Los Angeles Jazz Scene - CD Reviews
                      April 2011
Quarteto Nuevo
Quarteto Nuevo
(self-produced)

Quarteto Nuevo, a unique world jazz quartet, is sometimes reminiscent of Oregon. Founded in 2001 by
percussionist Christopher Garcia (who is particularly adept on tabla), the current edition of the group also includes
cellist Jacob Szekely, acoustic guitarist Kenton Youngstrom and Damon Zick on soprano sax and alto flute.

Performing originals plus pieces by Egberto Gismonti and Milcho Leviev, Quartet Nuevo features individual solos
but the main emphasis, and the most unique aspect of the group, is their ensemble sound. Influenced by styles from
India and Mexico in addition to jazz and classical music., Quarteto Nuevo's music is modern and uses advanced
rhythms and time signatures yet also has the sound of ancient times. Their nine performances on this CD are
atmospheric, full of subtle surprises, and unlike anything else heard in the jazz world.

Clearly this would be a fascinating group to see live, and fortunately they perform occasionally in the Los Angeles
area. This fine outing gives listeners a strong example of their music; it is available from www.quartetonuevo.com.


The Timex All Star Jazz Shows
Volume 1
(Mr. Music)

Stan Kenton
'Live' Birdland Encores
(Mr. Music)

The Mr. Music label, conceived and run by Wayne Knight, has consistently released colorful sets of formerly rare
music with an emphasis on swing.

The Timex Watch Company sponsored four jazz specials during 1957-59 that overflowed with major jazz artists and
had a breathless quality about them. Critics at the time faulted the shows for packing so many guests into one hour
programs and for largely overlooking modern jazz in favor of the major names. But when the programs are seen or
heard today, we can only thank Timex for capturing so many musicians in prime form. I only wish that the four
Timex shows were readily available on DVD.

The two-CD set Volume 1 gives listeners the complete soundtracks of the first two programs. While Louis Armstrong
only appears on nine of the 29 selections, he is the obvious star, sounding magnificent on “On The Sunny Side Of
The Street,” trading fours with cornetist Ruby Braff on “Jeepers Creepers,” doing a definitive version of “Rockin'
Chair” with Jack Teagarden and closing both shows. Other performers include the Woody Herman Orchestra, the
Dave Brubeck Quartet, the Duke Ellington Orchestra (on “Ballet Of A Flying Saucer” and a brief “Such Sweet
Thunder”), Carmen McRae, Gene Krupa's Trio with Charlie Ventura (“Dark Eyes'), Jack Teagarden, Bobby
Hackett, June Christy the Lionel Hampton Big Band, George Shearing, the original Dukes Of Dixieland (sounding
great on “Over The Waves”), Jaye P. Morgan (a bit out of place but showing that she could sing jazz) and the Gerry
Mulligan Quartet with Art Farmer. Steve Allen is the host on the first program while Garry Moore emcees and
directs traffic on the second. But even more significant than the individual performances are the happy feeling
that can be felt throughout both shows, the mutual respect of the performers, and the pure joy of the music.

There is also plenty of joy and spirit to be experienced in the Stan Kenton double-CD. The orchestra is featured on
four radio broadcasts from Birdland that date from Apr. 26-May 3, 1953. At the time Kenton had quite an all-star
band of young greats, a hard-swinging outfit that was a contrast to his previous adventurous string ensemble, the
Innovations Orchestra. Among the soloists heard from during these performances are trumpeters Conte Candoli
and Buddy Childers (with Ernie Royal on lead), trombonist Frank Rosolino, bass trombonist George Roberts, altoist
Lee Konitz, both Richie Kamuca and Bill Holman on tenors, and guitarist Sal Salvador. Drummer Stan Levey
drives the band, Chris Connor sings “If I Should Lose You” and “Taking A Chance On Love,” and the Four Freshmen
guest on “It's A Blue World.” The performances are well recorded (as are the Timex shows), the Kenton Orchestra
sounds inspired and the leader's announcements are both informative and witty. Stan Kenton fans know that there
can never be enough Kenton recordings. Those who are new to his music will find  'Live” Birdland Encores to be
filled with accessible and swinging performed that serve as a perfect introduction to Kenton's music.

Both of these worthy sets are available from www.worldsrecords.com.


Duke Ellington
The Complete 1932-1940 Brunswick, Columbia and Master Recordings
(Mosaic)

Ahmad Jamal
The Complete Argo Sessions 1956-62
(Mosaic)

Henry Threadgill
The Complete Novus & Columbia Recordings
(Mosaic)

Michael Cuscuna's Mosaic, jazz's premiere reissue label, gained its biggest acclaim in its earlyi days for its massive
limited-edition box sets of music from the 1950's and '60s, often from the Blue Note label. In more recent times, the
label has stretched itself a bit by also compiling definitive box sets of early jazz, and occasional reissues of avant-
garde jazz. This article has three recent reissues, one apiece in each of these categories.

Many jazz historians and fans rate Duke Ellington's 1940-42 orchestra, with its steady stream of classic recordings
for Victor, as his finest. But in reality, Ellington's musical prime went from 1926 until his death in 1974 and each
edition of his band had its classic moments. The 11-CD Mosaic box has all of the studio recordings that Ellington
made with his full orchestra during 1932-40 except for one four-song session cut for Decca in England in 1933. The
recordings with smaller combos taken from his big band had been reissued previously by Mosaic. With such stars as
trumpeters Cootie Williams, Arthur Whetsel and Freddie Jenkins, cornetist Rex Stewart, a trombone section
comprised of Tricky Sam Nanton, Lawrence Brown and Juan Tizol, clarinetist Barney Bigard, altoist Johnny
Hodges (who doubled during the era on soprano), baritonist Harry Carney and Ellington himself on piano, the band
had as many as ten major soloists at any one time. Ivie Anderson was the orchestra's classy singer and in 1932
there were some guest appearances by Bing Crosby, Ethel Waters, Adelaide Hall and the Mills Brothers, However
the greatest assets were the leader's arrangements (which magically blended together the many diverse voices into
a unified whole) and compositions. From the original version of “It Don't Mean A Thing” to “Harmony In Harlem,”
from “Sophisticated Lady” and the four-part “Reminiscing In Tempo” to “Braggin' In Brass” and “I've Got To Be A
Rug Cutter,” all 252 performances (which include all of the alternate takes) are on this remarkable box.

Ahmad Jamal had an original approach to playing jazz piano from the start. While aware of other pianists
including Bud Powell and Erroll Garner, Jamal developed his own chord voicings, built up solos dramatically, and
was an expert at using space. His close interplay with his trio, which continues today, his use of dynamics, and his
insistence on making every note count made him an influential force by the mid-1950s. Miles Davis loved his
playing and insisted that his pianist Red Garland play as close as he could to Jamal. Davis also adopted some of
Jamal's repertoire. In 1956 Jamal formed a trio with bassist Israel Crosby and drummer Walter Perkins; after one
album Perkins' successor was Vernel Fournier. They had a giant hit with “Poinciana” and recorded regularly for
Argo during the next six years. Jamal's nine-CD Mosaic box has all of the music that the trio documented plus one
album with a string section and one in which guitarist Ray Crawford and violinist Joe Kennedy temporarily make
the group a quintet. The 136 selections (included 23 previously unreleased performances) form quite a musical
legacy and while this is his best known work, it only covers about 10% of Ahmad Jamal's 60-year career.

One of the most inventive of all of the avant-garde jazz musicians, Henry Threadgill plays alto, tenor, baritone,
flute and clarinet on his eight-CD Mosaic set. Reissued are all of his recordings as a leader for major labels. A thinker
and a conceptualizer who forms bands based on sounds and tone colors that he hears in his mind, Threadgill's
compositions and arrangements are written specifically for his ensemble of the moment. This box has Threadgill's
recordings for Arista Novus (1978-79), RCA Novus (1986-88) and Columbia (1994-96), strong samplings of music
from his first five bands. Air, the trio that Threadgill had with bassist Fred Hopkins and drummer Steve McCall, is
featured on three albums. Most famous is Air Lore, an unusual program that has two songs apiece by Jelly Roll
Morton and Scott Joplin. The Joplin rags (“The Ragtime Dance” and “Weeping Willow Rag”) are a particular
delight, with the original themes played joyfully before the trio stretches out on its ideas. Threadgill's X-75 consists
of four reed players (mostly on flutes), four basses and sometimes Amina Claudine Myers on haunting vocals. The
Henry Threadgill Sextett, a septet with three horns, cello, bass and two drums, is more accessible and extroverted,
playing a form of free bop. Very Very Circus, consisting of Threadgill's reeds, French horn, two guitars, two tubas
and drums, is open to World Music influences while his Make A Move is a quintet with the rockish guitarist
Brandon Ross and accordionist Tony Cedras in the spotlight. Heard in large doses, the unpredictable and lively
music reveals its own logic and is quite colorful and innovative.

This trio of very different but equally recommended box sets are available from www.mosaicrecords.com. But get
them soon because they are all limited-editions.