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Hamiet Bluiett & Concept - "Live at Carlos 1: Another Night"
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Having already reviewed on September's "picks" the earlier release (JAM
9129-2) and unequivocally ranked it among my top ten for 1997, I can
only reiterate my enthusiasm for this group, comprised of Bluiett
(baritone), Don Pullen (piano), Fred Hopkins (bass), Idris Muhammad
(drums), Chief Bey (percussion) and recorded live at the now defunct
Carlos Club, NYC, in 1986. The two standards here, "I'll Close my Eyes"
and "Autumn Leaves" feature the baritone's dramatically rich melodic
lines played out against Pullen's delicately explorative piano, Hopkins'
subtle bass nuances (both arco and plucked on the former), and a cascade
of rhythmic propulsion in varying tempi. Bluiett's own "Wide Open" is,
as the title suggests, contrastingly free with its soaring baritone
flights, wide-ranging piano excursions set against an insistent
percussive backdrop; his lively, up tempo blues, "John", offers ample
space to all, notably the brash, raw-edged saxophone matched with the
interplay in an extended solo. The concluding "Sobre Una Nube", an
alternate reworking of "Nali Kola" from the first disc, reflects quite a
different pulse and instrumental focus, but is just as rewarding. This
is music of great breadth and commitment played by musicians who know
what their goals are and how best to achieve them. Bluiett proves once
more why the baritone sax remains such a powerfully emotional instrument
in jazz. (J.S.)
Just a Memory JAM 9136-2to order
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Herb Ellis & Justice All-stars - "Down-home"
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Though Herb Ellis' early playing days date back to the mid-forties with
the Casa Loma Orchestra and Jimmy Dorsey, he came into public prominence
as Barney Kessel's replacement with the Oscar Peterson trio (1953-57) in
a role that aptly suited Peterson's amazing keyboard facility and sudden
rapid tempo changes. His clear, crisp projection and improvisatory,
instant responses seemed easy. We catch some of that here on such
numbers as the riff-driven "I Know What I want", "Conversations", and
the up-tempo closer, "Homecoming". All of the compositions are Ellis
originals, including the Latin-edged "Sunrise" and "Bella", a lightly
swinging blues, "Down -home Blues", and a series of gentle ballads -
"Sunflower", "Charlotte", and a country-western tinged "A Woman with
Love in her Eyes". There is no information on this disc about the
Justice All-stars (an injustice, to be sure(, but noteworthy are Stefan
Karlsson's boppish interludes on "Sunrise" or his playful toying with
the margins of melody on "I'm a Lover", Rebecca Coupe Franks' trumpet
work with "A Woman….Eyes" and "Sunflower", as well as the strong
supportive roles throughout by drummer Sebastian Whittaker and bassist
David Craig. An additional track available to those who have rewind
access on CD players (identified on the disc as Soundboard process)
seems to feature clarinet and violin, but no personnel is listed for
this version of Oscar Pettiford's "Blues in the Closet". It's a warm,
uncomplicated, generally laid-back session, quite enjoyable in that
context. (J.S.)
Justice 1003-2to order
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Billy Bang - "Bang On!"
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This is a musical experience that shouldn't be missed. With pianist
D.D.Jackson, bassist Akira Ando and drummer Ronnie Burrage, violinist
Billy Bang truly brings out more from that instrument than it was ever
designed for. Sinuous, flexible, insistent, always fluid and swinging,
he crackles with energy on the opening "Bama Swing", wraps the melody of
"Peaceful Dreams" in a gutsy, abrasive tempo transformation, accelerates
"Yesterdays" to unbelievable heights, closes with a beautifully
plaintive replication of Coltrane's horn on "Mr.Syms". Five of the ten
selections are Bang's originals, including a Mingus-like "Don's Dream"
and a Latin-flavoured "Three Faces of Eve". The special highlight is his
gyrating rendition of "Sweet Georgia Brown" in which he captures every
seductive, sensual shading of the lady; his crisp, lucid "rigorous
bowing innovations" (liner notes) depict her as anything but "sweet".
The accompaniment, in particular the sparkling, responsive piano
exploits of Jackson, is outstanding. Highly
recommended! (J.S.)
Justin Time 105-2 to order
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D.D.Jackson - "Paired Down" (Volume 2) |
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For Ottawa-born pianist, D.D. Jackson, the duo format provided him with
the opportunity to meet players whose originality and outlook afforded
"a challenge…to pursue my own development as an artist" (liner). All
compositions are originals, and it is a tribute to the pianist that he
can both create and meet that challenge of such instrumental diversity
so astoundingly well. From the raucously foot-stomping dialogue of the
opening "Catch It" with trombonist Ray Anderson to their contrastingly
melancholic closer ("Closing Melody"), the musical journey runs the
gamut of emotion and technical virtuosity - a tenderly delineated
bass/piano dedication with Santi Debriano ("One of the Sweetest") a
moving, warm accord of piano/tenor sax (David Murray) on "Love-song",
and the haunting melodic beauty of piano/violin (Billy Bang) with
"Pleasure and Pain", to the fanciful, Latinized free flight of Jane
Bunnett's flute ("Flute-song"), and the restrained, harmonious clarinet
(Don Byron) on "Time". This "intimate texture of duo" (liner) is a
follow-up to an earlier first volume; undoubtedly, both are recommended
listening. (J.S.)
Justin Time 104-2 to order
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Buddy Montgomery Trio - "Here Again" |
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The youngest surviving member of the Montgomery brothers (Wes/Monk),
Buddy eventually gave up the vibes for full time piano (c1970), yet
remains, as leader, under-recorded and underrated. On this 1997 release,
he draws upon the playing talents of old friends, bassist Jeff Chambers
and drummer Ray Appleton, in a programme of five original compositions
interspersed with four standards. Though he doesn't read or write music,
relying rather on rehearsing and learning from memory, "he voices his
chords…plays in keys that nobody else plays in, resulting in "cliché
free" playing by a strong ear player" (liner). The proof lies in a
relaxed mix of lightly boppish numbers ("My Ideal"/"Aki's Blues"/"Hob
Nob with Brother Bob") and effortless, imaginative, delicately assured
balladic progressions ("Invitation"/"You've Changed"), with the
occasional conga beat by percussionist Wilson Corniel, Jr. Liner notes
provide excellent coverage of the man and his music.
(J.S.)
Sharp Nine Records 1008-2 to order
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Marcus Roberts - "Blues for the New Millenium" |
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In this 1997 release, Roberts presents fourteen "songs that either
diverge from or expand on the standard 12-bar blues form" (liner),
twelve of which are original compositions. Openly committed to an
historically "traditional"approach to jazz in order to "find new ways to
play the blues", he chooses here a less personal role in favour of
showcasing a number of excellent young musicians. His own notes are
explicit statements on the intent and agenda both of the music and the
musicians. There is much exciting music on the disc, including updated
restatements of Robert Johnson's "Cross Road Blues" and Morton's
"Jungle Blues", several Ellington-flavoured tributes in "Jade", "When
the Morning Comes" and "Heart of the Blues", a contrastingly smoky "Late
Rehearsal" balanced with an animated "Early Rehearsal", and a closing
series of integrated dance rhythms on "It's Maria's Dance". And for
those critics who assert that Marcus Roberts can't swing, I draw
particular attention to the pianoman on "Anytime, Any Place" and " A
Servant of the People". (J.S.)
Columbia CK 68637 to order
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Carol O'Shaughnessy - "The Way I See It" |
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"…..don't look for slickness and gloss here…"state the liner notes.
Indeed, what we do have is a pleasant blend of charm and surprise on
this 1997 disc by vocalist Carol O'Shaughnessy whose range of selections
extends from the tender to the torrid, and from standards to such seldom
heard gems as Noel Coward's lovely song from his 1929 show Bitter Sweet,
"If Lover Were All", Cy Coleman's gentle "The Way I See It", or Carole
King's hit number from the early 70's, "You've got a Friend". Then, of
course, there's Quincy Jones' scorching "Miss Celie's Blues" and the
intriguing medley from Peter Pan. These, together with such standards as
"I've Got the World on a String" or "Bewitched, Bothered and Bewildered"
(My, is it ever nice to hear the introductory verses as well as the
lyrics again!) all serve to demonstrate the spirited, yet relaxed, clear
phrasing and dramatic presentation accorded throughout on this diverse
material. Accompaniment is sensitive and unobtrusive, with special nods
of approval to pianist Tom LaMark, trumpeter/flugelhornist Dave Burdett,
and reedman Mike Monaghan.
(J.S.)
Seaside 201 to order
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Laurent De Wilde - "Spoon-a-rhythm" |
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It's so refreshing to hear a gifted and imaginative pianist who is
technically able to put his ideas into a new and exciting context. On
this 1996 CD, pianist Laurent De Wilde does just that, with the
excellent rapport of supporting musicians who are totally in sync.
Laurent, author of an award-winning biography of Thelonious Monk, subtly
sprinkles those spare, oblique Monkisms on a number of occasions,
notably in a gentle probing of Monk's own "Round Midnight", or in a
playfully "Tune for T"; moreover, Monkish touches are evident in his
rollicking "Spoon-a-rhythm" with its sonically dramatic percussive
interlude by co-drummers Dion Parson and Bobby Thomas,Jr. as well as on
"Live & Dyrek", a well-oiled outing built around the changes to "That
Old Devil Moon". Other dimensions to the artist are revealed in a funky,
almost metronomic tribute to Ornette Coleman ("Fathers"), a pulsating
"Edward K" with Duke's signature indelibly apparent, and two gentle,
reflective melodic gems - "Totem" and "So Long Barney". Add to this a
Bud Powell-like exploration of Charlie Parker's "Relaxin' at Camarillo",
and you can understand why this is a disc that you will want to play
often. (J.S.)
Columbia CK 68635 to order
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Muddy Waters and Friends - "Goin' Way Back" |
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Montreal's Justin Time label's Just a Memory subsidiary has launched a
series of Collector's Classics, of which this is one - - other titles
features Sonny Terry and Brownie McGhee, Dave Van Ronk and Reverend Gary
Davis. All contain live performances in Montreal in the late 60's. This
CD is live, but with a difference, since it is a breakfast session, with
Muddy himself in dressing gown, recorded at the rooming house where
Waters and his entourage stayed while in Montreal for a club engagement
in October of 1967. The performances, acoustic blues with five musicians
on guitars (four of them sing), are not typical of Muddy's then-current
style, and in fact see him go way back. One of the tracks credited to
him he first recorded on acoustic guitar for the Library of Congress in
1942 and three of the four others were first done in 1947, after he had
left Mississippi and moved to Chicago, taking up the electric guitar,
the better to be heard in clubs. There is a certain forcefulness in his
delivery which is very Muddy, even when he goes acoustic. Most of the
other material is country blues, credited to all the musicians, but they
could just as easily be credited "traditional, arranged by". The other
musicians include Otis Spann, Waters' half-brother, on guitar not piano,
his main instrument. These are not brilliant performances, but they have
a certain charm deriving from the informal nature. One complaint - it
would have been nice if the individual vocalists on the different tracks
had been identified. (C.P.)
Just A Memory JAM 9130-2 to order
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