"Future Child" has a wonderful pizzicato intro by Niels which segues into a brief piano segment followed by an arco bass solo, then into a medium tempo trio outing, a fitting ending to this tribute to a most remarkable pianist. (H.H.)

Milestone MCD-9269-2 to order

UNITY 152 to order

Justin Time 13-2 to order

This CD is,in part, a reissue of material (1949-52) put out by Columbia on a 12" LP (CL 745) when that recording technique was a relatively new phenomenon. In addition, there is a previously Unissued "It's all in the Mind" (1952) with large orchestra. At its core, however, are the eight selections from May 1950 with such jazz stalwarts as Miles Davis, Bud Johnson and Benny Green (trombone). In fact, these eight numbers comprise Sarah's only real album cut for Columbia, an early 10" LP (6133) titled simply "Sarah Vaughan". All later LP's were compilations of individual sessions (many still on 78's) designed to feature their new pop star recently drawn to Columbia from her contract with Musicraft records. The bonus here lies in alternate tracks from that 1950 date which, in some respects, afford us the opportunity to hear her jazz accompanists in even greater instrumental freedom. Apart from later recordings for Mercury/Emarcy in the mid 50's, these remain essential early Sarah, with the type of support that best showcased the range, power and control of her rich contralto voice. Liner notes are excellent, and photos abound. (J.S.)

Columbia (Legacy) CK 65117 to order

From this extensive 1956 concert, only a medley of two tunes, the opening New Orleans funeral sequence, was released on a compilation LP in 1957. Recorded live at a benefit show in the Median Temple, Chicago, miking unanticipated stage movements had proven to be a problem in sound quality at the start; moreover, the repertoire seemed repetitious of recently recorded concerts. The tapes were subsequently shelved, rediscovered, and issued on two LP's in 1980. The final two numbers "When the Saints….."/"The Star Spangled Banner" were omitted because of space commitment. Here, at last, is the concert complete on two CD's. Louis' All Stars include Trummy Young - trombone, Edmond Hall - clarinet, Billy Kyle - piano, Dale Jones - bass, Barrett Deems - drums, Velum Middleton - vocal, and an always energetic, joyous Louis Armstrong. Despite what some might consider overworked material, every concert, in retrospect, retains a unique, exciting quality of its own. And, as George Avakian states in his liner notes: "Every note Pops ever blew, and every note he ever sang, grow more precious every day. Forever".

The sound on the discs, by the way, is excellent. (J.S.)

Columbia (Legacy) C2K 65119 to order

Ottawa native Foley has spent the last several years in Austin, Texas, only recently returning to her hometown. This is her fourth CD for the Austin-based independent label Antoine's. Her biggest strength is as an electric blues guitarist, showcased on instrumental numbers like "The Snake". Her vocals are still the weakest link, and the songwriting is not particularly striking. The production on this CD, by Stephen Bruton, provides a fuller sound than on some of Foley's previous recordings. With Bruton's own acoustic guitar and mandolin prominent. (C.P.)

Discovery/Antoine's 74701-2 to order

Ann Rabson, co-founder of Saffire - Uppity Blues Women (5 recordings on Alligator, and counting), steps out on this first solo session. Now in her early fifties and grandmotherly in appearance, she displays a warm voice, a sense of humour, a good taste in covers, and strong piano playing, this last especially noteworthy because she only took up the piano in her midthirties. She has a strong acoustic piano style, showcased on such numbers as the closing instrumental "Blue Boogie", which she wrote. Of the 16 tracks, all but four are covers, but these are drawn from a variety of sources, from Huey Piano Smith "Baby, Once in a While", to Tin Pan Alley via Josh White "One Meatball", to Z Z Hill "Gonna Stop you from giving me the Blues". Along the way, she is joined on individual tracks by the blues duo Cephas and Wiggins, sax player Greg Piccolo, guitarist Bob Margolin and most strikingly by her sister Mimi on violin on two tracks. A highly entertaining set. (C.P.)

Alligator ALCD 4848 to order

Corey Harris could be mistaken for the young Taj Mahal on Taj's series of highly successful Columbia recordings in the late 1960's and early 1970's. There is his voice, the agile work on National steel guitar, the choice of material, a roughly equal mix of traditional tunes, some of them very well-worn, like "Frankie and Johnny", and the use of a New Orleans (his current home) horn section on four tunes, just as Taj Mahal used horns on such recordings as "The Real Thing" and "Happy to be just like I Am". Like Taj Mahal, he has a university degree (in Harris's case, in anthropology). By making this comparison, I don't mean to disparage Harris, but rather to tip him as a young bluesman to watch. Now in his late twenties, he is just beginning to taste success and this is only his second recording. He has toured with B.B. King and Buddy Guy, and played before pop audiences as an opener for acts like Natalie Merchant and the Dave Mathews Band. Most of the songs just feature Harris and his guitar. However, when he does numbers like "Worried Life Blues", by Big Maceo, or "Jack O' Diamonds" by Blind Lemon Jefferson, he manages to make them sound relevant in the here and now, and not just academic exercises. In his own material, he works in contemporary references, as in "5-0 Blues", which is about police mistreatment of blacks, where there is a reference to Rodney King (of the police in California, "they'll treat you like a King - Rodney King"). (C.P.)

Alligator ALCD 4850 to order

Veteran pianist John Hicks, whose early recording career hearkens back to Art Blakey's Jazz Messengers of the mid 1960's, is heard in solo recital from the 1992 Montreal Jazz Festival before an enthusiastic audience. What he presents here is a remarkable inventiveness applied with varying dynamics and insightful perceptions to a wide range of source material. With a strong chordal left hand balanced against a lyrically explorative right, we are treated to such medleys as Strayhorn's " A Flower is a Lovesome Thing"/"Chelsea Bridge", or a woven tapestry of Monkish moods and mannerisms in "Monk's Mood"/"Reflections"/"Ruby My Dear". John Coltrane's "Moments Notice" and Bud Powell's "Oblivion", the latter packed with frenetic runs and wild arpeggios, pay homage to two of his favourite jazz people. His own compositions include the title tune "After the Morning", first recorded by him in 1979 and captured here in a mode of relaxed freedom, as well as two numbers inspired by his Montreal visit, a fast paced, boppish "Mt.Royal Blues", and an earthy blues with "Mid-West Blues" ("Blues on the River"). His versatility in any style is evident, and if you're a piano fan, you won't want to miss this one. (J.S.)

DSM - DSM 3011 to order

This work is an ambitious and powerfully stated undertaking, recorded in the Grand Hall of the Masonic Lodge in 1995 with the accompaniment of the Lincoln Centre Jazz Orchestra composed of mainly young musicians who handle their respective roles with precision and commitment. It does have its predecessors, at least musically, in works such as Ellington's "Black, Brown and Beige, or Mingus' "Epitaph": however, the dramatic core sets it apart as does its central subject, American Slavery. The liner notes carefully point out that it is "much more than a tale of racial degradation…." But rather "a metaphor for every question of unfairness and every question of servitude." The roles of the two protagonists are expressively played by Miles Griffith (Jesse) and Cassandra Wilson (Leona), while Jon Hendricks portrays a slave buyer and the pivotal character of the wise man (Juba). The music throughout draws upon the rich historical background of the blues, folk music, spirituals, and Afro-Caribbean roots, all linked by the steady, propulsive rhythmic progression. It's a three hour listening experience (on 3 CD's), but rewarding in every way. A complete libretto is included. (J.S.)

Columbia CXK 57694 to order

This 1996 release is, perhaps, more reflective of Jim Hall the composer/arranger than Jim Hall the guitarist. As the title aptly suggests, the various instrumental combinations support the search for new and personal forms, shapes and colours in the musical spectrum. Hall is featured both on electric and acoustic guitar with several notable soloists - Claudio Roditi, Joe Lovano, and Jim Pugh contributing along the way. Three of the seven compositions composed by Hall headline brass, including the opening "Fanfare" with drummer Terry Clarke (a frequent player on many of Hall's recordings) laying down a strong marching rhythm to the sturdy staccato bursts of brass and guitar energy, and the intricacy of themes interwoven by the flugelhorn of Roditi on "Reflections". In contrast, the harmonic and rhythmic finesse of guitar, steel drum, bass and drums on "Sazanami" conjure up a feeling reminiscent of the Jimmy Giuffre sessions of the late 1950's. Memorable as well is the plaintive voice of Joe Lovano's soprano sax on "Ragman", and the festive "Circus Dance" with it's humerous drunken waltz set against the mellow, warm strains of Hall's acoustic guitar. It's an aesthetically pleasing disc that, at times, borders the realm of chamber music. (J.S.)

Telarc CD 83402 to order

This 1997 disc features reedman Peplowski with Ben Aronov - piano, Greg Cohen - bass and Chuck Redd - drums, complimented on three of the seven numbers by the Loren Schoenberg Big Band, a 17 piece aggregation that provides a smooth, richly coloured orchestration to Frank Loesser's "I've Never been in Love Before", a swinging, brass-loaded treatment of "Royal Garden Blues", and a full-blown, multi-tempoed support to Peplowski's clarinet excursions on the three part "Homage Concerto for Clarinet and Jazz Orchestra". The leader's tenor swings to a Latin beat on "Luck be a Lady", takes on boppish flavours with "Dream Theme", is lyrically restrained, almost spongy behind Aronov's laid back loose and bluesy handling of "Deep". Kudos, however, goes to "purple Gazelle" (a.k.a. "Angelica"), a rarely heard 1962 Ellington composition;Loren Schoenberg's robust tenor (with a Ben Webster breathiness) joins the quartet, carrying on a Caribbean dialogue with Peplowski's sinewy clarinet, against the chordal plunking of piano and the incessant beat of drums - the essence of the Duke of the 60's. (J.S.)

Concord CCD 4767-2 to order

Multi-reed player, Michael Marcus, seems intent on this 1997 recording project to project an overall mood of sublimity to the nine numbers featured, including seven of his own compositions. Selecting a stritch (a straigthened E-flat alto sax), he captures the duality of the setting surrounding the tiny Mojave desert town of Kelso, expansive and isolated "Kelso Tracks South", yet affording a sense of great spatial freedom "Kelso Tracks North", or, he uses it to fashion a tender, melodic scenario for the standard "Darn that Dream". In addition, his soprano-like saxello is earthy and elusive on "The Continuum", while the bass clarinet, with a Dolphy indebtedness, takes over Coltrane's "Giant Steps/Naima". Jaki Byard, as might be expected, is admirably responsive to Marcus's tracery, filtering some distilled Garner here and there, or laying down a flowing blues substratum behind the mournful calls of the reed on "Steppin' Down with Jaki". In retrospect, it's a kind of subdued freedom, but pleasing to the ear. (J.S.)

Justin Time Just 98-2 to order

Justin Time Just 99-2 to order

His visits to Dakar have always been a time for research and performances, but this time (May 1996) he actually recorded, in effect, a dream he had for some time, to go into a studio with some of Africa's best known musicians and create a mix of jazz and original African music of yesterday and today. Fo deuk means "where do you come from?", and Murray shows in this musical foray that he not only comes from the United States with it's constant changes in musical styles but also from Africa….the roots. With him on this outing are some members of his own band including Jamaaldeen Tacuma - bass, Hugh Ragin - trumpet, Robert Irving 111 - piano, Craig Harris - trombone, Junior Soul - vocals, Amiri Baraka - poetry reading, and Amiri Baraka Jr - vocals. Murray plays tenor saxophone and bass clarinet. This is a fine example of World Jazz with a little rap mixed in for stimulation. There are some cuts that are basically straight ahead material featuring the aforementioned band, but it is the African tracks that intrigue. (H.H.)

Justin Time Just 94-2 to order