Los Angeles Jazz Scene - CD Reviews
                      October 2011
Benny Goodman
AFRS Shows Volumes 1-5
(Sounds Of Yester Year)

Benny Goodman became the “King Of Swing” in 1935 when his band caused a sensation at Los Angeles’ Palomar  
Ballroom, launching the Swing Era. By 1946, the clarinetist was 37 and had been a household name for a decade.
However, with the rise of bebop, Goodman’s swing music was slipping permanently behind the times, being
eclipsed by Charlie Parker and Dizzy Gillespie. While Goodman would modernize his band during 1948-49 and
explore bop before going back to swing, in 1946 he was largely ignoring the newer music.
Goodman had reformed his orchestra in late 1944 and seemed to be doing well in 1946 although he would break up
the big band by the end of the year. Among his many appearances was being featured on a half-hour weekly radio
show. The series ran from July 19t6 to June 1947 and the forty programs are scheduled to be reissued on 20 CDs
(two programs per disc) by the British Sounds Of Yester Year label.
      
The first ten programs, reissued on these five CDs, fall into a pattern. After a brief version of Goodman’s theme song
“Let’s Dance,” there are a few numbers by the big band (some with Art Lund or Eve Young on vocals), a feature or
two for Goodman’s sextet or quintet, a guest star, and two not-so-funny comedy routines by Peter Donald. Despite
the latter and an annoying fanfare that is used too often, these well recorded broadcasts are well worth hearing.
      
During this period, the Benny Goodman Orchestra included such notables as trumpeters Bernie Privin and Johnny
Best, trombonists Lou McGarity and Cutty Cutshall, pianist Joe Bushkin, vibraphonist Johnny White and
drummer Louie Bellson. The guests on the programs are Martha Tilton and Johnny Mercer (Vol. One), classical
pianist Nadia Rosenberg and Helen Ward (Vol. Two), Gene Krupa and classical guitarist Vincente Gomez (Vol.
Three), Count Basie and the Stuyvesant String Quartet (Vol. Four), and Peggy Lee and a second appearance by
Nadia Rosenberg (Vol. Five).
      
Most importantly, the band and Benny Goodman are heard in top form throughout each of the programs. Strip
away the occasional show business trappings and what is left is timeless swing and brilliant clarinet playing. These
rewarding if rarely heard broadcasts are all easily recommended to swing fans, and made available at

www.cityhallrecords.com.
                                                      

Ronnie Scott & His American Friends
Secret Love
(Candid)

Wes Montgomery
Body And Soul
(Candid)

During 1963-66 Les Tomkins, a jazz fan, short-term club owner and future jazz journalist, had the permission of
Ronnie Scott to record whatever he wanted at Ronnie Scott’s, the top jazz club in London. These two CDs plus other
sets released by Candid (www.candidrecords.com) owe their existence to Tomkins.

Tenor-saxophonist Ronnie Scott, who was one of England’s first bop soloists, matches swing, ideas and wit with some
major American jazz musicians on his Candid CD. The recording quality of some of these performances is a bit
cloudy but the excitement comes through. Joined by rhythm sections that include pianist Stan Tracey in 1964,
Scott holds his own with fellow tenor Sonny Stitt on a 25-minute version of “Secret Love,” teams up with
trumpeter Donald Byrd on two lengthy numbers, blends with trombonist J.J. Johnson on “Bye Bye Blackbird” and
also jams with trumpeter Freddie Hubbard.  A brief interview with Ronnie Scott concludes this intriguing and
generally fiery CD.

The Wes Montgomery set is better recorded and historically significant. During April-May 1965, his performances
at Ronnie Scott’s amazed British guitarists, who were impressed by both Montgomery’s creativity and his kind
personality. Joined by Stan Tracey, bassist Rick Laird and drummer Ronnie Stephenson, he really stretches out on
seven numbers (five of which exceed ten minutes), and takes an sounded more fluent than during this
engagement, alternating with heated single-note lines and lush chordings to create a very personal style that
would challenge other guitarists to top for decades to come. Body And Soul features Wes Montgomery at the peak of
his powers.
                                                    

The Dukes Of Dixieland
Live At The Famous Door
(SRI Jazz)

The Dukes Of Dixieland
Family Favorites
(SRI Jazz)

Louis Armstrong And The Dukes Of Dixieland
Lost Treasures
(SRI Jazz)

The Dukes Of Dixieland were one of the most popular dixieland groups of the 1950s. Trumpeter Frank Assunto and
his brother trombonist Fred Assunto were playing in public by the late 1940s in their native New Orleans.  They
won a talent show in 1949 and toured with the Horace Heidt show for a few months. In 1950 they officially formed
the Dukes; the Famous Door on Bourbon Street became their home base for the next four years. Their recordings for
the Audio Fidelity label (which found them becoming one of the first jazz groups to record in stereo) made them
nationally famous. In the early 1960s the Dukes recorded arguably their finest albums for Columbia. Tragically
both Frank and Fred died young from cancer. Other later groups called the Dukes Of Dixieland have failed to live
up to the high standards of the original band and the recordings of the Assuntos have rarely been reissued on CD.

Recently the SRI Jazz label has started issuing recordings by the original Dukes of Dixieland. Live At The Famous
Door has previously unreleased performances from 1951-55 that feature the group in its early days. Unfortunately
the exact dates are not given and the personnel listing is of all the versions of the band from the era, so one does not
usually know whether Bill Shea, Harry Shields, Mike Costa, Tony Parenti or Pete Fountain is on clarinet. The
recording quality is decent although not state-of-the-art for the period. No matter, it is a joy to hear these spirited
versions of Dixieland standards, plus such obscurities as “339 Rag,” a two-beat version of the “Merry Widow
Waltz,” and “Big Mamoo.” Frank Assunto was already developing into a major soloist and a fine singer. Betty
Owens, who became Fred Assunto’s wife, also does well in a country-influenced style. It is a happy occasion that
these performances have finally been released.

Family Favorites takes its material from the Dukes’ Audio Fidelity recordings of 1956-60. The recording quality is
superior, Papa Jac Assunto is part of the band on banjo and second trombone, and among the four clarinetists is
Jerry Fuller. Once again recording dates and exact personnel are unfortunately not given, but the music is very
easy to enjoy. A few numbers are taken from the Duke’s sessions with Louis Armstrong, who clearly enjoyed this
young group. While the Dukes’ Audio Fidelity Lps can sometimes be found in used record stores, it is good to have at
least a sampling of their music on this CD.

Lost Treasures has 12 titles taken from the Louis Armstrong/Dukes Of Dixieland sessions of 1959 that resulted in
nearly three albums of material. Armstrong is heard in jubilant form, hitting some outstanding high notes,
particularly on “Avalon.” The Dukes do not sound awed by Satch (even though they were) and Frank Assunto
even takes a vocal on “Sweethearts On Parade” next to Armstrong. It is rewarding to hear Satch playing such
material as “Limehouse Blues,” “Wolverine Blues” and “That’s A Plenty,” none of which were in his repertoire
during this era. Until all of these sessions are reissued in complete form, Lost Treasures is worth picking up.

Despite some quality control issues (there are occasional errors in the listings of songs), this first batch of the Dukes
of Dixieland releases from SRI (www.srirecords.com) makes one hungry for more.
                                                     

Curtis Fuller
Soul Trombone/Cabin In The Sky
(Impulse)

Archie Shepp
For Losers/Kwanza
(Impulse)

Sonny Rollins
On Impulse!/There Will Never Be Another You
(Impulse)

In the 1960s the Impulse label, which was founded by Creed Taylor and run for most of its existence by Bob Thiele,
was a wide ranging record company. Although best known for its John Coltrane recordings and its many avant-
garde albums, Impulse also documented swing and bop survivors. Recently the Verve Music Group has been
reissuing some of these valuable sets in a “two Lps on one CD” series. While the personnel and songs are easy to
read, the original liner notes are reproduced at a microscopic size that will require a magnifying glass to read.

The two albums by trombonist Curtis Fuller have been scarce for decades. On Soul Trombone, Fuller leads a sextet
that is patterned a bit after Art Blakey’s Jazz Messengers, a group he had recently joined. With trumpeter Freddie
Hubbard and tenor-saxophonist Jimmy Heath in the frontline, Fuller explores three of his originals plus a trio of
standards including “Dear Old Stockholm” and “In The Wee Small Hours Of The Morning.” This 1961 set finds
Hubbard sounding confident early in his career. The other album is a bit unusual for Fuller, accompanied by an
orchestra arranged by Manny Albam, performs 11 pieces from Cabin In The Sky, one of the trombonist’s favorite
movies. Instead of playing songs from the film, Albam and Fuller explore the earlier Broadway score, unearthing
some rare material along with the show’s hits: “Taking A Chance On Love” and “Happiness Is A Thing Called Joe.”

In the 1960s Archie Shepp was best known as a fiery and highly adventurous tenor-saxophonist with a gruff tone
influenced by Ben Webster. For Losers and Kwanza were surprising sets from 1968-69 that feature Shepp with all-
star big bands, playing blues, soul jazz and funky one-chord vamps instead of his usual free explorations. A few
songs are vocal throwaways but singer Chinalin Sharpe fares well on “I Got It Bad,” the nearly 22-minute “Un
Creque Monsieur” is episodic and intriguing, and some of the other extended pieces are both catchy and danceable
while being unpredictable. Fans of late 1960s soul jazz who do not mind the music being left of center will find this
set enjoyable although it is not one of Archie Shepp’s most essential projects.
      
By 1965, Sonny Rollins had been a jazz giant for over a decade. Even though John Coltrane was dominating the
jazz headlines, Rollins was still in prime form, as he is now 46 years later. On Impulse! has Rollins joined by pianist
Ray Bryant, bassist Walter Booker and drummer Mickey Roker on happily eccentric versions of four standards and
romping on the calypso “Hold ‘Em Joe.” There Will Never Be Another You, which was not originally released until
1978, features Rollins at a concert with a quartet that includes pianist Tommy Flanagan and such unlikely
material as “To A Wild Rose” and “Mademoiselle De Paris.” Rollins’ use of repetition, the way he can come up with
endless variations on a melody, and his constant creativity makes this Impulse reissue still sound fresh today.

These three sets along with many others from the Impulse catalog are available from www.impulse50.com.
                                                      

Paramount Chicago Jazz Bands
1923-1928
(Black Swan)

The Paramount label is best remembered for both its classic blues sessions from the 1920s and its terrible surface
noise which made Ma Rainey sound as if she were recording in 1824 rather than 1924.

This CD, available from www.jazzology.com, is a bit different. It features seven Chicago-based jazz groups from
1923-28, and the sound quality is better than expected, quite listenable.

Featured are King Oliver’s Creole Jazz Band from 1923 (with Louis Armstrong, Johnny Dodds and, on this one
session, bass saxophonist Charlie Jackson), Charles Pierce’s orchestra (featuring cornetist Muggsy Spanier and
clarinetist Frank Teschemacher), Ollie Powers’ Harmony Syncopators, Lovie Austin’s Blues Serenaders (with
cornetist  Tommy Ladnier and clarinetist Jimmy O’Bryant), Preston Jackson’s Uptown Band, the Dixie Four and
Richard M. Jones’ Jazz Wizards. No era had more colorful band names than the 1920s!

In addition to the better known names, cornetist Shirley Clay takes solo honors on a few numbers.  Even 1920s
collectors who have most of this material will be interested in this collection, which has one hot and enjoyable
performance after another from a variety of early jazz greats. It is easily recommended.
                                                     

Tim Laughlin
If Dreams Come True
(Gentilly)

During the past decade, Tim Laughlin has recorded quite a few exciting gems. His brand of New Orleans clarinet,
while influenced a little by Pete Fountain, is personal, original and creative within the context of the music.

If Dreams Come True is a bit different for Laughlin designed the project to feature veteran trumpeter Connie Jones.
Jones got to pick the musicians (Laughlin, the great swing pianist John Sheridan, guitarist Larry Scala, bassist Ed
Wise and drummer Danny Coots) and the material. He also takes a few vocals (probably two too many). As usual
his trumpet solos are tasteful, melodic and make the most of each note.

Fortunately Tim Laughlin is a major part of the ensembles, has plenty of solo  space and sounds as inspired as
usual. Such numbers as “It’s Been So Long,” “If Dreams Come True,” “Tishomingo Blues” and “The Best Thing For
You Would Be Me” are full of joy.

Every Tim Laughlin recording is of strong interest to lovers of New Orleans classic jazz. If Dreams Come True
(available from www.timlaughlin.com) is no exception, while serving as a fine introduction to Connie Jones.
                                                    

The SSJ All Stars
From California With Love
(SSJ-USA Records)

Jazzvox Presents
In Your Own Backyard
(OA2 Records)

Danny Barrett
It’s About…Time
(DBD Productions)

Alex Pangman
33
(Justin Time)

Deborah Pearl
Souvenir Of You
(Evening Star)

The SSJ label normally records American jazz artists for the Japanese market. After Japan’s disastrous earthquake
and tsunami, a special project was organized called From California With
Love. Featuring performers who have recorded for SSJ (most of whom are based in California), each of the 13
performances were previously unreleased. All of the proceeds from the sale of this CD goes to help Japan recover
from its catastrophes. The music features a variety of singers and pianists, with the performances ranging from
swinging jazz and ballads to a few numbers that are closer to easy-listening vocals. Featured are Sue Raney
(typically beautiful on a medley of “Blue Skies” and “On A Clear Day”), Alan Broadbent, Johnny Holiday (with
Sam Most heard overdubbed on two tenors), Leslie Lewis, Kurt Reichenbach, Diane Hubka (“Samba de Orfeu”),
Christian Jacob, Tierney Sutton (“Beautiful Love”), Jim Cox, Dick Noel, the late Chris Connor (a brief uptempo “I
Feel A Song Coming On”), Frankie Randall and Pinky Winters. From California With Love (available from www.
from-california-with-love.com) is both a fine set of music and helps a worthy cause.

Nich Anderson has been hosting jazz house concerts in Auburn, Washington during the past few years that
generally feature singers in a duo. He has also occasionally recorded the artists in a studio. In Your Own Backyard
is his first release and it showcases a variety of fine singers on one or two songs apiece, accompanied either by a
pianist or a guitarist. Featured are Kathleen Grace, Kristin Korb, John Proulx, Kelley Johnson, Jo Lawry, Hanna
Richardson, Stephanie Nakasian, Cathy Segal-Garcia, and Nich Anderson himself (on “Time After Time”).  The
biggest discoveries for this listener were Kathleen Grace (who sounds so happy on “Moon River” and “If Ever I
Would Leave You”) and Jo Lawry. Ms. Lawry, the only artist heard on three numbers, swings on “I’m Old
Fashioned” and “Honeysuckle Rose.” She interacts with pianist Bill Anschell and accordionist David Lange (the
only trio on the CD) on a playful and surprising free version of “But Not For Me.” All of the singers fare well on this
well-conceived set, available from www.jazzvox.com.

Danny Barrett, a superior singer inspired by Dick Haymes, Johnny Hartman and David Allyn, has a big voice, an
expressive style and a solid sense of swing. While he has several CDs out (This Will Be My Shining Hour is more jazz-
oriented and particularly recommended), his debut set It’s About…Time from 1993 is also of strong interest. Mostly
a ballad program that finds Barrett accompanied by a string orchestra, the emphasis is on his powerful voice on
such songs as “Every Time We Say Goodbye,” “Two For The Road” and “We’ll Be Together Again.”         Danny
Barrett deserves to be heard. This ambitious self-produced set is available from www.dannybarrett.com.
      
Not too many singers are able to perform after lung transplants but happily Alex Pangman has made a full
comeback. She has always enjoyed singing with trad and swing groups, and 33 (her age) is her comeback
recording. Joined by her Alleycats, a three-horn septet that includes trumpeter Kevin Clark, Drew Jurecka on
violin and alto sax, and Ross Wooldridge on clarinet and tenor,         Ms. Pangman sounds as appealing as usual. She
swings on such numbers as “I Found A New Baby,” “Shine” and “Hummin’ To Myself” while giving her sidemen a
generous amount of space to stretch out. Welcome back! 33 is available from www.justin-time.com.
      
While several singers have recorded sets of Benny Carter’s music, Deborah Pearl’s Souvenir Of You is on a higher
level. Not only does she sing 13 of the remarkable altoist/arranger/composer/bandeader’s songs but she wrote all of
the lyrics. A close friend of both Benny and Hilma Carter, she had his widow’s permission to give his music words.
In addition to her fine writing skills, Deborah Pearl is a top-notch jazz singer who is equally skilled at interpreting
ballads and scatting on hotter numbers. On Souvenir Of You, she sings such songs as “People Time,” “Doozy Blues,”
and “An Elegy In Blue” plus some of Carter’s more obscure melodies. Mostly accompanied by a trio that includes
pianist Lou Foresteri, she is joined on “Happy Feet” and “Anniversary Dance” by Benny Carter himself and his big
band, taken from a 1992 concert. It is a joy to hear Carter’s music being sung and other vocalists looking for fresh
material are well advised to check out Souvenir Of You, available from www.lpb.com/eveningstar.