Los Angeles Jazz Scene - CD Reviews
                       August 2011
Modern Jazz Quartet
The Complete Atlantic Studio Recordings 1956-64
(Mosaic)

The most recent limited-edition box set from the always-remarkable Mosaic label is a seven-CD package
featuring the Modern Jazz Quartet during their prime years. The MJQ first came together as the rhythm
section of the Dizzy Gillespie big band in the late 1940s, getting features whenever Gillespie decided to rest his
horn sections. In 1951 they had a few recordings as the Milt Jackson Quartet, including one set with
vibraphonist Jackson, pianist John Lewis, bassist Ray Brown and drummer Kenny Clarke. By the time the MJQ
was officially formed in 1952, Brown had left to join Oscar Peterson and Percy Heath was the bassist. The group
recorded for Prestige and in 1955 had its only other personnel change when Clarke departed and Connie Kay
became the band's permanent drummer.

In 1956 the Modern Jazz Quartet cut their first recordings for the Atlantic label. Although they made occasional
recordings elsewhere, that was their main record company until the group's original breakup in 1974. The
Mosaic box does not include the MJQ's concert recordings (since it mostly duplicates songs already recorded in
the studio) and cuts off in 1964 although three songs from 1965 that are part of an earlier album are also
included. The box set is comprised of all of the music (including a few alternate takes) that was originally
released as 14 Lps: Fontessa, The Modern Jazz Quartet At Music Inn, The Modern Jazz Quartet, One Never
Knows, At Music Inn Vol. 2, Pyramid, Third Stream Music, The Modern Jazz Quartet And Orchestra, The
Comedy, Lonely Woman, The Sheriff, A Quartet Is A Quartet Is A Quartet, Collaboration, and Plays Porgy and
Bess.

Obviously there is quite a bit of music on this box. While there are a few guests (clarinetist Jimmy Giuffre on
five songs, tenor-saxophonist Sonny Rollins on two, two numbers with the Beaux Arts String Quartet, one with a
chamber music ensemble, a song with singer Diahann Carroll, and full albums with either a symphony
orchestra or guitarist Laurindo Almeida) the focus is on the quartet. John Lewis was the band's musical director
and responsible for the classical-oriented selections while Milt Jackson's brilliance on blues, bop and ballads kept
the group from ever veering too far from jazz.

There are many highpoints to this box with some of the classic moments being Almeida's playing on “One Note
Samba,” the interplay between the MJQ and the string quartet on “Conversation,” and such standbys as “Bags'
Groove” (with Rollins), “Bluesology” and “Django.”

Needless to say, listeners who either love the Modern Jazz Quartet or want to fully explore their music will have
to get this perfectly-conceived box, which is available from www.mosaicrecords.com.


Jill Salkin
The Very Thought Of You
(self-produced)

There are so many fine female jazz-inspired singers on the scene today that it is easy to overlook some of the
talented vocalists. Jill Salkin deserves strong recognition. She has a very attractive and clear voice, improvises
with subtlety, knows how to put emotion into vintage lyrics while leaving something in reserve, and she has a
solid sense of swing.

While her debut set Heart's Desire was comprised of her originals, The Very Thought Of You finds the
Philadelphia-based singer (with the exception of her “Drift Away”) performing veteran standards. Starting with
a very cheerful medley of “Zippity Doo-Dah” and “What A Beautiful Morning” and concluding with a jubilant
“Bye Bye Blues” (which has a heated chorus of scatting), she sounds quite happy to be singing. “In A
Sentimental Mood” is transformed into a medium-tempo romp that works quite well while the other highlights
include “My Romance,” “No More Blues” and a warm version of “The Very Thought Of You.” Ms. Salkin is joined
by a swinging trio led by pianist Dave Posmontier with occasional solos from trumpeter Bob Meashey and tenor-
saxophonist Bob Howell.

This is a difficult set to resist. It is highly recommended and available from www.jillsalkin.com.


The New Paul Whiteman Orchestra
Plays The Music Of The Roaring Twenties
(Wave)

In the 1920s, Paul Whiteman led one of the most important jazz-oriented orchestras around, and the most
popular big band in the world. Although a press agent dubbed him the “King of Jazz,” in reality Whiteman was
the king of the jazz age. While his orchestra did not exclusively play jazz (and has been unfairly castigated by
many critics through the years), in 1928 its ranks included cornetist Bix Beiderbecke, C-melody saxophonist
Frank Trumbauer, arranger Bill Challis and, for a time, violinist Joe Venuti and guitarist Eddie Lang.
     
In the 1970s, cornetist and writer Dick Sudhalter, who wrote the classic book Bix: Man And Legend, organized
an orchestra that played arrangements from Whiteman's repertoire of 1927-30. While Sudhalter was in the
role of Beiderbecke, John R.T. Davies filled in for Trumbauer, and Chris Ellis was in Bing Crosby's place, the solos
were not recreations and were instead creative improvisations in the style of the period. The live concert from
1975 that is released in full for the first time on this CD, produced by bassist Peter Ind (who is also the head of
the Wave label), is a perfect tribute to both Whiteman and the late Sudhalter.
     
The audience is rightfully enthusiastic as the New Paul Whiteman Orchestra not only performs such songs as
“From Monday On,” “Mary,” “Because My Baby Don't Mean Maybe Now” and “San,” but arrangements that
were never recorded including “Dusky Stevedore,” “There's A Rainbow Round My Shoulder” and “Limehouse
Blues.” “Hallelujah” is taken as a feature for pianists Pat Dodd and Keith Nichols, Nichols is showcased on
Beiderbecke's “Candelights” and Chris Ellis' Rhythm Boys does an excellent job of bringing back the spirit of the
original Rhythm Boys.
     
The only slight minus is a rather silly version of “Tiger Rag,” but that does not detract from the joy of this
important orchestra, which helped to lead to a re-evaluation of Paul Whiteman's place in jazz history. It is
available, along with other valuable recordings, from www.peterind.com.


Cuong Vu 4-Tet
Leaps Of Faith
(Origin)

This is a rather unusual release, even for the avant-garde trumpeter Cuong Vu. Vu is featured in a quartet with
both Stomu Takeishi and Luke Bergman on electric basses plus drummer Ted Poor. While the bassists often
emulate rockish guitarists, the repertoire includes unique versions of “Body And Soul,” “All The Things You
Are,” “My Funny Valentine” and the Beatles' “Something.”

Some of the performances are more intriguing than others. The standards find Vu paying tribute to their
melodies even with some crazy and tumultuous sounds surrounding him; he even plays a bit beboppish on “All
The Things You Are.” On the minus side is “I Shall Never Come Back” which is extremely noisy and at 15
minutes rambles on much too long.

Cuong Vu, probably best known for his stint with Pat Metheny, deserves credit for always stretching himself.
Listeners who do not mind a bit of noise with their jazz, and are open to other wordly sounds, will find this to be a
worthwhile acquisition. It is available from www.origin-records.com.


The Boswell Sisters
Collection
(Storyville)

The Boswell Sisters were arguably the finest jazz vocal group of all time, and certainly the most inventive one
prior to Lambert, Hendricks and Ross. Connie, Vet and Martha Boswell not only had beautiful voices but they
swung at every tempo. They worked out arrangements for each of the songs they performed by practicing them
constantly; nothing was ever written down. Their renditions frequently had at least two or three tempo and
mood changes (which was unprecedented for vocal groups of the early 1930s) and were full of heated moments
and surprises. Although many top jazz artists (including trumpeter Bunny Berigan, clarinetist Jimmy Dorsey
and trombonist Tommy Dorsey) appeared on some of their recordings, the Boswell Sisters always stole the show.

Collection is a five-CD set that has all of the Boswells studio recordings. It reissues five earlier CDs that Storyville
put out awhile ago. It is loosely in chronological order. The first CD is particular strong, dating from 1931-32
and including such gems as “Roll On, Mississippi, Roll On,” “It 's The Girl,” “Shine On Harvest Moon,” “Heebies
Jeebies” and “Everybody Loves My Baby.” The second disc has has the Boswell Sisters earliest recording (1925's
“Nights When I'm Lonely”), includes their dates from 1930, and has their participation in a few multi-artist
medleys. The other three CDs date from 1932-36 and are full of wondrous moments.

The only flaw to Collection is the enclosed DVD. Although it lists all of the Boswells film appearances (which total
almost 47 minutes), only nine minutes is actually on the disc. While one gets to see the Boswells in the short
“Close Farm-ony,” a rare newsreel appearance and their spot on “Ramblin' Round Radio Row #1,” missing are
their appearances in three feature films (The Big Broadcast, Moulin Rouge, Transatlantic Merry-Go-Round) and
the short. These omissions are the only thing that keeps Collection from being truly complete.

But despite that, The Boswell Sisters' Collection is a must for fans of jazz vocals, vocal groups and classic jazz. If
Martha and Vet had not retired in 1936 when they got married (leading to Connie Boswell pursuing a solo
career), the Boswell Sisters would be much better known today. This highly recommended set is available from
www.storyvillerecords.com.


Rick Stone
Fractals
(Jazzand)

Rick Stone is a veteran bop-based guitarist based in New York. It had been a few years since his most recent
recording, so the release of Fractals is a welcome event.

Stone has become more adventurous through the years while developing a very warm tone a little reminiscent
of Jim Hall. On Fractals he is joined by bassist Marco Penascia and drummer Tom Pollard who are both subtle
and stimulating in their support. The musicians perform four standards and seven originals, some of which are
based on the chord changes of standards.

Among the highpoints of this quietly fiery set are “Fractals” (based on “All The Things You Are”), the
runthrough on “I Got Rhythm” changes on “Scoby,” “Nacho Mama's Blues” which has a tricky melody before
becoming a medium  tempo blues, a modernized “Smoke Gets In Your Eyes,” and the guitarist's wistful “Places
Left Behind.”

The interplay between the three musicians, the way that the play with time and their utilization of unusual
but logical rhythmic figures are impressive as is Stone's constant flow of melodic ideas. Fractals, which is
available from www.jazzand.com, is an easy set to enjoy and one of Rick Stone's finest recordings to date.


Kenny Wheeler
One Of Many
(Cam Jazz)

Flugelhornist Kenny Wheeler, pianist John Taylor and electric bassist Steve Swallow each have introverted
musical personalities. On One Of Many, the trio performs ten of Wheeler's originals and the results are
melancholy, laidback, thoughtful and generally beautiful.

Wheeler's compositions are mostly ballads with nothing played at faster than a medium pace. The trumpeter's
solos are restrained (occasionally hinting at his great range), emphasizing long tones, melodic development and
his haunting tone. Taylor, who in earlier years hinted at Keith Jarrett, now has a more original style and his
lyricism matches well with Wheeler. Swallow, whose sound is that of a high-note acoustic bassist, is fine in
support (one never misses the drums) and also has some short solos.

One Of Many is a fine CD that grows in interest with each listen. It is available from www.camjazz.com.