t have any examples of Benny Goodman’s touring band in your collection this is good an example as any and should be of interest to any lover of big band music.
Reviewed by Roy Booth
Phoenix 131601
Benny Goodman ( clt ) Taft Jordan ( tpt 0 John Frosk ( tpt ) Emmet Berry ( tpt ) Billy Hodges ( tpt ) Rex Peer ( tmb ) Vernon Brown ( tmb ) Willie Dennis ( tmb ) Zoot Sims ( tnr ) Seldon Powell ( tnr ) Ernie Mauro ( alto ) Al Block ( alto ) Gene Allen ( bar ) Sir Roland Hanna ( pno ) Billy Bauer ( gtr ) Arvell Shaw ( bass ) Roy Burnes ( drs ) Jimmy Rushing ( vocal ) Ethel Ennis ( vocal )
Recorded live at the Brussels World Fair, Belgium, May 25th to 31st 1958
The album was originally issued as two separate LPs but have now been combined into one CD with the addition of two extra tracks “Stompin’ at the Savoy” and “Flying Home”. There are many of Benny’s old favourites on the album and the odd one s which are not so well known. Vocalists Jimmy Rushing and Ethel Ennis are present and add variety to the mix. There is a mixture small group pieces as well as the full band numbers.
The band personnel is made up of players Benny generally called up for these overseas tours with Zoot Sims and Seldon Powell on tenor saxophones plus Taft Jordan and Emmet Berry in the trumpet section, all are seasoned players and capable of lifting the band’s performance
David Bee’s composition “Obsession” was a favourite with the Ted Heath Orchestra during the Fifties but this version by Benny’s full band has the edge. On the small group version of “More than you know” Benny’s clarinet is a joy to listen to and Roland Hanna’s piano solo is free flowing and full of ideas and this is followed by the small group again on “The world is waiting for the sunrise” which has some Krupa like drumming from Roy Burnes.
The tenor’s of Zoot Sims and Seldon Powell are featured to good effect onMary Lou Williams’ “Roll ’em” and after some fine trumpet solos from the section Benny’s clarinet soars over them. Jimmy Rushing adapts one of his usual repertoire pieces to “Brussels Blues” which pleases the audience. New to the band is “Balkan mixed grill” which was written by trombonist Mladen Gutesha who Benny met in Germany and makes an interesting change from the more familiar numbers.
If you don’t have any examples of Benny Goodman’s touring band in your collection this is good an example as any and should be of interest to any lover of big band music.
Reviewed by Roy Booth
DON CHERRY - Live in Stockholm
Caprice CAP 21832
Don Cherry (pocket trumpet, flutes, piano, percussion); Maffy Falay (trumpet); Bernt Rosengren, Tommy Koverhult (tenor saxophone); Torbjorn Hultcrantz (bass); Leif Wennerstrom (drums)
Don Cherry in 1968 had not started on his world music journey. Here he is closer to the man who horrified or astounded the world with Ornette Coleman when he was displaying a totally different way of playing the trumpet or pocket trumpet. In Stockholm, he made his base there at that time, Cherry plays the small pocket trumpet as well as flutes, the piano and the percussion. Bernt Rosengren and Tommy Koverhult play tenors. Torbjorn Hultcrantz plays bass and Leif Wennerstrom drums. The most prominent contributor is trumpeter Maffy Falay from Turkey. They work well as an ensemble particularly on the second track which occasionally sounds like a restrained version of the Brotherhood of Breath.
In jazz Don Cherry is unique with a trumpet sound that is distinctive. The sound of the pocket trumpet makes his music sound naïve. He isn't. He could be said to be the Matisse of the trumpet, that is the Matisse of the later years when he did most of art his by cutting up paper into apparently simple shapes. Don also aims for simplicity.
The tracks (1 and 2) from 1968 are close to the music of Ornette Coleman. You can hear that Track 3 is moving on the direction of world music and community music with the voices of children and visiting friends audible.
Cherry does not play to astound with his technique, that is not what he is about. As you listen you almost feel as though you could have joined in. Cherry wants musicians to unlearn and start from the beginning, not worrying about mistakes. The last track, there are only three, is particularly joyous and generous. The music dances out of the musicians' minds: music that was created for that day that has lasted into the future.
Reviewed by Jack Kenny
Caprice CAP 21832
Don Cherry (pocket trumpet, flutes, piano, percussion); Maffy Falay (trumpet); Bernt Rosengren, Tommy Koverhult (tenor saxophone); Torbjorn Hultcrantz (bass); Leif Wennerstrom (drums)
Don Cherry in 1968 had not started on his world music journey. Here he is closer to the man who horrified or astounded the world with Ornette Coleman when he was displaying a totally different way of playing the trumpet or pocket trumpet. In Stockholm, he made his base there at that time, Cherry plays the small pocket trumpet as well as flutes, the piano and the percussion. Bernt Rosengren and Tommy Koverhult play tenors. Torbjorn Hultcrantz plays bass and Leif Wennerstrom drums. The most prominent contributor is trumpeter Maffy Falay from Turkey. They work well as an ensemble particularly on the second track which occasionally sounds like a restrained version of the Brotherhood of Breath.
In jazz Don Cherry is unique with a trumpet sound that is distinctive. The sound of the pocket trumpet makes his music sound naïve. He isn't. He could be said to be the Matisse of the trumpet, that is the Matisse of the later years when he did most of art his by cutting up paper into apparently simple shapes. Don also aims for simplicity.
The tracks (1 and 2) from 1968 are close to the music of Ornette Coleman. You can hear that Track 3 is moving on the direction of world music and community music with the voices of children and visiting friends audible.
Cherry does not play to astound with his technique, that is not what he is about. As you listen you almost feel as though you could have joined in. Cherry wants musicians to unlearn and start from the beginning, not worrying about mistakes. The last track, there are only three, is particularly joyous and generous. The music dances out of the musicians' minds: music that was created for that day that has lasted into the future.
Reviewed by Jack Kenny
GLEN HALL & BERNIE KOENIG - Overheard Conversations
SLAMCD 552
Glen Hall, soprano and tenor saxophones, flute, bass flute; Bernie Koenig, drums, vibes
Overheard Conversations was recorded in studio in August 2013 and is this Canadian duo's first outing on Slam records. The unarranged, unprepared, unrehearsed, spontaneous improvisations are given titles that are taken, supposedly, from snatches of conversations characteristically overheard in bars and buses, trains and trattorias, wherever, so to speak. Each snippet is then supposed to replicate the temper of the music, but I have to say that I could not see/hear it and I suspect it was merely another device for naming. The exception is track 9, 'For George', which is a composition by Bernie Koenig.
The 'naming device' makes little difference to the music, which is quite interesting in its own right, though at times somewhat light and insubstantial. Nonetheless, it should be recognised that the amalgamation of percussion with various 'winds' is both courageous and worthy of exploring, as the possible unions are to some extent limiting. Hall and Koenig cope with their restrictions remarkably well, managing to discover an astonishing and extended variety of colours, constructions and textures in their music as they varied the grouping of their instruments.
Reviewed by Ken Cheetham
SLAMCD 552
Glen Hall, soprano and tenor saxophones, flute, bass flute; Bernie Koenig, drums, vibes
Overheard Conversations was recorded in studio in August 2013 and is this Canadian duo's first outing on Slam records. The unarranged, unprepared, unrehearsed, spontaneous improvisations are given titles that are taken, supposedly, from snatches of conversations characteristically overheard in bars and buses, trains and trattorias, wherever, so to speak. Each snippet is then supposed to replicate the temper of the music, but I have to say that I could not see/hear it and I suspect it was merely another device for naming. The exception is track 9, 'For George', which is a composition by Bernie Koenig.
The 'naming device' makes little difference to the music, which is quite interesting in its own right, though at times somewhat light and insubstantial. Nonetheless, it should be recognised that the amalgamation of percussion with various 'winds' is both courageous and worthy of exploring, as the possible unions are to some extent limiting. Hall and Koenig cope with their restrictions remarkably well, managing to discover an astonishing and extended variety of colours, constructions and textures in their music as they varied the grouping of their instruments.
Reviewed by Ken Cheetham
JOHN McLAUGHLIN &
THE 4th DIMENSION – The Boston
Record
Abstract Logix ABLX 042
John McLaughlin: guitar; Gary Husband: keyboards, drums; Etienne Mbappe: bass; Ranjit Barot: drums
Recorded live at Berklee in Boston in June 2013
This is rich music with musicians at their best. This is the first live album to feature this current group. The good news is that it is incisively recorded. You can hear the quality of the recording on the blues Little Miss Valley. You can hear the individual lines probably better than if you were at the concert. Bassist Etienne Mbappe displays wonderful technique. His bass grumbles and trundles effectively.
The key thing about this group is the way that they knit together. Gary Husband can be credited with the way that he holds the music together. 'You Know You Know' is one of those pieces that makes the audience applaud with anticipation as soon as they recognise the piece from Inner Mounting Flame. McLaughlin's improvisation here looks backwards and forwards. Gary Husband's best work is on 'Call and Answer'. It is also the best piece for percussion where Ranjit Barot can display his technique.
People like to see mysticism and spirituality in McLaughlin’s music. I miss out on that. Spirituality often comes more out of what people say rather than how they play. It is enough that it is vital music that brings musicians together and on the evidence of this inspires them. McLaughlin has led the way for years and on this evidence still carries the fire to play. His music might not be moving forwards but it is still deep and profoundly musical. 'Maharina' is one of the slower pieces and that allows McLaughlin to be more reflective but it does veer almost to the edge of saccharine. This is not a band that is comfortable at the this tempo. As soon as they move to 'Hijacked' you can sense the relaxation although the tempo is much higher.
By any standard this is an impressive session. It’s good to know that fusion music of this quality is still being played with such passion and conviction.
Reviewed by Jack Kenny
Abstract Logix ABLX 042
John McLaughlin: guitar; Gary Husband: keyboards, drums; Etienne Mbappe: bass; Ranjit Barot: drums
Recorded live at Berklee in Boston in June 2013
This is rich music with musicians at their best. This is the first live album to feature this current group. The good news is that it is incisively recorded. You can hear the quality of the recording on the blues Little Miss Valley. You can hear the individual lines probably better than if you were at the concert. Bassist Etienne Mbappe displays wonderful technique. His bass grumbles and trundles effectively.
The key thing about this group is the way that they knit together. Gary Husband can be credited with the way that he holds the music together. 'You Know You Know' is one of those pieces that makes the audience applaud with anticipation as soon as they recognise the piece from Inner Mounting Flame. McLaughlin's improvisation here looks backwards and forwards. Gary Husband's best work is on 'Call and Answer'. It is also the best piece for percussion where Ranjit Barot can display his technique.
People like to see mysticism and spirituality in McLaughlin’s music. I miss out on that. Spirituality often comes more out of what people say rather than how they play. It is enough that it is vital music that brings musicians together and on the evidence of this inspires them. McLaughlin has led the way for years and on this evidence still carries the fire to play. His music might not be moving forwards but it is still deep and profoundly musical. 'Maharina' is one of the slower pieces and that allows McLaughlin to be more reflective but it does veer almost to the edge of saccharine. This is not a band that is comfortable at the this tempo. As soon as they move to 'Hijacked' you can sense the relaxation although the tempo is much higher.
By any standard this is an impressive session. It’s good to know that fusion music of this quality is still being played with such passion and conviction.
Reviewed by Jack Kenny
KAPPELER / ZUMTHOR – Babylon-Suite
ECM 375 9741
Vera Kappeler (piano, harmonium, topy piano, voice); Peter Conradin Zumthor (drums, toy piano, voice)
Recorded June 2013
From the title of this debut recording from the Swiss duo Vera Kappeler and Peter Conradin Zumthor it comes as no surprise that the inspiration is drawn from biblical text, and in particular the Book of Daniel, but the premier of this intriguing music was performed in a far from biblical setting.
In July 2012, Kappeler and Zumthor presented their new composition in the reverberant cavern of the Swiss hydroelectric power plant at Tinizong, and whilst no doubt this was an inspirational and unique place to perform it would certainly not be ideal for recording such detailed, and at times quietly contemplative music. With mush emphasis given to touch and small gestures and sounds the cavernous power plant would swallow much of the subtly found in the playing of the duo. However, there are no such problems when recording at the Radiotelevsione in Lugano the following June, and the recorded music is as detailed and pristine as you would expect from ECM, and brings out the quality of the playing to the credit of the material and performers.
The industrial quality of the debut performance, however, is not lost with the sounds produced by Zumthor from kit and I’m guessing other assorted yet uncredited percussion items, as the ebb and flow of the soundscape that is ‘Das erste Tier’ emanates from the speakers. This is immediately followed by piano and gently rolling drums for a reflective if equally sombre ‘Tor II’ and the eerie sounds of toy piano and scraping of sticks on cymbals on ‘Tor I’.
If much of the music sounds freely improvised, there is a thread that runs through the music that suggests some premeditated thought has gone into the overall structure of the suite. Most of the pieces are credited to both musicians, which again may suggest the overall improvisatory nature of the music. In direct contradiction of this we find the traditional composition Ukrainian ‘Ne Pidu Ja Do Lesa’ played in a fragmented manner with broken and uneven non metric rhythms along with pieces credited to pianist or drummer. Sounding as they were both pre-composed we are presented with the touchingly lyrical ‘Annalisa’ by Zumthor, and Kappeler’s wonderful voice is heard in the captivating and endearing ‘November’ that also makes effective use of the harmonium which can sound most unmusical in less capable hands and suggests a creative vein that should be explored further.
Perhaps in summary the resultant album is more Suite than inextricably bound to its biblical inspiration, but having said that this is indeed a captivating and absorbing set.
Reviewed by Nick Lea
ECM 375 9741
Vera Kappeler (piano, harmonium, topy piano, voice); Peter Conradin Zumthor (drums, toy piano, voice)
Recorded June 2013
From the title of this debut recording from the Swiss duo Vera Kappeler and Peter Conradin Zumthor it comes as no surprise that the inspiration is drawn from biblical text, and in particular the Book of Daniel, but the premier of this intriguing music was performed in a far from biblical setting.
In July 2012, Kappeler and Zumthor presented their new composition in the reverberant cavern of the Swiss hydroelectric power plant at Tinizong, and whilst no doubt this was an inspirational and unique place to perform it would certainly not be ideal for recording such detailed, and at times quietly contemplative music. With mush emphasis given to touch and small gestures and sounds the cavernous power plant would swallow much of the subtly found in the playing of the duo. However, there are no such problems when recording at the Radiotelevsione in Lugano the following June, and the recorded music is as detailed and pristine as you would expect from ECM, and brings out the quality of the playing to the credit of the material and performers.
The industrial quality of the debut performance, however, is not lost with the sounds produced by Zumthor from kit and I’m guessing other assorted yet uncredited percussion items, as the ebb and flow of the soundscape that is ‘Das erste Tier’ emanates from the speakers. This is immediately followed by piano and gently rolling drums for a reflective if equally sombre ‘Tor II’ and the eerie sounds of toy piano and scraping of sticks on cymbals on ‘Tor I’.
If much of the music sounds freely improvised, there is a thread that runs through the music that suggests some premeditated thought has gone into the overall structure of the suite. Most of the pieces are credited to both musicians, which again may suggest the overall improvisatory nature of the music. In direct contradiction of this we find the traditional composition Ukrainian ‘Ne Pidu Ja Do Lesa’ played in a fragmented manner with broken and uneven non metric rhythms along with pieces credited to pianist or drummer. Sounding as they were both pre-composed we are presented with the touchingly lyrical ‘Annalisa’ by Zumthor, and Kappeler’s wonderful voice is heard in the captivating and endearing ‘November’ that also makes effective use of the harmonium which can sound most unmusical in less capable hands and suggests a creative vein that should be explored further.
Perhaps in summary the resultant album is more Suite than inextricably bound to its biblical inspiration, but having said that this is indeed a captivating and absorbing set.
Reviewed by Nick Lea
LOUIS ARMSTRONG - Louis Armstrong plays W. C. Handy: Complete
Edition Essential Jazz Classics
EJC55628 ( 2 CD Set )
CD ONE Tracks 1 to 11 &CD TWO Tracks 1to 11
Louis Armstrong ( tpt / vocals ) Barney Bigard ( clt ) Trummy Young ( tmb ) Billy Kyle ( pno )Arvell Shaw ( bass ) Barrett Deems ( drs ) Velma Middleton ( vocals )
Recorded Chicago, 12th to 14th July 1954
CD ONE Track 12
Louis Armstrong ( tpt / vocal ) Jack teagarden ( tmb ) Barney Bigard ( clt ) Earl Hines ( pno ) Arvell Shaw ( bass ) Cozy Cole ( drs )
Recorded New York, 26th April 1950
CD ONE Track 13
Louis Armstrong ( tpt / vocal ) & the All Stars plus The New York Philharmonic conducted by Leonard Bernstein
Recorded Lewisohn Stadium, New York, 14th July 1956
CDE TWO Track 12
Alligator Story
CD TWO Track 13
George Avakian interview with W. C. Handy
CD TWO Track 14Bessie Smith ( vocal ) Louis Armstrong ( cornet ) Charloie Green ( tmb ) Fred Longshaw ( pno )
Recorded New York, 26th May 1925
CD TWO Track 15
Bessie Smith ( vocal ) Louis Armstrong ( cornet ) Fred Longshaw ( organ )
Recorded New York, 14th January 1925
CD TWO Track 16
Louis Armstrong ( tpt / vocal ) & his Orchestra
Recorded New York, 13thy December 1929
CD TWO Track 17
Louis Armstrong ( tpt / vocal ) & his Orchestra
Recorded Chicago, 26th April 1933
This is yet another reissue of these classic recordings of Armstrong play W. C. Handy but now expanded to two CDs with tracks from the All Stars, Louis with Bessie Smith & Louis with his Orchestra, with further alternative takes from the original album. Although this is music that should never be out of the catalogue do we really need all these extra tracks or is it just a marketing ploy to fleece the jazz fan of his money?
These original recordings plus “Satch plays Fats” are probably the best of Louis’ later work and it may have been more interesting if Jack Teagarden had been present on trombone they stand up pretty well after sixty years.
The alternative takes and rehearsal tracks are interesting to listen to and give an insight into Louis recording methods it is unlikely that you will play them more a couple of times.
“Bugle call rag” has some fine solos by Jack Teagarden on trombone and Earl Hines on piano with some soaring trumpet from Louis but the track is let down by a longish but uninteresting drum solo from Cozy Cole.
Louis first outing with the New York Philharmonic all seems a little pointless, the soaring strings feel out of place and the piece doesn’t start to move until the half way point when Louis and the group take over but when the two separate groups meet for the finale it makes a little more sense. Louis appeared to enjoy the outing so some good came of it. The two Bessie Smith tracks are good examples of her recorded output and it’s always good to hear Charlie Green’s trombone playing.
Of the two versions of “St Louis Blues” the earlier version is the best mainly because of J. C. Higginbottom’s marvellous trombone work and the band as a whole sound much more relaxed. The later version is taken at a faster tempo and the band sounds as though it’s going to run out of steam.
This album is something of a tribute to W. C. Handy but six different versions o0f “ST Louis Blues” seems a little over the top even though it is Handy’s best known composition.
I wouldn’t be without the original album of Louis plays Handy but I’m not sure we need all the extra music contained on the two Cds but we can’t look a gift horse in the mouth.
Reviewed by Roy Booth
EJC55628 ( 2 CD Set )
CD ONE Tracks 1 to 11 &CD TWO Tracks 1to 11
Louis Armstrong ( tpt / vocals ) Barney Bigard ( clt ) Trummy Young ( tmb ) Billy Kyle ( pno )Arvell Shaw ( bass ) Barrett Deems ( drs ) Velma Middleton ( vocals )
Recorded Chicago, 12th to 14th July 1954
CD ONE Track 12
Louis Armstrong ( tpt / vocal ) Jack teagarden ( tmb ) Barney Bigard ( clt ) Earl Hines ( pno ) Arvell Shaw ( bass ) Cozy Cole ( drs )
Recorded New York, 26th April 1950
CD ONE Track 13
Louis Armstrong ( tpt / vocal ) & the All Stars plus The New York Philharmonic conducted by Leonard Bernstein
Recorded Lewisohn Stadium, New York, 14th July 1956
CDE TWO Track 12
Alligator Story
CD TWO Track 13
George Avakian interview with W. C. Handy
CD TWO Track 14Bessie Smith ( vocal ) Louis Armstrong ( cornet ) Charloie Green ( tmb ) Fred Longshaw ( pno )
Recorded New York, 26th May 1925
CD TWO Track 15
Bessie Smith ( vocal ) Louis Armstrong ( cornet ) Fred Longshaw ( organ )
Recorded New York, 14th January 1925
CD TWO Track 16
Louis Armstrong ( tpt / vocal ) & his Orchestra
Recorded New York, 13thy December 1929
CD TWO Track 17
Louis Armstrong ( tpt / vocal ) & his Orchestra
Recorded Chicago, 26th April 1933
This is yet another reissue of these classic recordings of Armstrong play W. C. Handy but now expanded to two CDs with tracks from the All Stars, Louis with Bessie Smith & Louis with his Orchestra, with further alternative takes from the original album. Although this is music that should never be out of the catalogue do we really need all these extra tracks or is it just a marketing ploy to fleece the jazz fan of his money?
These original recordings plus “Satch plays Fats” are probably the best of Louis’ later work and it may have been more interesting if Jack Teagarden had been present on trombone they stand up pretty well after sixty years.
The alternative takes and rehearsal tracks are interesting to listen to and give an insight into Louis recording methods it is unlikely that you will play them more a couple of times.
“Bugle call rag” has some fine solos by Jack Teagarden on trombone and Earl Hines on piano with some soaring trumpet from Louis but the track is let down by a longish but uninteresting drum solo from Cozy Cole.
Louis first outing with the New York Philharmonic all seems a little pointless, the soaring strings feel out of place and the piece doesn’t start to move until the half way point when Louis and the group take over but when the two separate groups meet for the finale it makes a little more sense. Louis appeared to enjoy the outing so some good came of it. The two Bessie Smith tracks are good examples of her recorded output and it’s always good to hear Charlie Green’s trombone playing.
Of the two versions of “St Louis Blues” the earlier version is the best mainly because of J. C. Higginbottom’s marvellous trombone work and the band as a whole sound much more relaxed. The later version is taken at a faster tempo and the band sounds as though it’s going to run out of steam.
This album is something of a tribute to W. C. Handy but six different versions o0f “ST Louis Blues” seems a little over the top even though it is Handy’s best known composition.
I wouldn’t be without the original album of Louis plays Handy but I’m not sure we need all the extra music contained on the two Cds but we can’t look a gift horse in the mouth.
Reviewed by Roy Booth
PAUL BLEY – Play Blue
ECM 376 6190
Paul Bley (piano)
Recorded live at the Oslo Jazz Festival, August 2008
Solo piano recordings from Canadian pianist, Paul Bley, are few and far between despite the fact that his 1972 album Open, To Love was so influential and revered as much as his trio albums from the previous decade.
Recorded live at the Oslo Jazz Festival we once again get to marvel at Bley’s totally unique solo style. He has this incredible ability to play so freely within the structure of a tune, whilst drawing on the whole jazz tradition. Even when playing outside of familiar tonalities the blues is never far away, yet the improvisations could belong to no one else.
The set begins with ‘Far North’ which is immediately followed, with no applause from the audience, by ‘Way Down South Suite’, two long compositions each clocking in at over fifteen minutes that sit comfortably together as a continuous piece of music. The journey that the pianist takes us on is often quite sombre in mood, perhaps the wandering of a lonely traveller, allowing each of his musical thoughts to follow their own path to their final destinations.
To place the ‘Suite’ in stark relief, Bley lightens things considerably with a melodic and thought provoking ‘Flame’ that despite forays with his left hand into the deepest and darkest notes on the piano, the music retains an effervescent glow that leaves behind a satisfying warmth as the final notes decay. Another Bley original, ‘Longer’ rounds out the performance with its idiosyncratic and oblique melody giving way to a stunning improvisation that never quite goes in the way one would expect. Quite rightly the audience applause was euphoric, and prompts Bley’s return for an encore and the only standard of the set with a lithe run through of Sonny Rollin’s ‘Pent Up House’.
If at one time a rarity, solo piano recitals are now in abundance in many a label’s catalogues, but few are as richly rewarding. It is to be hoped that what is presented here not the concert in its entirety and that Volume 2 is still in the ECM vaults.
Reviewed by Nick Lea
ECM 376 6190
Paul Bley (piano)
Recorded live at the Oslo Jazz Festival, August 2008
Solo piano recordings from Canadian pianist, Paul Bley, are few and far between despite the fact that his 1972 album Open, To Love was so influential and revered as much as his trio albums from the previous decade.
Recorded live at the Oslo Jazz Festival we once again get to marvel at Bley’s totally unique solo style. He has this incredible ability to play so freely within the structure of a tune, whilst drawing on the whole jazz tradition. Even when playing outside of familiar tonalities the blues is never far away, yet the improvisations could belong to no one else.
The set begins with ‘Far North’ which is immediately followed, with no applause from the audience, by ‘Way Down South Suite’, two long compositions each clocking in at over fifteen minutes that sit comfortably together as a continuous piece of music. The journey that the pianist takes us on is often quite sombre in mood, perhaps the wandering of a lonely traveller, allowing each of his musical thoughts to follow their own path to their final destinations.
To place the ‘Suite’ in stark relief, Bley lightens things considerably with a melodic and thought provoking ‘Flame’ that despite forays with his left hand into the deepest and darkest notes on the piano, the music retains an effervescent glow that leaves behind a satisfying warmth as the final notes decay. Another Bley original, ‘Longer’ rounds out the performance with its idiosyncratic and oblique melody giving way to a stunning improvisation that never quite goes in the way one would expect. Quite rightly the audience applause was euphoric, and prompts Bley’s return for an encore and the only standard of the set with a lithe run through of Sonny Rollin’s ‘Pent Up House’.
If at one time a rarity, solo piano recitals are now in abundance in many a label’s catalogues, but few are as richly rewarding. It is to be hoped that what is presented here not the concert in its entirety and that Volume 2 is still in the ECM vaults.
Reviewed by Nick Lea
SVEIN GJERMUNDROD - Kitten
On The Funkies
Losen Records (Los 125-2)
Svein Gjermundrod (trumpet, flugelhorn); Hanna Gjermundrod (vocals); Steinar S. Nickelsen (Hammondorgan, synthesizer, Wurlitzer); Erik Nylander (drums)
Recorded May 2012
This is unusual in many ways. Svein Gjermundrod has chosen to wait until he is sixty to make his first recording. His horns dominate the record in a good way. He has much to say in a very accessible manner. Apparently one of his heroes is Herb Alpert. Don't let that put you off. Svein is better than that. He steers clear of all that it predictable without becoming esoteric.
There is considerable variation in the music. The track that made the most impact is Mdaisaa a duet with the two Gjermundrods: horn and voice. It is meditative, not afraid to leave space and dramatic.
Why should you buy a record by someone from Scandinavia that you have probably never heard of? Quite simple really. You will probably enjoy it and it is like nothing else you will have heard this year.
The overall feeling of the CD is fun and creative. If there was a concert on locally with this group I would be first in line. It would be a pity if Svein left it for another sixty years to make his seond CD.
Reviewed by Jack Kenny
Losen Records (Los 125-2)
Svein Gjermundrod (trumpet, flugelhorn); Hanna Gjermundrod (vocals); Steinar S. Nickelsen (Hammondorgan, synthesizer, Wurlitzer); Erik Nylander (drums)
Recorded May 2012
This is unusual in many ways. Svein Gjermundrod has chosen to wait until he is sixty to make his first recording. His horns dominate the record in a good way. He has much to say in a very accessible manner. Apparently one of his heroes is Herb Alpert. Don't let that put you off. Svein is better than that. He steers clear of all that it predictable without becoming esoteric.
There is considerable variation in the music. The track that made the most impact is Mdaisaa a duet with the two Gjermundrods: horn and voice. It is meditative, not afraid to leave space and dramatic.
Why should you buy a record by someone from Scandinavia that you have probably never heard of? Quite simple really. You will probably enjoy it and it is like nothing else you will have heard this year.
The overall feeling of the CD is fun and creative. If there was a concert on locally with this group I would be first in line. It would be a pity if Svein left it for another sixty years to make his seond CD.
Reviewed by Jack Kenny
VILDE&INGE – Makrofauna
ECM 376 7590
Vilde Sandve Alnæs (violin); Inga Margrete Aas (double bass)
Recorded June 2012
Making their debut on ECM, Makrofauna is an impressive and auspicious release for this young classically trained Norwegian improvising duo. Performing together as a duo since 2010 the pair have established a deep understanding of the responsibilities and demands of the improvising artist, the traditions on which their music is based, coupled with a rapport that belies their years.
Just two years as an improvising ensemble is, historically speaking within the improvised music scene, a relatively short time span, but the way in which Alnæs and Aas work together to create the music presented here is quite staggering, and the way in which the duo emphasise their togetherness by deliberately writing their band name without is deliberate and symbolic in the collective nature of the music.
All the music heard is performed acoustically, but it is pointless to dwell on how the sounds are produced and more to be embraced that they are produced at all. There are of course many precedents for this type of music performed on stringed instruments, and if the vocabulary is not new the parameters in which the two work make for a rich variety of textural possibilities, along with and tonal and timbral variation.
The album begins quietly enough on the opening ‘Under Bakken’ but soon moves throughout other pieces into darker and more intense areas of exploration. Always conscious of the need for variety and development within their music, although never change for its own sake, pieces such as ‘Løss’ explore rhythmic elements inherent in the music; whilst the contrast in the range of violin and bass are investigated on ‘Jordslag’ with Aas’s use of the bow imposingly effective against the high pitched playing of her colleague.
This is music that demands a lot of its practitioners, and no less of the listener, but for the patient and attentive the rewards to be found are truly inspiring.
Reviewed by Nick Lea
ECM 376 7590
Vilde Sandve Alnæs (violin); Inga Margrete Aas (double bass)
Recorded June 2012
Making their debut on ECM, Makrofauna is an impressive and auspicious release for this young classically trained Norwegian improvising duo. Performing together as a duo since 2010 the pair have established a deep understanding of the responsibilities and demands of the improvising artist, the traditions on which their music is based, coupled with a rapport that belies their years.
Just two years as an improvising ensemble is, historically speaking within the improvised music scene, a relatively short time span, but the way in which Alnæs and Aas work together to create the music presented here is quite staggering, and the way in which the duo emphasise their togetherness by deliberately writing their band name without is deliberate and symbolic in the collective nature of the music.
All the music heard is performed acoustically, but it is pointless to dwell on how the sounds are produced and more to be embraced that they are produced at all. There are of course many precedents for this type of music performed on stringed instruments, and if the vocabulary is not new the parameters in which the two work make for a rich variety of textural possibilities, along with and tonal and timbral variation.
The album begins quietly enough on the opening ‘Under Bakken’ but soon moves throughout other pieces into darker and more intense areas of exploration. Always conscious of the need for variety and development within their music, although never change for its own sake, pieces such as ‘Løss’ explore rhythmic elements inherent in the music; whilst the contrast in the range of violin and bass are investigated on ‘Jordslag’ with Aas’s use of the bow imposingly effective against the high pitched playing of her colleague.
This is music that demands a lot of its practitioners, and no less of the listener, but for the patient and attentive the rewards to be found are truly inspiring.
Reviewed by Nick Lea
JOHNNY HODGES & EARL HINES - Complete Recordings
Solar Records 4569947
CD One Tracks 1 to 7
Once upon a time
Collective personnel
Ray Nance ( tpt ) Cat Anderson ( tpt 0 Lawrence Brown ( tmb ) Buster Cooper ( tmb )Russell Procope ( alto ) Johnny Hodges ( alto ) Jimmy Hamilton (tnr / clt ) Pee Wee Russell ( clt ) Paul Gonsalves ( tnr ) Harold Ashby ( tnr ) Earl Hines ( pno ) Richard Davis ( bass ) Aaron Bell ( bass ) Sonny Greer ( drs ) Elvin Jones ( drs )Recorded New York, 10th & 11th January 1966
CD ONE Tracks 8 to 16
Stride Right
Johnny Hodges ( alto ) Kenny Burrell ( gtr ) Earl Hines ( pno / organ ) Richard Davis ( bass ) Joe Marshall ( drs )
Recorded New York, 14th January 1966
CD TWO Tracks 1 to 10
Swings our thing
Johnny hodges ( alto ) Cat Anderson ( tpt ) Buster Cooper ( tmb ) Jimmy Hamilton ( clt / tnr ) Earl Hines ( pno ) Jeff Castleman ( bass ) Sam Woodyard ( drs )
Recorded San Francisco, November 1967
CD TWO Tracks 11 to 16
Johnny Hodges ( alto ) Ray Nance ( tpt / violin ) Flip Phillips ( tnr ) Al Casey ( gtr ) Earl Hines ( pno ) Oscar Pettiford ( bass ) Sid Catlett ( drs ) ( Bettyy Roche ( vocals )
Recorded New York, 26th April 1944
CD TWO Tracks 17 to 21
Three shades of blue ( selected tracks )
Johnny Hodges ( alto ) Ernie Royal ( tpt ) Marvin Stamm ( tpt ) Randy Brecker ( tpt ) Snooky Young
( tpt ) Al Grey ( tmb ) Quentin Jackson ( tmb ) Garnett Brown ( tmb ) Tom Mitchell ( tmb ) Bob Ashton, Jerome Richardson, Danny Bank, Jerry Dodgion & Frank Wess ( reeds ) David Spinoza ( gtr ) Earl Hines ( pno ) Ron Carter ( bass ) Grady Tate ( drs ) Leon Thomas ( vocals )
Oliver Nelson ( arr / cond )
Recorded New York, 19th March 1970
This must be the reissue of 2014 up to press with a feast of Johnny Hodges and Earl Hines. On these two discs are three complete LPs, one partial LP and half a dozen 78rpm from 1944. Both Johnny Hodges and Earl Hines were outstanding leaders and soloists on their respective instruments. Johnny Hodges was a member of the Duke Ellington orchestra for many years and without his presence the band lacked a certain sense of style. Earl Hines was a bandleader and soloist who created his own individual style which set him apart from other pianists.
“Once upon a time” is probably the most interesting of the albums with a mouth-watering collective personnel which are mixed and matched to make the most effective use of their individual sounds. The opening title track is a typical Johnny Hodges composition and allocates the whole group of soloists a chorus each which all take the advantage to shine, Cat Anderson takes the piece out with some fairly tasteless high note trumpet playing. Bassist Richard Davis and drummer Elvin Jones keep the ensemble swinging with latter more used to playing in the company of more modern musicians such as John Coltrane.
“Fantastic, that’s you” is given over to a quartet with Jimmy Hamilton’s clarinet taking the solo honours and Earl Hines taking a lovely laid back solo, the whole piece has a beautiful relaxed air about it.
Lionel Hampton’s “The blues in my flat” opens with quirky clarinet of Pee Wee Russell followed by some tasteful blues singing from Ray Nance after which we some more Pee Wee and a nicely paced piano solo by Hines. Earl Hines’ own “You can depend on me” opens with some typical Hines piano followed by Pee Wee and the booting tenor of Jimmy Hamilton.
The second album is just as good but with a quintet and includes the inspired choice of Kenny Burrell on guitar. The album opens with Earl Hines own “Caution blues” which is an undisguised “Blues in Thirds” and brings out the best in the composition. This group has their chance to give us their version of “Fantastic, that’s you” and they make a splendid job of it with marvellous solos from all concerned, Earl Hines contribution is masterful with Kenny Burrell following closely behind.
“Swing’s our thing” does not quite reach the heights of the previous two albums but it does have its moments. On the plus side we do get to hear some more of Jimmy Hami8lton’s fi9ne clarinet and his little heard tenor work, and also the inclusion of that stalwart Ellington drummer Sam Woodyard who always brings his own brand of drumming to a session. Jimmy Hamilton is also responsible for three of the arrangements on the session plus two by Tom Whaley, one by Nat Pierce and one by bassist Aaron Bell, Luckily Cat Anderson is more subdued on this session and Buster Cooper’s contribution is up to par.
The inclusion of the 1944 tracks is welcome even though four of the tracks have vocals by Betty Roche who is fairly lightweight but any chance to hear Sid Catlett and Al Casey is bonus.
The five tracks with the Oliver Nelson big band don’t really come off and as three tracks include vocalist Leon Thomas they don’t match up to the rest of the release.
If you are an admirer of either Johnny Hodges or Earl Hines you have a treat in store as both men are at the top of their form and there are plenty of other memorable moments.
Reviewed by Roy Booth
Solar Records 4569947
CD One Tracks 1 to 7
Once upon a time
Collective personnel
Ray Nance ( tpt ) Cat Anderson ( tpt 0 Lawrence Brown ( tmb ) Buster Cooper ( tmb )Russell Procope ( alto ) Johnny Hodges ( alto ) Jimmy Hamilton (tnr / clt ) Pee Wee Russell ( clt ) Paul Gonsalves ( tnr ) Harold Ashby ( tnr ) Earl Hines ( pno ) Richard Davis ( bass ) Aaron Bell ( bass ) Sonny Greer ( drs ) Elvin Jones ( drs )Recorded New York, 10th & 11th January 1966
CD ONE Tracks 8 to 16
Stride Right
Johnny Hodges ( alto ) Kenny Burrell ( gtr ) Earl Hines ( pno / organ ) Richard Davis ( bass ) Joe Marshall ( drs )
Recorded New York, 14th January 1966
CD TWO Tracks 1 to 10
Swings our thing
Johnny hodges ( alto ) Cat Anderson ( tpt ) Buster Cooper ( tmb ) Jimmy Hamilton ( clt / tnr ) Earl Hines ( pno ) Jeff Castleman ( bass ) Sam Woodyard ( drs )
Recorded San Francisco, November 1967
CD TWO Tracks 11 to 16
Johnny Hodges ( alto ) Ray Nance ( tpt / violin ) Flip Phillips ( tnr ) Al Casey ( gtr ) Earl Hines ( pno ) Oscar Pettiford ( bass ) Sid Catlett ( drs ) ( Bettyy Roche ( vocals )
Recorded New York, 26th April 1944
CD TWO Tracks 17 to 21
Three shades of blue ( selected tracks )
Johnny Hodges ( alto ) Ernie Royal ( tpt ) Marvin Stamm ( tpt ) Randy Brecker ( tpt ) Snooky Young
( tpt ) Al Grey ( tmb ) Quentin Jackson ( tmb ) Garnett Brown ( tmb ) Tom Mitchell ( tmb ) Bob Ashton, Jerome Richardson, Danny Bank, Jerry Dodgion & Frank Wess ( reeds ) David Spinoza ( gtr ) Earl Hines ( pno ) Ron Carter ( bass ) Grady Tate ( drs ) Leon Thomas ( vocals )
Oliver Nelson ( arr / cond )
Recorded New York, 19th March 1970
This must be the reissue of 2014 up to press with a feast of Johnny Hodges and Earl Hines. On these two discs are three complete LPs, one partial LP and half a dozen 78rpm from 1944. Both Johnny Hodges and Earl Hines were outstanding leaders and soloists on their respective instruments. Johnny Hodges was a member of the Duke Ellington orchestra for many years and without his presence the band lacked a certain sense of style. Earl Hines was a bandleader and soloist who created his own individual style which set him apart from other pianists.
“Once upon a time” is probably the most interesting of the albums with a mouth-watering collective personnel which are mixed and matched to make the most effective use of their individual sounds. The opening title track is a typical Johnny Hodges composition and allocates the whole group of soloists a chorus each which all take the advantage to shine, Cat Anderson takes the piece out with some fairly tasteless high note trumpet playing. Bassist Richard Davis and drummer Elvin Jones keep the ensemble swinging with latter more used to playing in the company of more modern musicians such as John Coltrane.
“Fantastic, that’s you” is given over to a quartet with Jimmy Hamilton’s clarinet taking the solo honours and Earl Hines taking a lovely laid back solo, the whole piece has a beautiful relaxed air about it.
Lionel Hampton’s “The blues in my flat” opens with quirky clarinet of Pee Wee Russell followed by some tasteful blues singing from Ray Nance after which we some more Pee Wee and a nicely paced piano solo by Hines. Earl Hines’ own “You can depend on me” opens with some typical Hines piano followed by Pee Wee and the booting tenor of Jimmy Hamilton.
The second album is just as good but with a quintet and includes the inspired choice of Kenny Burrell on guitar. The album opens with Earl Hines own “Caution blues” which is an undisguised “Blues in Thirds” and brings out the best in the composition. This group has their chance to give us their version of “Fantastic, that’s you” and they make a splendid job of it with marvellous solos from all concerned, Earl Hines contribution is masterful with Kenny Burrell following closely behind.
“Swing’s our thing” does not quite reach the heights of the previous two albums but it does have its moments. On the plus side we do get to hear some more of Jimmy Hami8lton’s fi9ne clarinet and his little heard tenor work, and also the inclusion of that stalwart Ellington drummer Sam Woodyard who always brings his own brand of drumming to a session. Jimmy Hamilton is also responsible for three of the arrangements on the session plus two by Tom Whaley, one by Nat Pierce and one by bassist Aaron Bell, Luckily Cat Anderson is more subdued on this session and Buster Cooper’s contribution is up to par.
The inclusion of the 1944 tracks is welcome even though four of the tracks have vocals by Betty Roche who is fairly lightweight but any chance to hear Sid Catlett and Al Casey is bonus.
The five tracks with the Oliver Nelson big band don’t really come off and as three tracks include vocalist Leon Thomas they don’t match up to the rest of the release.
If you are an admirer of either Johnny Hodges or Earl Hines you have a treat in store as both men are at the top of their form and there are plenty of other memorable moments.
Reviewed by Roy Booth
PETER ZAK - The Eternal Triangle
Steeplechase SCCD 31771
Peter Zak ( pno ) Peter Washington ( bass ) Billy Drummond ( drs )
Recorded January 2012
Peter Zak grew up in Ohio and then in Oakland, California, he studied classical piano bt turned to jazz whilst in High School. After graduating from U.C. Berkley he began playing clubs, concerts and festivals in the San Francisco Bay Area with other musicians such as the alto player Frank Morgan and John Handy. He then moved to New York again working with top flight artists, he is also a faculty member of the highly regarde3d jazz programme at the New School University.
The album gets off to a sprightly star with Frank Loser’s “I believe in you” with superb support from Peter Washington on bass and Kenny Washington on drums two of the able rhythm players currently playing. It’s refreshing to note the pianist has dug into the archives to unearth a little played Cole Porter tune “Goodbye, little dream, Goodbye” and for this Peter Zak is in a reflective mood and brings out the best in the tune.
The title tune Sonny Stitt’s “The Eternal Triangle” is probably the most successful track on the album with Peter Zak plumbing all his pianistic skills. Another very listenable track is Bud Powell’s ballad “I’ll keep loving you” again a neglected tune which deserves more attention.
Gene Ammon’s “Hittin’ the Jug” is given the appropriate down home treatment and features Peter Washington’s fine bass skills. Of the three Peter Zak originals “George Washington” has the strongest melody and has the trio at its most cohesive.
If you enjoy piano trios you may well find this fits your bag.
Reviewed by Roy Booth
Steeplechase SCCD 31771
Peter Zak ( pno ) Peter Washington ( bass ) Billy Drummond ( drs )
Recorded January 2012
Peter Zak grew up in Ohio and then in Oakland, California, he studied classical piano bt turned to jazz whilst in High School. After graduating from U.C. Berkley he began playing clubs, concerts and festivals in the San Francisco Bay Area with other musicians such as the alto player Frank Morgan and John Handy. He then moved to New York again working with top flight artists, he is also a faculty member of the highly regarde3d jazz programme at the New School University.
The album gets off to a sprightly star with Frank Loser’s “I believe in you” with superb support from Peter Washington on bass and Kenny Washington on drums two of the able rhythm players currently playing. It’s refreshing to note the pianist has dug into the archives to unearth a little played Cole Porter tune “Goodbye, little dream, Goodbye” and for this Peter Zak is in a reflective mood and brings out the best in the tune.
The title tune Sonny Stitt’s “The Eternal Triangle” is probably the most successful track on the album with Peter Zak plumbing all his pianistic skills. Another very listenable track is Bud Powell’s ballad “I’ll keep loving you” again a neglected tune which deserves more attention.
Gene Ammon’s “Hittin’ the Jug” is given the appropriate down home treatment and features Peter Washington’s fine bass skills. Of the three Peter Zak originals “George Washington” has the strongest melody and has the trio at its most cohesive.
If you enjoy piano trios you may well find this fits your bag.
Reviewed by Roy Booth
PRIMITIVE ARKESTRA
- Dolphy’s Hat
SLAMCD 549
Julian Priester trombone; Steve Swell trombone; Marc Smason trombone, shofar, digerydoo; Frank Clayton bass; Oleg Ruvinov tuba; Nadya Kadrevis drums; Rosalyn DeRoos clarinet; Doug Haning contra alto clarinet; Michael Wimberly drums; Matt Cercily mandolin; Dan Blunck tenor sax, flute; Roy Campbell flute, trumpet; Juan Pablo Carletti drums; Adam Lane bass; Blaise Siwula sax; David Bindman sax; Avram Ferver sax; David Arner piano; Liam Sillery trumpet; Bob Reina piano; Chris Jones bass; Mark Flynn drums; Jack DeSalvo cello; Matt Lavelle trumpet; Nora McCarthy voice; John Murchison bass; Stan Nishimura trombone; Diana Wayburn flute; Frankie Wilson tenor sax; Constance Cooper pian.
This album is an archive of recordings by Primitive Arkestra made between 2008 and 2013. The band varies from quartet to 12-piece and is conducted or directed by David Haney piano.
This is free music in that there were no rehearsals and very few instructions, the music changing at each performance. David Haney wrote the compositions, but what happens at each playing belongs, so to speak, to individual musicians and the collective effort. Haney's approach very much allows the players to contribute the maximum imagination, ingenuity and inspiration to their individual roles and this enhances both the author's opus and the cooperative overlay.
Don't go looking for tunes; rather bask in warm currents and gentle winds, restrained discourse and background colours which are intense but a little under-focused. It's gorgeous.
Reviewed by Ken Cheetham
SLAMCD 549
Julian Priester trombone; Steve Swell trombone; Marc Smason trombone, shofar, digerydoo; Frank Clayton bass; Oleg Ruvinov tuba; Nadya Kadrevis drums; Rosalyn DeRoos clarinet; Doug Haning contra alto clarinet; Michael Wimberly drums; Matt Cercily mandolin; Dan Blunck tenor sax, flute; Roy Campbell flute, trumpet; Juan Pablo Carletti drums; Adam Lane bass; Blaise Siwula sax; David Bindman sax; Avram Ferver sax; David Arner piano; Liam Sillery trumpet; Bob Reina piano; Chris Jones bass; Mark Flynn drums; Jack DeSalvo cello; Matt Lavelle trumpet; Nora McCarthy voice; John Murchison bass; Stan Nishimura trombone; Diana Wayburn flute; Frankie Wilson tenor sax; Constance Cooper pian.
This album is an archive of recordings by Primitive Arkestra made between 2008 and 2013. The band varies from quartet to 12-piece and is conducted or directed by David Haney piano.
This is free music in that there were no rehearsals and very few instructions, the music changing at each performance. David Haney wrote the compositions, but what happens at each playing belongs, so to speak, to individual musicians and the collective effort. Haney's approach very much allows the players to contribute the maximum imagination, ingenuity and inspiration to their individual roles and this enhances both the author's opus and the cooperative overlay.
Don't go looking for tunes; rather bask in warm currents and gentle winds, restrained discourse and background colours which are intense but a little under-focused. It's gorgeous.
Reviewed by Ken Cheetham
SAMO SALAMON - 2Alto
Steeplechase SCCD 33112
Samo Salamon, guitar; Loren Stillman, alto saxophone; John O'Gallagher, alto saxophone; Roberto Dani, drums
Another unusual instrumentation format for us to ponder. The music is all penned by Salamon.
The two saxophonists named are new voices in the Salamon repertoire; the music was clearly developed with them in mind, the two saxophone parts clearly set one against the other against the flowing undercurrents of the guitar and drums. The guitar is sometimes heard as the lead, especially in its more investigative modes, when the full gamut of its possible palette is explored. 'Mr. Cynical' exemplifies this manner. At other times the saxes sigh in empathy one with the other or may interleave in relentless, twisting spirals.
Salamon is, I think, a truly creative musician who seems to set out to explore both breadth and depth of his instrument, by searching for extraordinary frameworks through which to take his music forward and let his writing and the band's improvisation grow.
This album is very fine and tells me that the band and Salamon particularly are worthy of any accolade accruing to them.
Reviewed by Ken Cheetham
Steeplechase SCCD 33112
Samo Salamon, guitar; Loren Stillman, alto saxophone; John O'Gallagher, alto saxophone; Roberto Dani, drums
Another unusual instrumentation format for us to ponder. The music is all penned by Salamon.
The two saxophonists named are new voices in the Salamon repertoire; the music was clearly developed with them in mind, the two saxophone parts clearly set one against the other against the flowing undercurrents of the guitar and drums. The guitar is sometimes heard as the lead, especially in its more investigative modes, when the full gamut of its possible palette is explored. 'Mr. Cynical' exemplifies this manner. At other times the saxes sigh in empathy one with the other or may interleave in relentless, twisting spirals.
Salamon is, I think, a truly creative musician who seems to set out to explore both breadth and depth of his instrument, by searching for extraordinary frameworks through which to take his music forward and let his writing and the band's improvisation grow.
This album is very fine and tells me that the band and Salamon particularly are worthy of any accolade accruing to them.
Reviewed by Ken Cheetham
