Los Angeles Jazz Scene - CD Reviews
September 2011
September 2011
| Various Artists Some British Jazz Pianists (Retrieval) Joe Candullo Blowin' Off Steam 1926-1928 (Retrieval) Philip Lewis The Hottest Of The Rhythm Maniacs Recordings (Retrieval) The Rhythmakers The Complete Set (Retrieval) Retrieval, a subsidiary of the Austrian Challenge label, has been doing a very admirable job of reissuing 1920s and early '30s gems, often focusing on rare and obscure but highly enjoyable classic jazz. These four CDs each contain music that should greatly interest collectors of early jazz. Some British Jazz Pianists consists of performances from seven little-known pianists, and some of the music is astounding. Geoff Griffiths plays a conventional and unreleased version of Scott Joplin's “Heliotrope Bouquet” from 1955 and there are somewhat radical solos from 1922-23 by Max Darewski and Joe Bolton. Billy Jones, who toured England with the Original Dixieland Jazz Band in 1919, is heard on four previously unreleased modernized ragtime performances from 1945. The fine Teddy Wilson-inspired swing pianist Gerry Moore plays 11 numbers with a trio from 1935-38, but the best is saved for last. Reginald Foresythe is excellent on a pair of piano solos from 1934 before joining in with Arthur Young on “Tiger Rag” for a remarkable piano duet. This very adventurous performance at times recalls both Lennie Tristano and even Cecil Taylor, but it was recorded in 1938! It is a missing gap in jazz history, an early avant-garde performance. Some British Jazz Pianists concludes with Arthur Young interpreting three unknown Art Tatum compositions from 1938; none of the music was released before or recorded by Tatum. Young hints closely at both Tatum and Fats Waller during a time when no American pianist was able to yet emulate Art Tatum. Not that long ago Vintage Music Productions compiled a set by the underrated but worthy Joe Candullo and his Everglades Orchestra. While Candullo survived until 1977 and still played piano in public until 1974, he is best remembered (if at all) for his mid-to-late 1920s band. Such notables as cornetist Red Nichols, trombonist Miff Mole, Jimmy Dorsey on clarinet and alto, and the forgotten but worthy mellophonist Ken “Goof” Moyer are among the many soloists on these titles, all but two of which are from 1926. While Blowin' Off Steam duplicates some of the Vintage Music CD, it also contains some other performances along with excellent liner notes. 1920s collectors can find much of value in the work of the better British hot dance bands. The personnel for these overlapping groups were usually drawn from larger British orchestras and include Americans who at the time were living in England. While Philip Lewis was a musical director at Decca, he actually had relatively little to do with the recordings issued under his name. Arthur Lally, one of the first major baritone-saxophonists in jazz history and a talented musician who also played clarinet, alto and bass sax, directed the Rhythm Maniacs recordings. The other key soloists with the Rhythm Maniacs are such Americans as trumpeter Sylvester Ahola and clarinetist Danny Polo. 24 of the group's best recordings from 1928-30 are featured on their Retrieval release and, while many have vocals, they are easy to take, particularly those of Elsie Carlisle. The future of jazz looked gloomy in 1932, three years before the swing era and one of the worst years of the Depression. Many of the top veteran African-American jazz musicians were off records altogether while their white counterparts were often confined to commercial studio work. Therefore there is little explanation for the heated and often explosive music created by the Rhythmakers, all of which is included on their Retrieval set. The integrated band, which features trumpeter Henry “Red” Allen, clarinetist Pee Wee Russell, often Fats Waller or Joe Sullivan on piano, and singer Billy Banks, is consistently exciting. This CD has the 16 selections and 10 alternate takes recorded by the Rhythmakers during its four sessions with such numbers as “Bugle Call Rag,” “Oh Peter,” “I Would Do Anything For You” and “Who Stole The Lock On The Hen House Door” ranking among the most exciting recordings of the decade. All four of these CDs are quite valuable and available from www.challengerecords.com. Gideon King Revisiting Spaces (GJK Sounds) Guitarist Gideon King grew up hearing jazz (played by his brother pianist Jonny King), classical music and singer/songwriters. All of those inspirations are felt in his music, which could be called “folk jazz,” “new acoustic music” or “acoustic fusion” but which in reality is beyond any simple category. Most of his debut, Revisiting Spaces, features Gideon King's solo guitar, whether it is the dark-sounding baritone guitar, the nylon string, a double-top steel string or a guitar synthesizer. Subtle overdubbing takes place on some selections while “Fusion Confusion” is a change of pace, showcasing King on several instruments along with drummer Willard Dyson. While Pat Metheny is an influence, King has a different approach than Metheny. The program, which is comprised of 13 of his originals, is thoughtful, usually develops slowly, and is quite cinematic and quietly expressive. The opening “Revisiting Spaces,” which starts out with some rhythmic baritone guitar, is about solitude and has a forward movement that develops logically. “All The Way Back,” which is about making a comeback from injury, evolves from single note lines to becoming a celebratory rockish piece. “The Axes of Dake” and “July 28, 1914” are tasteful ballads with both pieces showing the influence of classical guitar. The thoughtful “The Goal is the Goal” is contrasted by “Fusion Confusion,” a hot, funky and danceable number that is anything but confusing. King's solo baritone guitar on “Decision In Venice” and on the Arch Back acoustic during “The Summary Of Regret” is dark, melodic and a bit wistful. “Estoy de Acuerdo” has some catchy rhythmic patterns played on the double-top steel string guitar. “Edward J. King” is a heartfelt New Age ballad played by King on guitar synth that is a farewell to his late father. One of the strongest performances on the CD, “Four Variations For Diane,” is a minisuite that is often Brazilian flavored, relaxing yet quietly passionate. “Sonny Boy” is a tribute to going fishing with his young son while the closing “Praying Mantis” could easily come from a dream. Gideon King's picturesque originals form a perfect soundtrack for one's thoughts and due to their subtlety and richness, they stick in one's mind long after the CD ends. Recommended and available from www.gjksounds. com. Duke Ellington At The Cotton Club (Storyville) Duke Ellington hit it big in late-1927 when he landed a longtime engagement at the Cotton Club. In addition to playing scores by Jimmy McHugh and Dorothy Fields for the floor shows and performing his own originals for dancers, Ellington's orchestra appeared regularly live from the Cotton Club on radio broadcasts. Within a short time, his group was being accurately called “Duke Ellington and his Famous Orchestra.” Ellington was based at the Cotton Club until 1931 when the road became his home and Cab Calloway was his successor. The original Cotton Club closed in early 1936, reopening at a new location six months later. Ellington and his orchestra frequently played at the new Cotton Club on a regular basis during the next two years. The Storyville double-CD, after featuring Ellington as a solo pianist on two numbers from the Saturday Night Swing Club radio series in 1937, has music from eight radio broadcasts performed by Ellington's orchestra from the Cotton Club during Mar. 24-May 29, 1938. Much of the music was previously unreleased while the rest was only available in piecemeal fashion until this twofer was compiled. In addition, there are three selections from an Apr. 29, 1939 broadcast from Stockholm, Sweden. Obviously this is a very valuable release. At the time Duke Ellington had eight major soloists in his band: trumpeter Cootie Williams, cornetist Rex Stewart, trombonists Tricky Sam Nanton and Lawrence Brown, clarinetist Barney Bigard, Johnny Hodges on alto and soprano, baritonist Harry Carney, and the leader himself plus Ivie Anderson on vocals. While many of the selections were recorded by Ellington sometime in the 1930s, these versions are often quite different. In addition, some of the numbers were never waxed at all by Duke in the studios. To hear what one of the greatest of all bands sounded like live in their regular working conditions adds a great deal to one's understanding of the Duke Ellington Orchestra. Although a promised 80-second DVD clip does not work on my machine, otherwise this is a flawless, historically significant, and wonderfully swinging package, available from www.storyvillerecords.com. Les Paul/Mary Ford/Woody Herman's Third Herd Let's Go To Town (Sounds Of Yesteryear) In the mid-1950s guitarist Les Paul, his wife singer Mary Ford, and Woody Herman's Third Herd appeared on four 15-minute radio programs titled “Let's Go To Town.” The shows were recruiting tools for the National Guard, with a genial host who talked about the importance of joining the Guard. On each program, the team of Paul & Ford perform two numbers as does Woody Herman's big band although Herman and Paul never team up. There is plenty of hot and witty numbers including Les Paul and Mary Ford performing such songs as “Theme From Laughing Eyes,” “I'm A Fool To Care” and “Wither Thou Goest,” Paul heard solo on “Someday Sweetheart” and “Mandolino,” and Herman's Herd romping on “Men From Mars,” “Muskrat Ramble,” “Moten Swing” and “Woodchoppers Ball Mambo.” Unfortunately there are no listings of recording dates and personnel. Despite that, this set of previously unavailable music, available from www.cityhallrecords.com, is well worth picking up by Les Paul and Woody Herman collectors. Dan Barnett Somewhere Someplace Sometime (DB Records) Dan Barnett is a good-humored trombonist who is best known for his ability to play swinging solos. While he has worked with stride pianist Judy Carmichael, he is better known in his native Australia than in the U.S. at this point. Somewhere Someplace Sometime, which is available from www.danbarnett.com.au, is an often-exuberant set filled with exciting solos, inventive playing, and swinging ensembles. Barnett who, in addition to his trombone solos, takes some joyful vocals and shows that Steve Turre is not the only trombonist to also play conch shells, leads a 14-piece little big band. The musicianship is top-notch and the performances are quite spirited. Highlights include Mose Allison's “Seventh Son,” “Looking At The World Through Rose Colored Glasses,” “Little Joe From Chicago,” “A Little Minor Booze” and a tribute to Clark Terry on “Scarf Dance.” While the musicians are mostly unknown in the U.S., Somewhere Someplace Sometime stands as evidence that high quality swinging jazz can be heard virtually everywhere if one looks closely enough. Dan Barnett does an admirable job with his orchestra, making one hope that someday he will be leading a similar band in performances in the United States. Hit Of The Week The Complete Recordings Volume 4 (Archeophone) During 1931-32, the Durium company produced “Hit of the Week” recordings. These one-sided records were issued on a piece of playable cardboard usually featured a dance band playing a recent composition although occasionally they were an advertisement or a spoken word record. One of the series had performances that was as long as five minutes while others were the more conventional three minutes in length. Archeophone (www.archeophone.com), which is the top label today in reissuing pre-1920 music, has done a superb job in reissuing all of the Hit Of The Week recordings on four double-CD sets. The fourth volume features Phil Spitalny's orchestra, some unknown bands, Rudy Vallee, Nick Lucas, Morton Downey, and the Mills Brothers (“Goodbye Blues”) along with a few radio advertisements and a speech from Amelia Earhart. While the earlier sets contain more jazz (particularly the first volume), there are plenty of rewarding moments on each of the sets. Archeophone's venture into what is for them modern music has been quite successful, making a slice of Depression era performances available over 70 years after they were recorded. Joe Mares Joe Mares' Acetates (GHB) In the 1950s, producer Joe Mares (the younger brother of cornetist Paul Mares) ran the Southland label. He concentrated on recording traditional New Orleans jazz by the Crescent City's musicians in their hometown. Unlike many of the Preservation Hall-type musicians in the 1960s, the players recorded by Southland were always in-tune, technically skilled, and quite adept at the dixieland standards. George Buck's GHB and Jazzology label has reissued virtually the entire catalog on 27 CDs. Joe Mares' Acetates is an extra added bonus. These 17 selections were recorded by Mares mostly before he started Southland, and they were for his own personal use. None of the music was previously released yet the recording quality of the acetates ranks as high as studio records of the time. Featured are trumpeters Sharkey Bonano (who is on nine numbers), Tony Delmado, George Hartman, Mike Lala and Johnny Wiggs, clarinetists Irving Fazola (on his last performances), Harry Shields, Raymond Burke and Bujie Centobie, trombonists Emile Christian, Julian Laine and Jack Delaney plus several spirited rhythm sections. The music, dating from 1948-53, is strictly from dixie but played with enthusiasm and solid musicianship. These musicians really lived the music and it shows. Joe Mares' Acetates is a consistent delight and available from www.jazzology.com. Hiromi Voice (Telarc) Nick Manson Trio “Live” At Sacred Grounds (Manasus Music) Harvie S Trio Too Late Now (Master Of Sound) Three very different piano-bass-drums trios are featured on recent releases covered in this article. Hiromi is a phenomenal pianist who has technique on the level of an Art Tatum and a limitless imagination. While she is heard at her best as an unaccompanied soloist, on Voice she creates colorful music as part of a fusion- oriented trio with bassist Anthony Jackson (listed as playing a contrabass guitar) and drummer Simon Phillips. Hiromi, who plays electric keyboards here for color but is primarily heard on acoustic piano, contributed all but one composition (a Beethoven melody). While none of the songs are destined to become standards, Hiromi's witty interplay with her sidemen, her continually surprising ideas, and her remarkable technique make Voice well worth exploring. It is available from www.concordmusicgroup.com. A versatile bop-based pianist, Nick Manson was born and raised in the Seattle area, has done extensive studio work, and been quite busy for years as an arranger, producer and an educator in addition to being an in- demand pianist. Along the way he has worked with Bud Shank, Plas Johnson, Bill Perkins, Kim Richmond, the Nairobi Trio, Ernie Watts and many musicians in the Los Angeles area. “Live” At Sacred Grounds teams Manson with bassist John Sims and drummer Wes Anderson on a set dominated by standards. Whether playing “But Not For Me,” Paul Desmond's “Wendy” or Chick Corea's “Desert Air,” Nick Manson displays his own musical personality on this enjoyable set, available from www.nickmanson.com. Harvie S's Too Late Now teams the bassist with pianist Bill Charlap and drummer Todd Strait. Harvie S has many fine solos and is showcased on “These Foolish Things” but Charlap is far from overshadowed. The pianist creates a classic version of “Yours Is My Heart Alone,” revives Gerald Wilson's famous arrangement of “Perdido” for Duke Ellington, and swings especially hard on John Lewis' “Afternoon In Paris.” This easily recommended CD, originally made available for the Japanese market, is available from www.wardrecords.com. Michael Benedict & Bopitude (Planet Arts) Bebop is spoken here, or at least hard bop. Drummer Michael Benedict's Bopitude, based in upstate New York, is a quintet that also includes trumpeter Chris Pasin, tenor-saxophonist Brian Patneaude, pianist Bruce Barth and bassist Mike Lawrence. Together they perform nine compositions by jazz greats of which Clifford Brown's “Joy Spring” and Bobby Timmons' “Moanin'” are the only ones that would be considered oft-played standards. In addition there is a song apiece by Dexter Gordon (“Cheese Cake”), Gary McFarland, James Williams, Grachan Moncur III, Hank Mobley, Bobby Watson and Kenny Dorham. The solos are consistently colorful and inventive, and Bopitude displays a very appealing group sound. All of the musicians are top-notch (Barth is the best known) and it quickly becomes clear that Chris Pasin and Brian Patneaude are world class soloists who should much more recognition. The musicians are creative within the hard bop tradition, not merely copying the past but building upon it. The results are highly recommended for all straight ahead jazz fans. Bopitude is available from www. planetarts.org. Brian Charette Learning To Count (Steeplechase) Most jazz and r&b organists sound like close relatives of Jimmy Smith, even 55 years after Smith hit it big. It is difficult to escape Smith's dominance on bop, blues and ballads. Somehow Brian Charette has succeeded in developing his own style and sound on organ. On Learning To Count, he does include some conventional hard-swinging numbers (such as the opening “Air On A Sunny String”) and shows that he has no difficulty playing funky and digging into blues. But a few of the other selections are postbop jams and Charette displays a strong interest in other idioms during “Hungarian Bolero” and “Two Slightly Different Indian Scales.” Brian Charette is joined by the adventurous altoist Mike DiRubbo (who helps push the organ combo into the 21st century) and drummer Jochen Ruckert. Charette contributed eight of the 11 selections which range from bop to bordering on the avant-garde. The trio also plays a song apiece by Wayne Shorter, John Lewis and Steve Winwood. Listeners who think that the evolution of the jazz organ stopped with Jimmy Smith or Larry Young will find much of strong interest on Learning To Count, which is available from www.steeplechase.dk. Mike Price Presenting Mike Price Jazz Quintet (self-released) During his Los Angeles years, Mike Price played lead with Stan Kenton and Buddy Rich, worked for a decade with the Toshiko Akiyoshi/Lew Tabackin Big Band, and played with Gerald Wilson. Around 1989 he moved to Tokyo where he has worked steadily ever since. On this excellent outing, he leads a quintet that also includes tenor-saxophonist Masanori Okazaki, pianist Hiroshi Tanaka, bassist Tadashi Saze and drummer Yoshinobu Inagaki. Price and his quintet performs ten of his originals plus the Japanese folk songs “Tohryanse.” The trumpeter is heard throughout in prime form, creating heated bop-based solos, displaying a wide range, and really pushing himself. Okazaki keeps up with Price and displays a large tone on tenor while the rhythm section swings hard. Among the compositions are boppish blues, “Touch & Go” (which uses the chord changes of “I Got Rhythm”), postbop explorations worthy of Wayne Shorter, and unpredictable pieces. Everything works well, including selections with the titles of “A Mingus Among Us,” “Catch As Catch Can” and “For The Love Of Jazz.” Fortunately Mike Price makes occasional visits to Los Angeles. Catch him when you can, and be sure to acquire this superior effort, which is available from www.mikepricejazz .com. Ella Fitzgerald Ella In Japan - 'S Wonderful (Hip-O Select) This double-CD was recorded near the end of Ella Fitzgerald's busy tour of Japan in Jan. 1964. Although producer Norman Granz planned to release an album called Ella In Nippon, none of the music has been released until now. Chances are that it was shelved because the singer had recorded so much other material during this era. In any case, the release of this set is very welcome. Ella is heard at the peak of her powers. At the time her backup group included trumpeter Roy Eldridge, pianist Tommy Flanagan (who had just joined the singer), bassist Bill Yancey and drummer Gus Johnson. The musical partnership with Eldridge, which lasted on and off for two years, was dissatisfying for both of them because Ella did not need to have a horn playing during her features, and Eldridge was a competitor who was given few chances to stretch out. On the first disc, Ella sings a dozen songs (the trumpeter's appearances are brief and very much in the background). She is quite touching on “Cheek to Cheek,” exuberant on “I Love Being Here With You,” soulful on “Hallelujah I Love Him So,” and witty on “Whatever Lola Wants.” The closing “Ella's Blues” serves as a perfect closer. In addition, there are four instrumentals at the end of the disc. Flanagan is featured on “'Round Midnight,” Eldridge on “I Can't Get Started,” “Undecided” is a quartet romp and “Jam Session” is a blues that teams the trumpeter with a variety of Japanese players including two other trumpeters, resulting in a screamfest. The second disc has Ella singing five numbers with her group including a scat-filled “Take The 'A' Train” and a version of “Bill Bailey” in which she imitates Sophie Tucker (sounding closer to Jimmy Durante), Della Reese, Pearl Bailey and Dinah Washington. Three additional numbers find Ella joined by a Japanese big band, with the climatic “Perdido” featuring an exciting tradeoff with Eldridge. This is great Ella Fitzgerald, available from www.hiposelect.com. |
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