4 When one thinks of the orchestra of Benny Goodman, the “King of Swing,” it is of his breakthrough big band of 1935-38, the one that launched the swing era and featured the likes of Harry James, Gene Krupa, Ziggy Elman and (in Goodman’s trio and quartet) Teddy Wilson and Lionel Hampton. While that was BG’s most influential period, the truth is that the brilliant clarinetist cut some of his most exciting and adventurous recordings during 1940-42, when the swinging charts of Fletcher Henderson were joined by more advanced and unpredictable arrangements from Eddie Sauter and Mel Powell. Mosaic’s limited-edition, seven-CD Classic Columbia and OKeh Benny Goodman Orchestra Sessions (1939-1958) includes all of the instrumentals Goodman cut for Columbia with his big bands, plus a few obscure vocals by Fred Astaire, Cootie Williams and the clarinetist himself. (Not included here are 42 more elusive alternate takes that have been released over the years by collector-geared labels.) The 1940 recordings feature such major soloists as trumpeters Cootie Williams and Billy Butterfield, the valuable trombonist Lou McGarity, pianist Powell and the leader. Highlights include “Zaggin’ With Zig,” “Superman,” “Moonlight on the Ganges,” “Scarecrow,” “The Count,” “The Earl” and “Clarinet à la King.” In addition, the enthusiastic 1945-46 band is well represented, there are three numbers from 1958, and rare albums from 1951-52 that have Goodman playing either Fletcher Henderson arrangements or being backed by a string section are reissued in full. It does seem strange that in later years Goodman neglected to revive the Sauter and Powell charts, for those challenging arrangements really pushed him to play at his most creative. Artie Shaw, Goodman’s main competitor among swing era clarinetists, led as many big bands as he had marriages: six. The double-CD Complete Spotlight Band 1945 Broadcasts (Hep) includes all of the music from his half-dozen appearances in the Coca-Cola Spotlight Band radio series. This well-recorded release, with its 39 performances, is a must for swing fans. Roy Eldridge is the trumpet soloist during much of its first half before being succeeded by Ray Linn (who sounds a bit like Eldridge), and other key players include tenor saxophonist Herbie Steward, pianist Dodo Marmarosa and guitarist Barney Kessel. Dance-band numbers (featuring singer Imogene Lynn) and remakes of hits alternate with swing romps and thoughtful instrumentals. There are also five numbers by Shaw’s Gramercy Five. Shaw is heard throughout in top form. true 330 2009-03-27T16:13:29-04:00 false 24471 138 true 114 2009-04-01T00:00:00-04:00

Comprehensive collections of the King of Swing

2009-04-07T09:10:09-04:00

4 While pianist-arranger-composer Toshiko Akiyoshi headed a fine big band in New York after moving cross-country in 1982, the orchestra that she led in Los Angeles in the 1970s was arguably her greatest accomplishment. The three-CD Mosaic Select set Toshiko Akiyoshi-Lew Tabackin Big Band collects all of the music originally released on the RCA albums Kogun, Long Yellow Road, Tales of a Courtesan, Insights, and March of the Tadpoles. With such major players as Akiyoshi’s husband Lew Tabackin on tenor and flute, trumpeters Bobby Shew and Don Rader, trombonist Britt Woodman and altoist Gary Foster among the many soloists in the all-star band, the orchestra could swing as hard as any of its competitors. In addition to the more boppish pieces, Akiyoshi often wrote works that displayed her Japanese heritage, utilizing Eastern harmonies and instruments along with her husband’s flute. Many of the highpoints of her career are on this perfectly conceived Mosaic release. true 330 2009-03-27T16:14:28-04:00 false 24472 138 true 114 2009-04-01T00:00:00-04:00

While pianist-arranger-composer Toshiko Akiyoshi headed a fine big band in New York after moving cross-country in 1982, the orchestra that she led in Los Angeles in the 1970s was arguably her greatest accomplishment. The three-CD Mosaic Select set Toshiko Akiyoshi-Lew Tabackin Big Band collects all of the music originally released on the RCA albums Kogun, Long Yellow Road, Tales of a Courtesan, Insights, and March of the Tadpoles. With such major players as Akiyoshi’s husband Lew Tabackin on tenor and flute, trumpeters Bobby Shew and Don Rader, trombonist Britt Woodman and altoist Gary Foster among the many soloists in the all-star band, the orchestra could swing as hard as any of its competitors. In addition to the more boppish pieces, Akiyoshi often wrote works that displayed her Japanese heritage, utilizing Eastern harmonies and instruments along with her husband’s flute. Many of the highpoints of her career are on this perfectly conceived Mosaic release.

2009-04-03T10:26:09-04:00

4 The four-CD Charlie Parker set Bird in Time (ESP-Disk) is an intriguing, if not flawless, look at Parker’s life and music during 1940-47. Produced by Michael Anderson, the release includes short interviews with Parker, Max Roach, Teddy Edwards, Milt Jackson, Roy Porter, Howard McGhee and Earl Coleman that usually segue well into the music. Other than three studio sessions, the music is taken from radio broadcasts, transcriptions and private recordings that have all been released before, although often by now-obsolete labels. Parker’s solo private recording of 1939 (not 1936-37 as listed) is fascinating, as is his classic 1940 performances with a combo from Jay McShann’s orchestra, showing that, even that early, Bird was playing new and fresh ideas. Other highlights include a live version of “Cherokee” from 1942, a radio broadcast with McShann, four duets with guitarist Efferge Ware, some surprising bebop trumpet by Billy Eckstine in 1943, “Floogie Boo” with Cootie Williams (although the other six Williams numbers have no Bird solos), a great broadcast with Dizzy Gillespie from late 1945, a meeting with altoists Benny Carter and Willie Smith on a 1946 broadcast, and appearances with Barry Ulanov’s All-Star Modern Jazz group (“Tiger Rag” is a crack-up). Missing and probably not available are the famous Bird and Diz recordings of 1945 and Parker’s best Savoy and Dial studio dates. With a few exceptions, the recording quality is at least decent and, although some of the excerpts have a jarring ending, the pre-1944 performances in particular do a fine job of tracing Parker’s early evolution. Fifty-four years after Parker’s death, previously unreleased performances of Bird still occasionally trickle out. Washington D.C., 1948 (Uptown) primarily features a local sextet (best known is trombonist Earl Swope) that on most of the selections welcome Parker and Buddy Rich as guests. Best are “new” versions of “Ornithology” and “Ko Ko.” A more important release is Uptown’s two-CD Showtime at the Spotlite, featuring the Dizzy Gillespie Big Band live from 52nd Street in June 1946. While some of the material had previously been released in wretched form on LPs by the Swiss Hi-Fly label, this reissue is greatly cleaned up and full of exciting moments. Gillespie (whose solos still sound radical today), trumpeter Dave Burns, the still-ageless James Moody, Milt Jackson, Ray Brown and Kenny Clarke are the most significant voices and Thelonious Monk is heard (mostly in ensembles) during his short stint with the orchestra. The arrangements are full of blasts from the trumpet section, adventurous ideas and wit. Even the songs that the orchestra recorded in the studio sound much different in this very lively atmosphere, and there are three versions of “Things to Come” to savor. No other big band was as significant in 1946. true 330 2009-03-27T16:16:45-04:00 false 24473 138 true 114 2009-04-01T00:00:00-04:00

In-depth surveys of Bird and Diz in the '40s

2009-04-06T08:07:35-04:00

4 In the late 1970s and ’80s, Inner City was a label whose quality and quantity of releases were consistently impressive. Irv Kratka recorded and leased music that spanned from swing and Dixieland to bop, hard bop, fusion and unclassifiable mood music. Out of action for 20 years, the Inner City label has recently been coming back strong, releasing more than two dozen reissues ranging from a few by bassist David Friesen, steel drum master Andy Narell, the forgotten but worthy fusion group Dry Jack, and Sun Ra (including Live at Montreux), to stride pianist Dick Wellstood’s Fats Waller Revisited and the only LPs by the 1920s vaudeville act Butterbeans and Susie and tap dancer Baby Laurence. Five of the Inner City reissues are particularly noteworthy. Zoot Sims With Bucky Pizzarelli is a little-known duet set from 1976 by the relentlessly swinging tenor and the always-tasteful guitarist. Earl Hines Plays George Gershwin completely reissues a former two-LP set on a single CD and finds the immortal pianist still in explorative form in 1973, 45 years after he recorded his gems with Louis Armstrong. Abbey Lincoln’s Golden Lady, which includes definitive versions of “Throw It Away” and “Caged Bird,” teams Lincoln with Archie Shepp in 1981. Urszula Dudziak, an innovative singer whose inventive use of electronics accentuated her adventurous explorations, creates unique music on Future Talk. Eddie Jefferson’s The Main Man was the vocalese pioneer’s final recording. Whether it be “Benny’s From Heaven” (which has been adopted by James Moody), a tribute to Coleman Hawkins on “Body and Soul,” “Freedom Jazz Dance” or “Moody’s Mood for Love” (with a guest appearance by Janet Lawson), this set features Jefferson at his best and serves as a retrospective of his career. true 330 2009-03-27T16:19:03-04:00 false 24474 138 true 114 2009-04-01T00:00:00-04:00

In the late 1970s and ’80s, Inner City was a label whose quality and quantity of releases were consistently impressive. Irv Kratka recorded and leased music that spanned from swing and Dixieland to bop, hard bop, fusion and unclassifiable mood music. Out of action for 20 years, the Inner City label has recently been coming back strong, releasing more than two dozen reissues ranging from a few by bassist David Friesen, steel drum master Andy Narell, the forgotten but worthy fusion group Dry Jack, and Sun Ra (including Live at Montreux), to stride pianist Dick Wellstood’s Fats Waller Revisited and the only LPs by the 1920s vaudeville act Butterbeans and Susie and tap dancer Baby Laurence. Five of the Inner City reissues are particularly noteworthy. Zoot Sims With Bucky Pizzarelli is a little-known duet set from 1976 by the relentlessly swinging tenor and the always-tasteful guitarist. Earl Hines Plays George Gershwin completely reissues a former two-LP set on a single CD and finds the immortal pianist still in explorative form in 1973, 45 years after he recorded his gems with Louis Armstrong. Abbey Lincoln’s Golden Lady, which includes definitive versions of “Throw It Away” and “Caged Bird,” teams Lincoln with Archie Shepp in 1981. Urszula Dudziak, an innovative singer whose inventive use of electronics accentuated her adventurous explorations, creates unique music on Future Talk. Eddie Jefferson’s The Main Man was the vocalese pioneer’s final recording. Whether it be “Benny’s From Heaven” (which has been adopted by James Moody), a tribute to Coleman Hawkins on “Body and...

2009-04-03T10:24:30-04:00

4 Art Tatum had the ability to scare people, especially other pianists. The first time a young Oscar Peterson was played an Art Tatum record, he refused to play piano for months, feeling he could never measure up to Tatum’s level. When Hank Jones initially heard Tatum’s 1933 recording of “Tiger Rag,” he asked who the three pianists were. The 10-CD set Tatum Art (Storyville) mostly contains material that was previously unreleased until recently. The first nine CDs have been released individually by Storyville during the past couple of years, so this box is recommended to listeners who have not already acquired those discs. Dating from 1934-46, the material was mostly recorded privately, featuring Tatum in concerts, at clubs, on the radio and at parties. All of the music is listenable though not always technically up to the level of studio recordings. In addition to the many dazzling unaccompanied solos and numbers with Tatum’s trios, there are cameo appearances from Les Paul, Tal Farlow, Louis Armstrong, Jack Teagarden and Coleman Hawkins. The 10 CDs are joined by a DVD that features Tatum on clips from the March of Time newsreels, The Fabulous Dorseys and a remarkable version of “Yesterdays” from The Spike Jones Show in 1954. Oscar Peterson scared his share of musicians too, starting during 1945-49 when he was one of Canada’s top jazz pianists. Discovered by producer Norman Granz, who presented him as a “surprise guest” at a JATP concert, Peterson at first recorded duets with bassist Ray Brown. The limited-edition seven-CD Mosaic set The Complete Clef/Mercury Studio Recordings of the Oscar Peterson Trio (1951-1953) could have been called The Complete Studio Recordings of the Oscar Peterson/Barney Kessel/Ray Brown Trio. Other than an easy-listening date with Irving Ashby on guitar and a set in which drummer Alvin Stoller makes the group a quartet, all of the 116 performances are by the Peterson-Kessel-Brown group. While many of these numbers were part of melodic songbook projects dedicated to the music of Cole Porter, Irving Berlin, George Gershwin, Duke Ellington, Jerome Kern, Richard Rodgers and Vincent Youmans, six are exciting 11-12 minute workouts on standards designed to take advantage of the length of the LP, and there are several rare examples of Peterson singing, sounding remarkably close to Nat “King” Cole, his main influence as both a singer and a pianist. true 330 2008-12-23T12:49:44-05:00 false 21034 129 true 114 2008-12-01T00:00:00-05:00

Art Tatum had the ability to scare people, especially other pianists. The first time a young Oscar Peterson was played an Art Tatum record, he refused to play piano for months, feeling he could never measure up to Tatum’s level. When Hank Jones initially heard Tatum’s 1933 recording of “Tiger Rag,” he asked who the three pianists were. The 10-CD set Tatum Art (Storyville) mostly contains material that was previously unreleased until recently. The first nine CDs have been released individually by Storyville during the past couple of years, so this box is recommended to listeners who have not already acquired those discs. Dating from 1934-46, the material was mostly recorded privately, featuring Tatum in concerts, at clubs, on the radio and at parties. All of the music is listenable though not always technically up to the level of studio recordings. In addition to the many dazzling unaccompanied solos and numbers with Tatum’s trios, there are cameo appearances from Les Paul, Tal Farlow, Louis Armstrong, Jack Teagarden and Coleman Hawkins. The 10 CDs are joined by a DVD that features Tatum on clips from the March of Time newsreels, The Fabulous Dorseys and a remarkable version of “Yesterdays” from The Spike Jones Show in 1954. Oscar Peterson scared his share of musicians too, starting during 1945-49 when he was one of Canada’s top jazz pianists. Discovered by producer Norman Granz, who presented him as a “surprise guest” at a JATP concert, Peterson at first recorded duets with bassist Ray Brown. The limited-edition seven-CD Mosaic set The...

2009-03-02T00:28:11-05:00

4 From Mosaic Singles comes Jonah Jones’ At the Embers and George Wein Is Alive and Well in Mexico. Trumpeter Jones was one of the few swing-era survivors who became a major hit more than a decade after that era ended. He performed Dixieland, swing and pop standards while using a mute and a rhythm section that emphasized shuffle rhythms. At the Embers was the first and arguably the most rewarding album in this extensive series. Wein, most famous as a concert producer, was always a fine swing pianist, occasionally leading the Newport All-Stars through the years. His Mosaic set from 1967 includes the final recordings of clarinetist Pee Wee Russell, along with fine contributions from cornetist Ruby Braff, tenor saxophonist Bud Freeman and Wein himself. Both of the Mosaic Singles also include additional previously unreleased selections that add to the CDs’ value. true 330 2008-12-23T12:53:57-05:00 false 21035 129 true 114 2008-12-01T00:00:00-05:00

From Mosaic Singles comes Jonah Jones’ At the Embers and George Wein Is Alive and Well in Mexico. Trumpeter Jones was one of the few swing-era survivors who became a major hit more than a decade after that era ended. He performed Dixieland, swing and pop standards while using a mute and a rhythm section that emphasized shuffle rhythms. At the Embers was the first and arguably the most rewarding album in this extensive series. Wein, most famous as a concert producer, was always a fine swing pianist, occasionally leading the Newport All-Stars through the years. His Mosaic set from 1967 includes the final recordings of clarinetist Pee Wee Russell, along with fine contributions from cornetist Ruby Braff, tenor saxophonist Bud Freeman and Wein himself. Both of the Mosaic Singles also include additional previously unreleased selections that add to the CDs’ value.

2009-03-02T00:28:11-05:00

4 It’s back! Actually, Miles Davis’ Kind of Blue has never gone away, yet it is regularly reissued, this time as Kind of Blue: 50th Anniversary Collector’s Edition (Sony/Legacy). Should collectors purchase Kind of Blue for the fifth time? This new version includes the original five songs pitch-corrected, the alternate of “Flamenco Sketches,” every scrap that remains from the date, five related performances from the same group (Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans or Wynton Kelly, Paul Chambers and Jimmy Cobb) at an earlier session, and a version of “So What” from 1960 with Davis and Coltrane. In addition to the two CDs of music, there is a 55-minute documentary on a DVD that is an expansion of the 2004 documentary Made in Heaven, plus Davis’ classic half-hour 1959 television appearance with his quintet (“So What”) and Gil Evans. Add to that the LP version of Kind of Blue, a 60-page book and a poster, and it is your call whether this is a “tribute to a masterpiece” or a bit of overkill. true 330 2008-12-23T12:58:12-05:00 false 21036 129 true 114 2008-12-01T00:00:00-05:00

It’s back! Actually, Miles Davis’ Kind of Blue has never gone away, yet it is regularly reissued, this time as Kind of Blue: 50th Anniversary Collector’s Edition (Sony/Legacy). Should collectors purchase Kind of Blue for the fifth time? This new version includes the original five songs pitch-corrected, the alternate of “Flamenco Sketches,” every scrap that remains from the date, five related performances from the same group (Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans or Wynton Kelly, Paul Chambers and Jimmy Cobb) at an earlier session, and a version of “So What” from 1960 with Davis and Coltrane. In addition to the two CDs of music, there is a 55-minute documentary on a DVD that is an expansion of the 2004 documentary Made in Heaven, plus Davis’ classic half-hour 1959 television appearance with his quintet (“So What”) and Gil Evans. Add to that the LP version of Kind of Blue, a 60-page book and a poster, and it is your call whether this is a “tribute to a masterpiece” or a bit of overkill.

2009-03-02T00:28:11-05:00

4 Nina Simone, a classically trained pianist and a very socially conscious singer and songwriter who fit into her own unique musical category, was of greatest interest to the jazz world during the period (1957-73) that is emphasized on the three-CD/one-DVD set To Be Free: The Nina Simone Story (RCA/Legacy). Drawn from her Bethlehem, Colpix, Philips and especially her RCA catalogs (the second disc is entirely from 1968-69), this set hits most of the obvious high points and has plenty of rarities, including eight previously unreleased performances. The DVD consists of the 23-minute Nina: A Historical Perspective, a valuable and somewhat obscure 1970 television documentary that gives one a strong sense of the constant pressure she was under. true 330 2008-12-23T13:00:45-05:00 false 21037 129 true 114 2008-12-01T00:00:00-05:00

Nina Simone, a classically trained pianist and a very socially conscious singer and songwriter who fit into her own unique musical category, was of greatest interest to the jazz world during the period (1957-73) that is emphasized on the three-CD/one-DVD set To Be Free: The Nina Simone Story (RCA/Legacy). Drawn from her Bethlehem, Colpix, Philips and especially her RCA catalogs (the second disc is entirely from 1968-69), this set hits most of the obvious high points and has plenty of rarities, including eight previously unreleased performances. The DVD consists of the 23-minute Nina: A Historical Perspective, a valuable and somewhat obscure 1970 television documentary that gives one a strong sense of the constant pressure she was under.

2009-03-02T00:28:11-05:00

4 The second batch of music drawn from the Monterey Jazz Festival and released by MJF Records includes a few real winners. Fairly conventional are Shirley Horn’s Live at the 1994 Monterey Jazz Festival (although I will always remember how the boisterous crowd became practically silent as soon as she started singing), Jimmy Witherspoon’s Featuring Robben Ford from the 1972 festival, and Tito Puente’s Live at the 1977 Monterey Jazz Festival. 50 Years of Dave Brubeck features selections from nine of his Monterey appearances dating from 1958-2007, including three exciting numbers with altoist Paul Desmond, two with Gerry Mulligan in 1971, and a charming 2007 version of “Margie.” The Best of Cal Tjader spans 1958-80 and alternates between bop and Afro-Cuban jazz, with appearances from clarinetist Buddy DeFranco, Willie Bobo, Mongo Santamaria, John Lewis and, on “Manteca,” Dizzy Gillespie and Clark Terry. Best of all is Art Blakey and the Giants of Jazz from the 1972 festival. The Giants of Jazz normally consisted of Gillespie, Sonny Stitt, Kai Winding, Thelonious Monk, Al McKibbon and Blakey. Gillespie could not make the festival so his spot was filled by both Clark Terry and Roy Eldridge, resulting in plenty of fireworks. And any time there are some “new” Monk solos, it is a good day. true 330 2008-12-23T13:02:28-05:00 false 21038 129 true 114 2008-12-01T00:00:00-05:00

The second batch of music drawn from the Monterey Jazz Festival and released by MJF Records includes a few real winners. Fairly conventional are Shirley Horn’s Live at the 1994 Monterey Jazz Festival (although I will always remember how the boisterous crowd became practically silent as soon as she started singing), Jimmy Witherspoon’s Featuring Robben Ford from the 1972 festival, and Tito Puente’s Live at the 1977 Monterey Jazz Festival. 50 Years of Dave Brubeck features selections from nine of his Monterey appearances dating from 1958-2007, including three exciting numbers with altoist Paul Desmond, two with Gerry Mulligan in 1971, and a charming 2007 version of “Margie.” The Best of Cal Tjader spans 1958-80 and alternates between bop and Afro-Cuban jazz, with appearances from clarinetist Buddy DeFranco, Willie Bobo, Mongo Santamaria, John Lewis and, on “Manteca,” Dizzy Gillespie and Clark Terry. Best of all is Art Blakey and the Giants of Jazz from the 1972 festival. The Giants of Jazz normally consisted of Gillespie, Sonny Stitt, Kai Winding, Thelonious Monk, Al McKibbon and Blakey. Gillespie could not make the festival so his spot was filled by both Clark Terry and Roy Eldridge, resulting in plenty of fireworks. And any time there are some “new” Monk solos, it is a good day.

2009-03-02T00:28:11-05:00

4 The Acrobat Music label has been leasing and putting out vintage jazz from a variety of sources. Of its most recent eight sets, Benny Goodman’s Giants of the Big Band Era includes 18 studio recordings that made the charts during 1935-46 (no great surprises); Glenn Miller and the Andrews Sisters have their joint radio appearances from 1939-40 (until Miller became such a big name that the Andrews Sisters were no longer needed); Frank Sinatra’s On the Radio consists of some of the radio appearances from Sinatra’s intriguing transitional period of 1949-50; and Rosemary Clooney’s On the Air shows that her radio transcriptions of 1951-52 were much more rewarding than most of the singer’s commercial studio recordings of the time. Also of interest are Carmen McRae’s Live at the Flamingo Jazz Club (originally an Ember LP that features her in fine voice during a set in 1961) and Sarah Vaughan/Woody Herman On the Radio, which finds Sassy consistently stealing the show in 1963. Most rewarding are the Dave Brubeck Quartet’s On the Radio: Live 1956-57 and the Miles Davis All Stars’ Broadcast Sessions 1958-59. The Brubeck material, which was formerly put out on LPs by Jazz Band, features Paul Desmond in top form and contrasting drumming by Joe Dodge and Joe Morello. The Miles Davis CD features all of the Kind of Blue group’s radio appearances of the period (mostly out previously on bootlegs) plus the soundtrack of a televised jam session version of “What Is This Thing Called Love” with Gerry Mulligan, Nat Adderley and other guests. It adds to the legacy of the short-lived band and is a treasure that all true jazz archivists will want. true 330 2008-12-23T13:04:33-05:00 false 21039 129 true 114 2008-12-01T00:00:00-05:00

The Acrobat Music label has been leasing and putting out vintage jazz from a variety of sources. Of its most recent eight sets, Benny Goodman’s Giants of the Big Band Era includes 18 studio recordings that made the charts during 1935-46 (no great surprises); Glenn Miller and the Andrews Sisters have their joint radio appearances from 1939-40 (until Miller became such a big name that the Andrews Sisters were no longer needed); Frank Sinatra’s On the Radio consists of some of the radio appearances from Sinatra’s intriguing transitional period of 1949-50; and Rosemary Clooney’s On the Air shows that her radio transcriptions of 1951-52 were much more rewarding than most of the singer’s commercial studio recordings of the time. Also of interest are Carmen McRae’s Live at the Flamingo Jazz Club (originally an Ember LP that features her in fine voice during a set in 1961) and Sarah Vaughan/Woody Herman On the Radio, which finds Sassy consistently stealing the show in 1963. Most rewarding are the Dave Brubeck Quartet’s On the Radio: Live 1956-57 and the Miles Davis All Stars’ Broadcast Sessions 1958-59. The Brubeck material, which was formerly put out on LPs by Jazz Band, features Paul Desmond in top form and contrasting drumming by Joe Dodge and Joe Morello. The Miles Davis CD features all of the Kind of Blue group’s radio appearances of the period (mostly out previously on bootlegs) plus the soundtrack of a televised jam session version of “What Is This Thing Called Love” with Gerry Mulligan, Nat Adderley and other...

2009-03-02T00:28:11-05:00

4 One of Louis Armstrong’s favorite hobbies was taping things that interested him, including his own performances, his thoughts and sometimes historic events and the music of others. When he died in 1971, Armstrong left behind an extensive collection of tapes, nearly all of which still remain unissued. The release of the two-CD set Fleischmann’s Yeast Show & Louis’ Home-Recorded Tapes by the Jazz Heritage Society is a major event. The first disc features the Louis Armstrong Orchestra during six radio broadcasts from April and May 1937 that are drawn from the groundbreaking Fleischmann’s Yeast Show series. The recording quality is remarkably good, Armstrong performs some numbers that he did not commercially record during the era (including “After You’ve Gone,” “Memories of You,” “Ida,” “Washington and Lee Swing” and “I Know That You Know”), the big band sounds much better than it is usually rated, and Satch is in superb form. But the second disc is especially remarkable for it is drawn from Armstrong’s private tapes dating from the early 1950s to 1970. He reminisces with honesty about the past (including how he did not like playing with the Fletcher Henderson Orchestra), praises Lil Armstrong, Bix Beiderbecke and Sid Catlett, gives advice to some young trumpeters, tells jokes and plays along with a few records. To hear Armstrong (probably from the late 1950s) jamming with the 1923 recording of “Tears,” which featured him with King Oliver’s Creole Jazz Band, is spine-tingling. true 330 2008-09-25T17:03:32-04:00 false 20439 127 200810 true 114 2008-10-01T00:00:00-04:00

One of Louis Armstrong’s favorite hobbies was taping things that interested him, including his own performances, his thoughts and sometimes historic events and the music of others. When he died in 1971, Armstrong left behind an extensive collection of tapes, nearly all of which still remain unissued. The release of the two-CD set Fleischmann’s Yeast Show & Louis’ Home-Recorded Tapes by the Jazz Heritage Society is a major event. The first disc features the Louis Armstrong Orchestra during six radio broadcasts from April and May 1937 that are drawn from the groundbreaking Fleischmann’s Yeast Show series. The recording quality is remarkably good, Armstrong performs some numbers that he did not commercially record during the era (including “After You’ve Gone,” “Memories of You,” “Ida,” “Washington and Lee Swing” and “I Know That You Know”), the big band sounds much better than it is usually rated, and Satch is in superb form. But the second disc is especially remarkable for it is drawn from Armstrong’s private tapes dating from the early 1950s to 1970. He reminisces with honesty about the past (including how he did not like playing with the Fletcher Henderson Orchestra), praises Lil Armstrong, Bix Beiderbecke and Sid Catlett, gives advice to some young trumpeters, tells jokes and plays along with a few records. To hear Armstrong (probably from the late 1950s) jamming with the 1923 recording of “Tears,” which featured him with King Oliver’s Creole Jazz Band, is spine-tingling.

2009-03-02T00:27:52-05:00

4 The U.K.-based Hep label has been steadily reissuing valuable swing-era recordings (in addition to recording new sessions) since 1974. Its most recent batch contains a few gems. Although criticized by some for his pop hits, Harry James was one of the great trumpeters of the 1940s. Eight Bar Riff ’43-’50 shows just how good a band he had during 1943-46 and 1950. The 23 jazz-oriented performances, taken from radio broadcasts, are full of fireworks, in addition to a rare version of Bix Beiderbecke’s “In a Mist.” Slim Gaillard, a colorful guitarist and pianist, invented a highly original and nutty jive talk language full of “McVouty,” “vout” and “orooney.” Ice Cream on Toast 1937-47 contains a mixture of interesting studio recordings and rare broadcasts, including a radio show on which Frank Sinatra (whose every sound inspires screams by an audience full of bobby-soxers) joins Gaillard’s band for some hilarious jive. More sober and long forgotten, the New Friends of Rhythm consisted of a string quartet, guitar, bass, harpist Laura Newell (the star of the group) and sometimes clarinet. Cellist Alan Shulman provided the arrangements, which combined classical elements with swing; only the occasional clarinetists improvised. All of the group’s recordings plus a 1939 radio broadcast are contained on 1939-1947 Performances. Stuff Smith, one of the most exciting jazz violinists of all-time, had a popular and hard-swinging sextet/septet that was featured at the Onyx Club on 52nd Street. The Complete 1936-1937 Sessions co-stars trumpeter Jonah Jones, has three selections from broadcasts in addition to the studio performances, and is highlighted by “After You’ve Gone,” “Old Joe’s Hittin’ the Jug” and the remarkable “Here Comes the Man With the Jive.” true 330 2008-09-25T17:04:20-04:00 false 20440 127 200810 true 114 2008-10-01T00:00:00-04:00

The U.K.-based Hep label has been steadily reissuing valuable swing-era recordings (in addition to recording new sessions) since 1974. Its most recent batch contains a few gems. Although criticized by some for his pop hits, Harry James was one of the great trumpeters of the 1940s. Eight Bar Riff ’43-’50 shows just how good a band he had during 1943-46 and 1950. The 23 jazz-oriented performances, taken from radio broadcasts, are full of fireworks, in addition to a rare version of Bix Beiderbecke’s “In a Mist.” Slim Gaillard, a colorful guitarist and pianist, invented a highly original and nutty jive talk language full of “McVouty,” “vout” and “orooney.” Ice Cream on Toast 1937-47 contains a mixture of interesting studio recordings and rare broadcasts, including a radio show on which Frank Sinatra (whose every sound inspires screams by an audience full of bobby-soxers) joins Gaillard’s band for some hilarious jive. More sober and long forgotten, the New Friends of Rhythm consisted of a string quartet, guitar, bass, harpist Laura Newell (the star of the group) and sometimes clarinet. Cellist Alan Shulman provided the arrangements, which combined classical elements with swing; only the occasional clarinetists improvised. All of the group’s recordings plus a 1939 radio broadcast are contained on 1939-1947 Performances. Stuff Smith, one of the most exciting jazz violinists of all-time, had a popular and hard-swinging sextet/septet that was featured at the Onyx Club on 52nd Street. The Complete 1936-1937 Sessions co-stars trumpeter Jonah Jones, has three selections from broadcasts in addition to the studio performances, and...

2009-03-02T00:27:52-05:00

4 The Swedish Oktav label has two recent reissues of strong interest. Charlie Parker & Arne Domnerus in Sweden includes four selections featuring Bird (formerly out on a Xanadu LP) and three with altoist Arne Domnerus in his place on the same day. Recorded Nov. 22, 1950, the quintet numbers co-star trumpeter Rolf Ericson. It is a pity that Domnerus and Parker do not play together. Sahib Shihab and the Danish Radio Jazz Group features the underrated baritonist in 1965 performing nine of his excellent compositions and arrangements in Denmark, with a boppish big band that includes such notables as trumpeters Palle Mikkelborg and Allan Botschinsky, tenor saxophonist Bent Jaedig, pianist Bent Axen and bassist Niels Pedersen. true 330 2008-09-25T17:05:29-04:00 false 20442 127 200810 true 114 2008-10-01T00:00:00-04:00

The Swedish Oktav label has two recent reissues of strong interest. Charlie Parker & Arne Domnerus in Sweden includes four selections featuring Bird (formerly out on a Xanadu LP) and three with altoist Arne Domnerus in his place on the same day. Recorded Nov. 22, 1950, the quintet numbers co-star trumpeter Rolf Ericson. It is a pity that Domnerus and Parker do not play together. Sahib Shihab and the Danish Radio Jazz Group features the underrated baritonist in 1965 performing nine of his excellent compositions and arrangements in Denmark, with a boppish big band that includes such notables as trumpeters Palle Mikkelborg and Allan Botschinsky, tenor saxophonist Bent Jaedig, pianist Bent Axen and bassist Niels Pedersen.

2009-03-02T00:27:52-05:00

4 Most of the vintage Blue Note catalog has now been reissued, although one hopes that Mosaic will eventually compile a box by the Three Sounds. Two former rarities that have returned recently are altoist Lou Donaldson’s Here ’Tis, a highly enjoyable quartet date with guitarist Grant Green, organist Baby Face Willette and drummer Dave Bailey, and Art Farmer’s Brass Sessions: Brass Shout/The Aztec Suite. The latter collects two complete albums from 1959 by the trumpeter. On Brass Shout Farmer is joined by an all-star big band arranged by Benny Golson, while Aztec Suite showcases Farmer with a large Afro-Cuban ensemble that performs charts by Chico O’Farrill. The generous reissue is consistently rewarding. true 330 2008-09-25T17:06:00-04:00 false 20443 127 200810 true 114 2008-10-01T00:00:00-04:00

Most of the vintage Blue Note catalog has now been reissued, although one hopes that Mosaic will eventually compile a box by the Three Sounds. Two former rarities that have returned recently are altoist Lou Donaldson’s Here ’Tis, a highly enjoyable quartet date with guitarist Grant Green, organist Baby Face Willette and drummer Dave Bailey, and Art Farmer’s Brass Sessions: Brass Shout/The Aztec Suite. The latter collects two complete albums from 1959 by the trumpeter. On Brass Shout Farmer is joined by an all-star big band arranged by Benny Golson, while Aztec Suite showcases Farmer with a large Afro-Cuban ensemble that performs charts by Chico O’Farrill. The generous reissue is consistently rewarding.

2009-03-02T00:27:52-05:00

4 Bob Koester’s Delmark label may be most famous for its groundbreaking AACM recordings and its important blues dates, but it has also reflected Koester’s interest in early jazz, ragtime and bop. Wally Rose, best known for his playing with Lu Watters’ Yerba Buena Jazz Band in the 1940s, helped keep ragtime alive before its comeback in the 1970s. Whippin’ the Keys has all of the music from Rose’s two best solo ragtime dates, obscure albums for the Blackbird label from 1968 and 1971. Tickle Toe features a pair of veterans of the Chicago scene, bass trumpeter Cy Touff and tenor-saxophonist Sandy Mosse, on a previously unissued swing/bop date from 1981. With Mosse sounding like Zoot Sims and Touff hinting at valve trombonist Bob Brookmeyer, the music is very much in the 1950s Lester Young cool-jazz vein. Pianist John Campbell leads the excellent rhythm section. true 330 2008-09-25T17:06:33-04:00 false 20444 127 200810 true 114 2008-10-01T00:00:00-04:00

Bob Koester’s Delmark label may be most famous for its groundbreaking AACM recordings and its important blues dates, but it has also reflected Koester’s interest in early jazz, ragtime and bop. Wally Rose, best known for his playing with Lu Watters’ Yerba Buena Jazz Band in the 1940s, helped keep ragtime alive before its comeback in the 1970s. Whippin’ the Keys has all of the music from Rose’s two best solo ragtime dates, obscure albums for the Blackbird label from 1968 and 1971. Tickle Toe features a pair of veterans of the Chicago scene, bass trumpeter Cy Touff and tenor-saxophonist Sandy Mosse, on a previously unissued swing/bop date from 1981. With Mosse sounding like Zoot Sims and Touff hinting at valve trombonist Bob Brookmeyer, the music is very much in the 1950s Lester Young cool-jazz vein. Pianist John Campbell leads the excellent rhythm section.

2009-03-02T00:27:52-05:00

4 In recent times, nearly the entire catalog of the 1960s avant-garde ESP-Disk label has been getting reissued (although Ran Blake Plays Solo Piano never seems to return). Percussion Ensemble features drum duets by Milford Graves and the forgotten Sunny Morgan that are of limited interest. Giuseppi Logan was an intriguing multi-reedist who led two albums, including 1964’s The Giuseppi Logan Quartet, which is most significant for the playing of pianist Don Pullen at the beginning of his career. The one album led by bassist Henry Grimes before his 30-year disappearance, 1965’s The Call, has also returned and features Grimes, clarinetist Perry Robinson and drummer Tom Price on six stirring originals. Grimes’ return to music in late 2002 after 34 years “lost in L.A.” is an inspiring story. Also inspiring was Art Pepper’s comeback, which started in 1975 after 15 years during which he was barely part of the jazz scene. Much of the credit for Pepper’s final seven years of brilliant playing goes to his wife Laurie Pepper who, on her Widow’s Taste label, has been compiling previously unreleased concert performances by her late husband. Unreleased Art, Vol. III: The Croydon Concert is a two-CD set of a 1981 set by Pepper, pianist Milcho Leviev, bassist Bob Magnusson and drummer Carl Burnett that is full of exciting and extended performances, including a 13-minute “Cherokee” and a 19 1/2-minute version of “Patricia.” Despite his difficult life, Pepper never seemed to have made an uninspired recording. Vol. III keeps the long string alive. true 330 2008-09-25T17:07:22-04:00 false 20445 127 200810 true 114 2008-10-01T00:00:00-04:00

In recent times, nearly the entire catalog of the 1960s avant-garde ESP-Disk label has been getting reissued (although Ran Blake Plays Solo Piano never seems to return). Percussion Ensemble features drum duets by Milford Graves and the forgotten Sunny Morgan that are of limited interest. Giuseppi Logan was an intriguing multi-reedist who led two albums, including 1964’s The Giuseppi Logan Quartet, which is most significant for the playing of pianist Don Pullen at the beginning of his career. The one album led by bassist Henry Grimes before his 30-year disappearance, 1965’s The Call, has also returned and features Grimes, clarinetist Perry Robinson and drummer Tom Price on six stirring originals. Grimes’ return to music in late 2002 after 34 years “lost in L.A.” is an inspiring story. Also inspiring was Art Pepper’s comeback, which started in 1975 after 15 years during which he was barely part of the jazz scene. Much of the credit for Pepper’s final seven years of brilliant playing goes to his wife Laurie Pepper who, on her Widow’s Taste label, has been compiling previously unreleased concert performances by her late husband. Unreleased Art, Vol. III: The Croydon Concert is a two-CD set of a 1981 set by Pepper, pianist Milcho Leviev, bassist Bob Magnusson and drummer Carl Burnett that is full of exciting and extended performances, including a 13-minute “Cherokee” and a 19 1/2-minute version of “Patricia.” Despite his difficult life, Pepper never seemed to have made an uninspired recording. Vol. III keeps the long string alive.

2009-03-02T00:27:52-05:00