Home My Books Musicians' Corner
Festival Reviews Links Some Thoughts and Fun Ideas
Los Angeles Jazz Scene
CD REVIEWS FROM THE DECEMBER 2009 ISSUE OF THE LOS ANGELES JAZZ SCENE
Benn Clatworthy
Luminessence
(BCM)
Benn Clatworthy has long been known in the Los Angeles area for his fine John Coltrane-inspired tenor solos.
Most of his recordings have been in small combos where he is the dominant voice, but Luminessence is something
a bit different.
On Luminessence, Clatworthy is joined by Pablo Calogero on baritone, clarinet and flute, trumpeters Nola
Shaheed, bassist John Belzaguy and percussionists John Littleton and Jorge Carbonell. The solos are concise
while the originals (four by the leader, three from Belazguy and one by Calogero) are consistently stimulating and
cover a lot of ground. To name a few highlights, Belzaguy's “Abuelo's Mambo” and “La Rumba Llega” both have
catchy 1950s-style Latin melodies, infectious rhythms and concise solos. “Kandahar” has an open structure that
seems to build out of nowhere. “Luminessence” is thoughtful and somewhat wistful while “Fragile” has the leader
switching to flute and harmonizing with the high-powered flute of Calogero. The closing “Just Another Addiction”
gives the leader an opportunity to stretch out.
Luminessence differs from other Clatworthy recordings in the instrumentation, the strong voices contributed by his
sidemen, the variety of songs, and the relative brevity of the solos. Benn Clatworthy's passionate playing is heard
in different formats than usual and he really rises to the occasion, making the most of every note and every
situation. Luminessence is highly recommended and available from www.bennclatworthy.com.
Mike Clinco
Neon
(Whaling City Sound)
Guitarist Mike Clinco has roots in the blues, early on became very interested in the guitarists who recorded for
ECM, and spent a lengthy period working with Henry Mancini. His versatility as a studio musician definitely comes
in handy throughout Neon for he shifts in style and sound from Pat Metheny to John Scofield, from a straightahead
approach to a very adventurous one.
Clinco contributed eight post bop originals to the set which also includes an unaccompanied melodic exploration of
Mancini's “Charade.” On the other selections he leads an all-star local group consisting of Bob Sheppard on tenor,
alto and flute, either Darek Oles or Jimmy Johnson on bass, drummer Jimmy Branly and occasionally trumpeter
Walt Fowler. Sheppard is particularly impressive among the supporting cast, hinting strongly in spots at Michael
Brecker and Ernie Watts.
While none of Clinco's originals are as memorable as “Charade,” his songs give the musicians some challenging
structures. The powerful strut “X Oue Says,” and a trio of jazz waltzes (“Sonship,” “Neon” and “Daystream”) are the
strongest pieces.
Due to the consistently fine solos, Neon is an excellent example of modern jazz. It is available from www.
whalingcitysounds.com.
The Peter Sprague String Consort
The Wild Blue
(Strivin' To Break Even)
Well known for years as one of the top jazz guitarists based in San Diego, Peter Sprague has long been intrigued
with the idea of not only combining a string quartet with a jazz rhythm section but having the strings be part of the
frontline along with his guitar. The Wild Blue is the first recording of the Peter Sprague String Consort
The members of his string quartet (violinists Bridget Dokas and Jeanne Skrocki, Pam Jacobson on viola and cellist
Carter Dewberry) are not only fine classical players but sound comfortable improvising; there is an occasional
uncredited violin solo. Bassist Bob Magnusson and drummer Duncan Moore are also major assets to this
memorable set.
As talented as the musicians are, it is the inspired repertoire and Sprague's arrangements (along with his guitar)
that make this a particularly successful release. The program is comprised of six Sprague originals (including the
classical-oriented title cut, “The Beatles,” a straight ahead “The Bomb Scare Blues” and the Indian-flavored
“Mahavishnu”), Bach's “Prelude Number 9,” a pair of Chick Corea pieces, and Dave Brubeck's “The Duke.” Wholly-
written out sections alternate with improvised parts and the music mostly swings throughout.
Peter Sprague displays his versatility in his solos and his writing keeps the music continually interesting and
unpredictable with some of the pieces (most notably “The Wild Blue”) unfolding like a suite. The Wild Blue, which is
available from www.petersprague.com, is well worth checking out.
Artie Shaw
Classic Bluebird And Victor Sessions
(Mosaic)
One of the greatest jazz clarinetists of all time, Artie Shaw had a relatively brief career but had so many
accomplishments during 1934-54 that he is still a household name today, at least in the jazz world. Shaw was
unusual in quite a few ways. He seemed to constantly be running away from fame, but one of the reasons that he
gave up playing after 1954 (when he was just 44) was that he got the impression that no one much cared about
the rewarding music he was making with his boppish Gramercy Five at the time.
Most of the successful big band leaders of the swing era had one or two bands during the 1935-45 era. Shaw had
five, not counting a period leading an orchestra in the military. He retired from music at least three times before it
became permanent, including fleeing from the bandstand in 1939 when he had the most popular band in the
country. With the fortune he saved, he could have had a very happy life, but he seemed to spend much of his final
half-century explaining to the world (and perhaps to himself) why he quit playing the clarinet.
Now that he is gone, all that really matters is the music that he left for posterity, and it is a substantial and
rewarding body of work. Mosaic, in this limited-edition seven CD set, reissues highlights from his second, third,
fourth and fifth big bands. His first orchestra, essentially a dixieland frontline, a string quartet and a rhythm section,
had been an artistic success during 1936-37 but a commercial flop. His second more conventional big band, after
a bit of struggle, was signed to the Victor label in 1938 and immediately had a giant hit with “Begin The Beguine,”
which is the opening selection in this reissue. From then on, Artie Shaw was a reluctant celebrity.
This box has all of the instrumentals that Shaw recorded during 1938-45 plus the vocals of Tony Pastor and Hot
Lips Page, with one from Billie Holiday and two by Lena Horne. The many recordings of Helen Forrest with Shaw
are purposely not here, nor are the commercial tracks featuring other later female singers. Shaw's post-1945
recordings, including a short-lived bop orchestra in 1949 and his extensive small-group performances of 1953-54,
were made for other labels.
The 165 performances on the Mosaic box include all of the issued performances and their alternate takes plus
eight previously unreleased alternates. While the instrumental hits are here, including “Begin The Beguine,”
“Frenesi,” “concerto For Clarinet (one of the clarinetist's best showcases) and “Star Dust” (arguably the greatest-
ever version of the latter with its remarkable solos by Shaw, trumpeter Billy Butterfield and trombonist Jack
Jenney), many superior obscurities are also included. Soloists featured along the way include Tony Pastor on
vocals and tenor, tenor-saxophonist Georgie Auld, drummer Buddy Rich, Butterfield, Jenney, trumpeters Hot Lips
Page and Roy Eldridge, pianists Johnny Guarnieri and Dodo Marmarosa, and guitarist Barney Kessel. The writing
for strings in the third and fourth orchestras ranks with the most inventive use of strings in the 1940s. In addition,
all of the recordings of two versions of Shaw's small groups, the Gramercy Five, are here. Those include the
famous combo with Guarnieri on harpsichord (their “Summit Ridge Drive” was a million seller) and a swing/bop
version with Eldridge, Marmarosa and Kessel.
Shaw, who sometimes hints at bop during the 1945 recordings, sounds modern throughout. He is still ranked in the
top echelon of jazz clarinetists of all time, along with Johnny Dodds, Benny Goodman, Buddy DeFranco, Eddie
Daniels and just a few others. The music on his Mosaic box (available from www.mosaicrecords.com) reminds us
why.
Billie Holiday
The Complete Commodore & Decca Masters
(Verve)
Oscar Peterson
Debut: The Clef/Mercury Duo Recordings 1949-1951
(Verve)
Ella Fitzgerald
Twelve Nights In Hollywood
(Verve)
Recently Polygram, which owns not only the Verve catalog but quite a few other significant jazz labels including
Commodore, Decca, Clef and Mercury, came out with three very attractive and valuable box sets, the first in a new
limited-edition series.
While Billie Holiday's earliest sessions (from 1933-42) are her most jazz-oriented, teaming her with jazz all-stars
including Teddy Wilson and Lester Young, and her later Verve recordings (1952-59) are her most emotional, she
was actually at the peak of her powers during her period for Decca (1944-50). Her three-CD set begins with four
sessions for the Commodore label. The first one, from 1939, was recorded for Commodore because Lady Day's
label, Columbia, refused to let her record “Strange Fruit.” An arrangement was made with Milt Gabler and
Commodore so she could record four songs which also included the original version of “Fine And Mellow.” In 1944
she returned to Commodore where within a month she cut a dozen more titles including “I Cover The Waterfront,”
“Embraceable You,” “Billie's Blues” and “On The Sunny Side Of The Street.” While the first eight numbers have
her backed by the tightly arranged Eddie Heywood Sextet, the final four songs are looser with the Eddie Heywood
Trio swinging behind the singer.
The other two discs on this box have all of Holiday's Decca recordings. While the settings vary widely (from strings
to a big band and even the Gordon Jenkins Singers) and are sometimes a bit commercial, particularly compared to
the earlier Columbias, Billie Holiday rarely sounded better. Among the numbers that she introduced during this era
are “Lover Man,” “Don't Explain,” “Good Morning Heartache” and “Now Or Never.” She interacts with Louis
Armstrong on two songs, performs a pair of Bessie Smith numbers, revisits “God Bless The Child” and “Them
There Eyes,” and does wonders with “Crazy He Calls Me” and “You're My Thrill.” Her personal life may have been
a mess in the 1940s, but she was at the peak of her powers and her voice was at its absolute prime.
Usually with jazz artists, one wants to hear the alternate takes. But in the case of Billie Holiday in the 1940s, her
many alternates for Commodore are virtually identical to the issued versions and, outside of an excessive versions
of “Big Stuff,” there are few alternates from her Decca period. So, completists aside, Billie Holiday's The Complete
Commodore & Decca Masters is perfectly done.
Before pianist Oscar Peterson formed his first American trio with bassist Ray Brown and guitarist Barney Kessel in
1952 and right after he was discovered by producer Norman Granz in his native Canada, he was featured in duets
with either Brown or Major Holley. The three-CD set The Clef/Mercury Duo Recordings has material that was
issued before but has mostly been scarce for decades. First Peterson is heard on Sept. 18, 1949 at the Jazz At
The Philharmonic Carnegie Hall concert in which Granz first presented him as a surprise guest. One can hear the
audience become amazed by Peterson's virtuosity and dazzling swing during his three numbers with Brown.
Peterson and Brown are also heard a year later at another Carnegie Hall concert and on three studio sessions
while Major Holley is in Brown's place for the session of May 8, 1950 that resulted in 14 selections. Only two
numbers overall were previously unreleased but most of this music was formerly scattered over 10-inch Lps and
samplers. A lone quartet track with Barney Kessel and drummer Alvin Stoller is included since it was on one of the
ten-inchers.
Oscar Peterson, 24 at the time of his Carnegie Hall debut, already sounded quite recognizable. He is a little more
boppish during these performances, sometimes surprisingly hinting at Lennie Tristano. It is no surprise that he was
a hit from the start and that throughout his long and very productive career, his popularity would never fade.
The most intriguing of the three Verve projects is Ella Fitzgerald's four-CD Twelve Nights In Hollywood. None of the
76 performances have been released before. Three of the CDs were recorded during May 11-21, 1961 while the
final one is from June 29-30, 1962. Norman Granz recorded all of the music from these live performances at the
Crescendo Club and released one album's worth of material as Ella Fitzgerald In Hollywood. That Lp, which has an
incredible nine-minute scat solo by Ella on “Take The 'A' Train” (her longest solo ever recorded). Amazingly
enough it has not been reissued on CD. I've long thought of it as the #1 Lp needed to be reissued but for some
reason, it is nearly her only album not to be made available, yet.
But as a consolation, this four-CD set features Ella at the ages of 44 and 45 at her absolute best. She is very jazz-
oriented throughout these performances, no songs are repeated, and Ella is quite inventive and often playful.
Except for a few very brief spots, none of her sidemen (which include Lou Levy or Paul Smith on piano and
guitarist Herb Ellis) even get a solo. This is all Ella and she performs one memorable gem after another. One can
understand this music staying in the vaults at the time since she was so productive, but it is remarkable that this
music has been unheard for nearly a half-century.
All three of these remarkable reissues are available from umusic.com.
Massimo Sammi
First Day
(Self produced)
A fine guitarist with a mellow tone, Massimo Sammi believes in the power of intuition. Sammi, who was born in Italy,
attended both the Berklee College of Music and the New England Conservatory. He has the ability to come up with
one fresh idea after another while rarely playing at a loud volume. He knows that, even in free improvisations,
there is always room for lyricism, thoughtful ideas and development.
On his debut as a leader, Sammi performs seven of his originals, each of which include quite a bit of free
improvising and interplay between the musicians. He is joined by bassist John Lockwood and drummer Yoron
Israel with important guest appearances from two of the top educators in New England: saxophonist George
Garzone and vocalist Dominique Eade. Eade's wordless improvisations are a joy while Garzone's interaction (on
tenor and soprano) with Sammi on several selections are consistently stirring and unpredictable. Sammi keeps up
with them, contributing seven originals, and creating music that is both spontaneous and at times a little cinematic.
This is a very impressive debut for Massimo Sammi, available from www.massimosammi.com.
Hal Weary
A Rendezvous With Deja Vu
(Musichal)
Hal Weary is a pianist who is making his recording debut on this CD. His early roots are in gospel music, he
earned degrees from San Jose State University and William Paterson University, and he has developed a well-
rounded modern mainstream style of his own that is already quite mature and personal.
On A Rendezvous With Deja Vu, there are moments where Weary sounds a bit like Errol Garner (part of
“Tenderly”), Sir Roland Hanna, Oscar Peterson and Horace Silver (purposely on “Hangin' With Horace”) but he
also displays his own voice. Also quite excellent are Stantawn Kendrick on alto, tenor, soprano and flute, trumpeter
Kenyatta Beasley (influenced by Lee Morgan), bassist Gregory Williams and drummer Jerome Jennings. Never
mind that these musicians are obscure at this point; they each display plenty of potential and should be heard
from in the future.
The music overall is modern hard bop with the highlights including the well-conceived Horace Silver tribute
“Hangin' With Horace,” a double time “Tenderly,” a tribute to James Williams (“I Remember James”), and “One For
Big Bro” which begins with a heartfelt poem recited by Hal Weary to his late brother before it becomes an original
soulful instrumental.
A Rendezvous With Deja Vu is highly recommended and available from www.halweary.com.
Joe Beck/Laura Theodore
Golden Earrings
(Whaling City Sound)
When he was 18, guitarist Joe Beck was discovered by songwriter Alec Wilder who recommended him to Peggy
Lee. During the next decade, Beck often played with Lee in addition to developing into an important jazz and
studio guitarist.
In 2006, singer Laura Theodore, who had been listening to songs written and performed by Peggy Lee and her
first husband, guitarist Dave Barbour, suggested to Beck that they record a duet tribute album to Lee and
Barbour. What they did not realize is that it would be Joe Beck's final recording for he died from lung cancer in
2008.
Golden Earrings is comprised of 16 selections recorded by Lee, mostly in the earlier parts of her career. Eight
songs were co-written by Lee and Barbour with the singer composing “Johnny Guitar” with Victor Young. Laura
Theodore hints strongly at Peggy Lee in spots without feeling compelled to strictly copy her. Ms. Theodore is
actually more of an improviser who scats quite effectively in spots while doing justice to the material. As for Joe
Beck, he is a much stronger and more adventurous guitarist than Barbour, and is actually closer to Les Paul in his
virtuosity and the range of sounds that he creates. He utilizes an acoustic guitar on half of the material and an alto
guitar (which includes two bass strings that allow him to play both bass lines and chords at the same time) on the
other selections. Due to Beck's inventiveness, it often sounds as if two or three instruments are accompanying the
singer rather than just one.
While the material includes some of the obvious hits (such as “Why Don't You Do Right” and “Fever”), such
obscurities as “Take A Little Time To Smile,” “My Small Senor” and “Everything Is Moving Too Fast” add to this
set's value. Certainly Joe Beck would have been pleased to hear the final results, and one suspects that Peggy
Lee would have enjoyed this recommended set too. It is available from www.whalingcitysound.com.
Johnny Vana's Big Band Alumni
America's Best Dance Band
(Group 7 Music)
When one thinks of the alumni of big bands, it is of ancient veterans of the swing era who somehow made it into
2009.. But since that is becoming less possible each year (even if one were 30 years old in 1945, that person
would be 94 now), the alumni in drummer Johnny Vana's orchestra obviously come from much more recent big
bands. Although they are not exactly youngsters, they certainly do not play like over-the-hill senior citizens on this
CD.
In fact, the youthfulness of the ensembles and solos is a happy surprise. Most of the 21 selections date from the
swing era and the solos are mostly in the swing tradition but, with only a few exceptions (such as Artie Shaw's
version of “Stardust”), the music does not seek to just recreate the past. The solos are fresh and the band
displays plenty of spirit.
The main fault to this CD is in the packaging for the soloists are never identified and there are no liner notes.
Since the sidemen are not too famous (other than tenor-saxophonist Dave Pell), it is impossible to know who the
excellent trumpet, saxophone and trombone soloists are. Bill A. Jones is fine on three vocals and Bonnie Bowden
excels during her four features.
Overall this is an excellent release by Johnny Vana's Big Band Alumni, a swinging orchestra that plays each
Tuesday morning 10:30 am-12:30 at Las Hadas Mexican Restaurant (9048 Balboa Blvd, Northridge, CA 90325,
818-892-7271). The group, on evidence of this recording (available from www.vanabigband.com) and their
performance at the Sweet & Hot Music Festival, is easily recommended to swing and big band fans.
Rebecca Windham
In A Warmer Heart
(RW)
A fine singer, songwriter, pianist and educator based in Atlanta, Rebecca Windham made her recording debut with
In A Warmer Heart. She displays a strong voice and a versatile style.
All ten selections are Ms. Windham's and they feature intelligent lyrics, advanced chord changes, and worthy
melodies. Most selections feature her singing and playing with a quartet but there are also a couple of numbers
with a different rhythm section (“I Believe In You” and “Sophie”) in which she does not play piano, and there are
guest appearances by pianist Bill Wilson, trumpeter Greg McLean, tenor-saxophonist Sam Skelton, Bill Pound on
harmonica, and cellist Rob Chapman. Steve Cunningham contributes some tasteful guitar solos along the way.
But the main focus is on Rebecca Windham's voice and songs. While some of her singing hints at country and
cabaret, she also displays flexibility, the ability to improvise, and an attractive tone. She deserves to be better
known. In A Warmer Heart is available from www.rebeccawindham.com.
Svend Asmussen Quintet
Rhythm Is Our Business
(Storyville)
One of the few veterans of the 1930s who is still active, violinist Svend Asmussen at 93 can look back on a career
that stretches more than 70 years. Born and mostly based in Denmark, Asmussen has often been somewhat
overshadowed by Stephane Grappelli (who traveled the world and visited the United States quite a bit more) but
he was always his equal.
Most reissues featuring Svend Asmussen either focus on his recordings from the 1930s or his post-1970 work.
Rhythm Is Our Business brings back music from 1953 and 1958, his middle period. During this era, Asmussen
often sang and his combo's performances were full of wit and occasional novelties. The 23 performances on this
CD are quite concise with only two exceeding 3:17 in time so the solos tend to be brief. But while there are a
couple of throwaways, most of the music is quite rewarding, with tight arrangements, excellent ensemble playing
and hot violin solos. Pianist-vibraphonist Max Leth and guitarist Jorgen Ingmann are fine supporting players.
Svend Asmussen was (and fortunately still is) one of the great swing violinists. These formerly rare recordings,
made in Hamburg, Germany, feature many fine moments and are available from Storvyille (www.storyvillerecords.
com).
Dick Hyman
Century Of Jazz Piano
(Arbors)
Dick Hyman has always been a unique pianist. Not only is he an extremely versatile player who can perform in
virtually every jazz style, but he can sound like all of the major pianists, from Jelly Roll Morton to Chick Corea,
Teddy Wilson to Cecil Taylor. For proof, this box (which has five CDs and one DVD) certainly contains plenty of
evidence.
Many of the performances in the marathon set were recorded during 1996-97 originally for a CD/ROM which has
since gone out of print. Some of the tunes were re-recorded a decade later along with some added tracks. Rather
than exactly copy recorded versions, Hyman improvises in the style of the pianists although his own musical
personality also has places to shine through.
The result is a pretty comprehensive history of jazz piano. Hyman starts with 1840s classical composer Louis
Moreau Gottschalk and advances through Scott Joplin, Eubie Blake, Jelly Roll Morton, James P. Johnson, Earl
Hines, Mary Lou Williams, George Gershwin, Zez Confrey, Joe Sullivan, the boogie-woogie greats, Willie “The
Lion” Smith, Fats Waller, Art Tatum, Teddy Wilson, Duke Ellington, Billy Strayhorn, Count Basie, Nat King Cole,
Dave McKenna, Erroll Garner, Bud Powell, Oscar Peterson, George Shearing, Horace Silver, Wynton Kelly, Bobby
Timmons, Red Garland, Thelonious Monk, Dave Brubeck, Marian McPartland, Chick Corea, Herbie Hancock,
Lennie Tristano, Bill Evans, John Lewis, Keith Jarrett, McCoy Tyner and Cecil Taylor plus a few others. Hyman also
plays a few free improvisations, a four-handed piece with fellow pianist Jack Fanning, and creates brief sketches in
the style of 27 other pianists (with a few repeats).
While I wish that some of the latter (such as a 41 second tribute to Ralph Sutton) were greatly expanded, there is a
generous amount of music to digest. In addition, the DVD features Hyman giving 13 piano lessons in which he
demonstrates the styles of many pianists, plus four complete bonus performances (“Someone To Watch Over Me,”
“Heliotrope Bouquet,” “Elite Syncopations” and “Carolina Shout”).
Fans of the jazz piano can consider Century Of Jazz Piano to be essential. This remarkable box is available from
www.arborsrecords.com.
Carol Bach-Y-Rita
What Love Is
(Arugula)
Carol Bach-Y-Rita is a delightful singer with a warm voice who sings in English, Portuguese and Spanish. She has
a laidback but expressive style, and the ability to swing at all tempos. She is greatly assisted throughout this highly
enjoyable set by tenor-saxophonist and flutist Robert Kyle, who also provided most of the arrangements.
Many of the performances could be considered Brazilian jazz and give one an idea what it might have sounded like
if Irene Kral had recorded with Stan Getz, particularly “A Time For Love.” However other selections fall into
different areas altogether. “Don't Get Scared” is a beboppish vocal-flute duet, a haunting version of Billie Holiday's
“Don't Explain” is taken as a duet with bassist Trey Henry, and “Lazy Afternoon” is given one of its most rewarding
vocal versions. “Cidade Lagoa,” which is a bit reminiscent of “No More Blues,” is a second and equally successful
voice-flute duet, something that should only be attempted by a singer who is always in-tune, like Carol Bach-Y-Rita.
With fine work throughout by Kyle, Henry, pianist Jamieson Trotter and drummer-percussionist Mike Shapiro, What
Love Is is one of the best vocal releases of recent times. It is available from www.carolbach-y-rita.com.