Tackling the rich complexities of Gershwin’s Porgy and Bess, in any context, is no easy feat. The Jazz Class Orchestra under the direction of Gabriele Comeglio (Milan, 1994), with guest altoist Phil Woods, take on the challenge. Though the technical proficiency of the group is never in question, its interpretation proposes a different story line from the tragically dramatic elements, the underlying human passions, and the vagaries of fate that govern the lives of the two protagonists. The opening "Summertime", a full-blown big band bash, does not conjure up a time when the living is easy; "Fisherman, Strawberry and the Devil Crab" become a showcase for the drummer; "My Man’s Gone Now" and "Gone, Gone, Gone" feature a playful Woods injecting lines from the recognizable but extraneous melodies into his solos. Despite liner claims that the music here gives new life to worn themes, breaks the traditional atmosphere, or is ‘entirely dedicated to the arias of Porgy and Bess’, this CD is for those who enjoy big band sound rather than for devotees of Gershwin’s music. (J.S.)

This 1999 release, the first as leader by reedman Gary Keller, features the compositions of his long-time friend and colleague, Ron Miller. Though Miller’s works are described as "jazz romanticism" (liner), they more than often reflect a bop-inspired source, such as the opening title tune, a loosely swinging piece with solo improvisations by sax, piano and trumpet, or the propulsive and sinewy "Last Illusion". Some of the compositions are reharmonizations of other numbers – "Soul Bod" a gently explorative reworking of "Body and Soul", "Monk Strut" capturing the intermittent, angular swing of Thelonious. Players are afforded ample solo space; Keller’s soprano is bright and expressive on "Babes of Cancun" with pianist Kenny Werner gyrating through the complex rhythm patterns, while trumpeter Scott Wendholt shows his inventiveness in mellow excursions on "Sweet Illusions". The group’s interaction is consistently first-rate. A promising premier outing for Keller. (J.S.)

Tenorman Turrentine has remained a popular player over the years; incursions into the realm of funk and soul have not diminished his ability as a jazz performer, and his warm tone, infectious sense of swing are still intact. Most of the music on this 1999 disc is composed by arranger/associate producer Stephen Boyd and features a bevy of musicians interspersed to complement that big tenor sound from the funky, riff-driven "Keep on Keepin’ On", the lyrically balladic "Far Too Little Love", to the light Latin swing of "Favourite Heart". It’s a somewhat constrained Turrentine however, and we welcome his deviant raw-edged free flight with "Back in the Day", paired with Andy Martin’s responsive trombone, or the quirky quartet rendering of "2 RBs". On some numbers, the addition of vocalists or inconclusive fadeouts seems unwarranted. (J.S.)

The release of this 1956 session, a rare meeting of the Ellington orchestra and a pop vocalist, comes at a time when Rosemary Clooney has firmly established herself on the Concord label as one of today’s solid interpreters of popular vocal music. A fortuitous series of events helped to launch the recording: Ellington’s return to Columbia after a 4-year hiatus; Columbia’s decision to extend its 45rpm pop singles to lengthier LP’s in order to capture a new market; the Duke’s acquiescence to Clooney’s former big band experience (Benny Goodman/Harry James) and her appealingly ‘sultry and cool’ voice. Moreover, as Clooney was pregnant at the time, only Billy Strayhorn’s frantic efforts to arrange a voice overdubbing saved the day. From the opening "Hey Baby", to the elegantly phrased "Sophisticated Lady", or a swinging "Me and You", it’s obvious that this was a match well made. Two bonus tracks, unreleased on the LP, augment the original 11 numbers. (J.S.)

Inspired by but hardly faithful to the brief, beleaguered life of cornetist Bix Beiderbecke, this 1950 film (based on Dorothy Baker’s novel) features Kirk Douglas as Bix and Doris Day as a struggling songstress. James’ trumpet is dubbed into Douglas’ solo spots, his "fine, clean tones" perhaps capturing some of the marked lyricism that Bix claimed as his own. Frankly, if one can dissociate the music from the film, this is a good big band recording, vocalist and all. The balance of instrumentals ("The Man I Love"/"Get Happy"/ "Melancholy Rhapsody" – the film’s theme) and numbers showcasing Day’s unmistakable voice ("The Very Thought of You"/"Would I Love You"/"Lullaby of Broadway") make this the very stuff that fans of the dance band era would have crowded the ballrooms to enjoy. The last tune, ("Moanin’ Low") by the way, is a bonus cut from 1954. (J.S.)

Subtitled All-time Greatest Jazz Hits, this CD drawn from Verve’s extensive catalogue is somewhat of a misnomer to be sure, considering that the earliest recording date is 1952, and that many of the choices did achieve wide popularity but are hardly jazz hits. Nevertheless, the collection is an appealing cross-section of music from the Verve vaults, including such gems as Ella and Louis’ "Summertime", George Shearing’s "Lullaby of Birdland", Sarah Vaughan’s "Misty", Billie Holiday’s "God Bless the Child" or Joe Williams’ "Everyday I Have the Blues". Some garnered instant public acclaim such as the Stan Getz/Astrud Gilberto "The Girl from Ipanema", Ella Fitzgerald’s "Mack the Knife", Loius Armstrong’s "What a Wonderful World", or Diana Krall’s recent "Peel Me a Grape". A few surprises – Nina Simone’s "My Baby Just Cares for Me", Fred Astaire’s 1952 version of "Puttin’ on the Ritz", or Benny Goodman’s 1970 re-run of "Sing, Sing, Sing". Not for collectors, but for those who want some good music to make their day. (J.S.)

This is an ostensibly thoughtful compilation by Verve – an array of eight well-known vocal artists whose familiarity with the French language offers a fresh perspective to a song, old or new, especially for those unaccustomed to a second language other than English. However, there are no language barriers in good music; accompanying musicians with long-established jazz credentials – Ray Brown, Jo Jones, Clark Terry, Charlie Haden, Herb Ellis, Hank Jones, Stan Getz – seem little affected by the choice of dialect. Without getting into the insoluble issue of what constitutes a jazz singer, suffice it to say that the music here is as varied in mood and tempo as one would wish – from the sensual, honeyed tones of Helen Merrill, the expressively emotive voices of Michel Legrand/Nina Simone, to the husky, raw-edged Abbey Lincoln, or the playful intimacy of Blossom Dearie. The disc begins and ends with two remarkably different renditions of "Autumn Leaves" (Dee Dee Bridgewater/Laura Fygi). (J.S.)