Dave Howard
Wayne Shorter
MJT + 3
Walter Perkins
Georgie Fame
Lara & Reyes
Elliot Levine
Red Norvo/Mavis Rivers
Midiri Brothers Orchestra
Pete McCann
Jonas Hellborg
David Chevan/ Warren Byrd
Ray Bryant
Frank Strozier
Maria Ochoa y Corazon de Son
Cedar Walton
Bill Henderson
Linda Tate
Nathen Page
Dave Howard
SOUVENIRS
(Neoga Records - 2000)
 by John Barrett
Dave Howard’s guitar is like a boat: it sails calmly among rippling bass and
splashy drums. The title tune shines like a day on the beach: keyboards
whistle, Arthur Blume calls with endless joy, and Dave glides like Pat
Metheny. Details vary in four minutes, but the mood remains it's lovely self.
“The Change” is more muscular; Dave’s tone is bluesy, and Kenwood Dennard
adds a tangy jawharp. The guitar sort of wiggles, doing a chicken-walk beside
the tough bass.
“Calabria” roasts in a bossa heat; Blume’s vocal is the definition of
‘charming’. The strings are plucked hard, for more bite – it’s tender, but
not without strength. “Threesome” is different, an arid waltz fueled by
Dennard’s cymbals. There’s a little country in this one, a smattering of
piano … and some very smooth sailing. It’s a slightly different destination
on our musical tour.
“Espresso” is strong: Jim Stinnett flies on a ‘Seventies synthesizer,
followed by Dave with a wicked fuzztone. He stomps it up, and Kenwood helps
with a blistering beat. “Under the Knife” moves like a hipster: fast, sly,
and very cool. Stinnett juggles his bass, in two-note wobbles; I could hear
this all day. For a last thought, there’s “Ciao Ritoneró” : a raft of strings,
bouncing off each other as the sun goes down. If it’s a vacation you want,
this disc is a good place to visit.
Wayne Shorter
WAYNING MOMENTS
(Koch Jazz - 1960/2000)
by John Barrett
When Wayne Shorter emerged in the late ‘Fifties, everyone took notice. As
soon as he left the Army, he was tutored by Coltrane, entered the Jazz
Messengers, and made his own discs with the likes of Lee Morgan. This is his
third album for Vee-Jay, made when he was 27; he’s joined by a future
Messenger (Freddie Hubbard) a bandmate at the time (Jymie Merritt) and two
Chicagoans often heard at the label (Eddie Higgins and Marshall Thompson.)
They make a statement on “Manha de Carnaval”: no bossa beat, just a
hard-driving swing. After the theme Wayne erupts – a full-throated shout,
similar to Trane but with a mellow edge. Hubbard hits the roof many times,
and Higgins lays the sleek chords. The sax finds hope on “Devil’s Island” –
ascending spirals, played up in alto range. The tune is fairly basic … but not
the way it’s played.
Get ready to waltz on “Wayning Moments”: Merritt takes a regal walk, and
Hubbard finds charm in an old-fashioned mute. Come Wayne’s turn, he is ready
:strong raspy lines, both confident and sad. The cymbals turn stormy on
Higgins’ solo, which is a subtle delight. “Powder Keg” roars it's insistent
theme, and everyone strives to go faster. Hubbard is great, hurrying up the
stairs; Wayne’s effort is a little slurred. His tone becomes elegant on “All
or Nothing at All” and boisterous on “Callaway Went That-a-Way”. This is
fast as “Powder Keg”, but Wayne is assured here: he takes small steps,
heating up little by little. Freddie flutters fast, in his most realized solo;
the whole thing’s done in delirious fashion. Wayne was eager to prove he had
arrived –and he did.
We get a half-hour of bonus tracks, an alternate take for almost every song.
“Manha” is slower,with slightly rough harmony; Higgins’ solo is very
special. Wayne’s at home on this “Devil’s Island”, moving in gentle arcs.
Hubbard is relaxed, and bold as well; I don’t know why they rejected this
take. They stretch on “Moon of Manakoora”, changing theme with neat
variations. Freddie wins this hands down, though Higgins is also good. Eddie
is louder for Take Three of “Wayning Moments”; at times he sounds like Tyner,
and Wayne blows his fiercest. Hubbard has some good ideas, which don’t quite
coalesce; a shame, as everything else is superb.
The alternate “Powder Keg” has a great Higgins comp, and “Callaway” is
almost too slow – this is Take One, so they were learning the tune. Freddie
blows strong ‘n’ pure, and the drums make it stronger from there. Lots of
good solos here: if you have GNP’s Wayne Shorter (a compilation of his Vee-Jay
years) you will still want this, for the wealth of alternate takes. And I
mean wealth: Wayne’s horn and energy are golden.
MJT + 3
MESSAGE FROM WALTON STREET
(Koch Jazz - 1960/2000)
by John Barrett
Chicago was special in the ‘Fifties, a town overrun with young lions. New
stars were always emerging, in endless quantity; only in this environment
could the MJT + 3 be overlooked. Chicago’s version of the Jazz Messengers,
these guys had talent and a lot of good tunes – if they had only gotten the
breaks. This 1960 session, intended for their second Vee-Jay album, was never
released at all; better late than never. You will want to hear this – it’s a
thing of beauty and a statement of power.
Horns tear through “Old Images”, a bitter bopper; Walter Perkins jumps on the
cymbals, pressing the beat. Frank Strozier is a madman on alto, fast
and assertive. Willie Thomas may miss his cue, but his trumpet is confident,
stuffed with pure notes. Tom-Toms sneak through “No Land’s Man”, then a
tremolo from Harlold Mabern – you’re in soul-jazz heaven. (Booker Ervin cut
the tune in ’63, in a band with Strozier and Perkins.) Thomas is slow and
friendly, Frank forceful, and the bass-walk is priceless. Mabern’s “Aon”
has the kick of a mule, and so does Strozier. (Bob’s Cranshaw’s solo is a
true gem, helped by the big drums.) The theme to “Is It” is slightly
off-center, reminding me of Dolphy’s work from the same period. Thomas has
his strongest effort: strong attack, weary tone, very understated. He’s great
for “On the Show”, a blues with mood swings; Strozier’s on flute for “Jean’s
Jeans”, a bit of West Coast serenity. It will stun you a little … and
the surprises are far from over.
The bonus tracks all come from the same session; some are good enough for the
original album, had it been released. “Old Images” is slower this time,
with smoother solos; Thomas is cohesive, and bold. A short take of “No Land’s
Man”, intended for 45, has a good comp from Mabern but not enough horns.
The alternate “Aon” is a tad subdued, but watch out for Harold: he boils on
a too-short solo, with Perkins prodding him on. Strozier speaks out on “Jerry
Lee”: he takes a leisurely walk, quoting “Georgia Brown" as he goes. “On
the Show” is stronger on the theme; the transition to the waltz is smooth,
unlike the earlier version. Mabern’s turn is absolutely gorgeous; here’s a
guy who deserves more attention. You can say the same of the band: in
the early ‘Sixties they moved to New York, where they rehearsed often but
gigged rarely. They broke up in 1962 and moved to better jobs: Perkins with
Carmen McRae, Cranshaw with Sonny Rollins. The players have made their impact,
even if their group had not. When Walter Perkins heard the tapes recently, he
said “Doesn’t it sound fresh?” It does – this music improved with age.
Walter Perkins
MJT + III
(Koch Jazz - 1959/2000)
by John Barrett
Like the Jazz Messengers, the MJT + 3 was a soul-jazz unit that started in the
‘Fifties. Like the Messengers, they were a hotbed of new talent; unlike
Art’s gang, they lacked commercial success. “Sleepy” takes the blues SLOOOOOW
,,, and mighty hard. Frank Strozier blows with the force of a tenor; Willie
Thomas follows with a big golden trumpet. They jump tempo, change time
signatures … and it never stops swinging. Harold Mabern wrote “Brother
Spike” for the son of his friend Bill Lee: it glides gently, powered by
Perkins’ sweet cymbals. Mabern turns sleek, and Thomas has a joyful ease.
(An alternate take finds him soft and perfect; alas, Strozier is on the rough
side.) “Whiffenpoof Song” takes a lame tune and makes it work; thank Frank,
whose alto swirls like a soprano. It’s the kind of record that makes you
take notice – Perkins heard it recently and said ‘Sounds brand new to me.”
Indeed.
“Rochelle” takes a fast ride down a bumpy road; the theme reminds me of
“Russian Lullaby”. Mabern has a ball: bluesy licks, followed by delicate
clusters. Frank is insistent; he’s been compared to Dolphy, based on solos
like this. He shrieks down the alley in “Big Hands”, a low-down blues that
hits the spot. Thomas is slightly tentative, but Perkins makes up for it;
those tom-toms are vicious! Two short cuts were intended for a single:
“Sleepy” is more langorous this time, and “Whiffenpoof” sparkles. Thomas has
a mute on his tiny solo, and Strozier’s is the sweetest candy. If you like
the old-style funk, you will listen … and you will smile.
Georgie Fame
POET IN NEW YORK
(Go Jazz - 2000)
by John Barrett
When the pop hits stopped coming, Georgie Fame turned to his first love of
jazz: writing songs, touring with Basie, becoming a legend in Europe. Adept
at vocalese, he’s got an approach like King Pleasure and a rumpled, alto-like
voice. Words will slur hornlike – without the fake hipness I find annoying in
some singers. “I may not be a Johnny Mercer/When I spin a line/All I know is
that forworse or/Better, they’re all mine.” (His writing style reminds me of
Jon Hendricks, who wrote Fame’s hit “Yeh Yeh”.) Pretty clever, and propelled
by an understated band – gotta love Louis Hayes and his brushes. “But Not
for Me” starts with the rare verse, and the intro from “If I Were a Bell”. He
then vocalizes a Chet Baker solo – interesting choice, as Chet’s voice was
never like this! He sounds deeper on “Doodlin’”, talking to himself from
speaker to speaker. Whooping through “Symphony Sid”, he adds his own words
to the solos from the King Pleasure version – he honors two people at once.
This album has ambition, and the talent to pull it off. Forget his pop stuff,
and remember this.
The band is very low-key; tenor man Bob Malach has some good solos, all on the
short side. The focus is squarely on Fame, and his hornlike approach. “On a
Misty Night” has him sharing the theme with Malach; Dave Hazeltine adds warm
rippling keys. (The fade quotes Erroll Garner’s “Misty” – I love it.) Bob
whispers on ‘Do It the Hard Way”, a lovable groan that makes you listen
closer. Producer Ben Sidran joins in for “Girl Talk”, trading couplets over
a juicy bassline. It could be my favorite track – that or “Lush Life”, with
its slow piano, and sleepy, truthful reading. He’s made this song his
own, from the lyrics and from his own confidence. Poetic, yes … and many other
things besides.
Lara & Reyes
WORLD JAZZ
(Higher Octave Music - 2000)
by John Barrett
Two guitars move together, building delicate structures of glass; one man
shows off as the other strums softly. Joe Reyes has a forceful tone, heard
well on“Leona”: he snaps the strings hard in a restless dance. He starts
“Sandia Fresca” with a clicking noise, and keeps it going with metallic
shimmers. After guitars set the mood, Richard Garcia bursts in – a
woody piccolo, crying with beautiful urgency. Sergio Lara has a gentler touch
than Reyes, and could be more versatile. He’s adept at fast trills (“Que
Boquita” has him on mandolin) and can also serenade. He makes
“Danielle’s Waltz” soft and jazzy, as Reyes scatters some raindrops.
Delicate but firm, these tunes have the feel of flamenco, and subtle
influences from other climes. They are quiet without being “smooth”, and
they convey a world of emotion.
Things really get cooking with “Anor de Lejos”. The guitars move in circles,
surrounded bygrowing percussion. Reyes starts a grand theme; Lara makes it
warmer. (He later uncorks a jaw-dropping solo, with a thousand interlocked
notes.) “10 to 6” adds the glow of piano and a sharp, sitar-like sound.
“Neiki” take sit further, with tabla and 5/4 time. Then Lara chimes in, with
electric guitar and delay echo – like raga-rock in the ‘60s. It’s totally
unlike what we’ve heard to this point, and very special for that reason.
“LaBarranca” is the feverish finale: endless drums meet a strong theme,
played loud and impassioned. This is where Lara has another rapid-fire solo;
the force builds up and is dispelled by a breathy ocarina. For friends of
guitar, this spicy brew is good for the ears.
Elliot Levine
SMASH
(MP3.com - 2000)
by John Barrett
The music is gentle, and also has subtle strength; it can’t be described as in
one word, least of all “smooth”. Neil Armstrong gives the intro to
“Rock-It”, which starts like Herbie’s version before it turns tougher.
Levine works the funky keys; Stanley Cooper makes his guitar roar, with
effects from the ‘Seventies. I thought the blow-tube went out with Frampton;
here it works, as Cooper takes it fast. And in comes Ron Holloway: his
fierce tenor is what you need. Anchored by Levine’s montuno, “San Juan
Rhythm” strikes hard; Cooper has a wicked fuzztone, heard in the opening.
While the piano runs sleek through “In the Mix”, DJ Sir Jamm adds samples
from everywhere. Scratch vocals, steel drums, and Kevin Powe’s metal guitar
– a heady mix, to be sure.
“Smash” is built around a single car wreck, stretched until it forms a funky
groove; a little too long but it’s fun. “B-More” has the organ blues:
Elliot rolls slowly, with Cooper adding an easy rhythm. Holloway screams, and
you gotta like that. Here are many tastes, blended in many ways; they are to
besavored … and devoured.
Where the tunes are smoother, Elliot’s playing stands out. He glides gently
on “Two ThousandT wo”, and synthetic strings rise to meet him. Pete Jordan
has a sweeter tone than Holloway, but is nice in his own way. He’s the main
voice in “Yeah”, next to a meaty bassline; Levine stays soft, and keeps it
pretty. There’s an infectious intro to “Boom ChaBoom”; the keys are light
and the mood is warm. “Song for Tilley” moves like a genteel dance floor,
and “Spanish Song #2” plays a short theme for all its romance. This disc has
a strength rarely found in this genre; I’d call it smashing.
Red Norvo/Mavis Rivers
WE REMEMBER MILDRED
(Koch Jazz - 1964/2000)
by John Barrett
Among the first white singers with a talent for the blues, Mildred Bailey got
her start with Paul Whiteman and remained a star for twenty years. For much
of that time her band was led by Red Norvo, then her husband; ten years after
her death he made this tribute with Mavis Rivers, the mother of arranger Matt
Catingub. Her girlish voice seems to smile, with a slight quaver on top –
she’s like Mildred in many ways. As she explores “Easy to Love”, the band
murmurs softly: horns make a zigzag, then Red whispers a chorus. (His pedal
squeaks, which is a major distraction.) Woody’s pal Bill Harris drawls
“Georgia on My Mind”; he’s joined by Sweets Edison, relaxing with a mute.
All is silence on “Confessin’”, where Red takes four mallets and sounds like
a celeste. (“Ghost of a Chance” is also a duet: Red goes chiming and Mavis
sounds ethereal.) Feel her emotion on “Please Be Kind”, matched by Eric
Dixon and his Pres-like tenor. The tunes come from another era, but romance
like this is welcome anytime.
“Rockin’ Chair” was Mildred’s signature tune; Mavis sighs the lyric, resting
on a cloud of brass. We’re in a speakeasy for “Seems Like Old Times”:
honky-tonk piano, Edison’s mute, and vibes rumbling in the background. Great
acting on “My Last Affair”, where Mavis is regal – and also fragile. None of
that on “There’ll Be Some Changes Made”: taken slowly, her every word drips
in passion. Dixon sways, Red is especially lyrical –it’s sassy, but at the
same time elegant. Given her style, Mildred Bailey would appreciate that.
Midiri Brothers Orchestra
FINGER BUSTIN’
(Midiri Brothers - 2000)
by John Barrett
It is one thing to mimic the masters; it’s another to follow their path. Joe
Midiri does everything with his clarinet: woody groans, dizzy spirals, all
with a feathery touch. He’s not afraid to challenge the swingers on their own
turf: Goodman’s “Clarinade” sounds like the real thing, fueled by his
wonderful band. Creamy-smooth altos join a slappin’ bass and growling brass
– it’s a 78 record with betters ound.
“My Inspiration” has the whole band at a whisper; the reeds sound like a
string quartet! Steve Schaffner has a great trumpet lick – way too short and
quite exquisite. Paula Johns adds her brassy voice to many tunes: lovely on
“Bye Bye Blackbird”, enthralled on “Come Dance with Me.” (She might overact
on “As Time Goes By”, but the voice is right.) “Caldonia” is fun, with an
uproarious vocal; the band blows tough, and the saxes have their way. Joe
tries a Louis Armstrong vocal for “I Want a Little Girl”; works better than
you’d expect. (And it’s not a parody; he sings with sincerity, and you will
smile.)
They use the Lunceford arrangement on “’Tain’t What You Do”, where Paula adds
a touch of sass. And it’s time to wave the flag: as a tribute to Jimmy
Dorsey, Joe picks up the alto for the dizzying “Finger Bustin’”. The reeds
coo as Joe winds through that theme, first on alto, then the black stick. He
is fast but also lyrical – you’ll be impressed, if you’re not already.
For a change of pace, Joe takes a few tunes by himself, helped by the lightest
rhythm. He takes it slow on “Petite Fleur”, weeping as the piano glimmers.
He scoots through “Undecided”, bouncing beside the guitar of Pat Mercuri;
it’s calmer still for “Night and Day”, where Pat and Joe hum together. The
small groups are really nice: Midiri sounds thoughtful, and shows he can do
more than swing. But you’ll want to hear the band; at its roaring best, it’s
a glory to behold.
Pete McCann
YOU REMIND ME OF SOMEONE
(Palmetto - 2000)
by John Barrett
Everything sounds like a fog: the dense brushes, the droning bass,
the yawning chords of Pete McCann. Stretching his chords long, the guitar
forms a wall of clouds – and that’s when the sax comes through. “Knew
Blues” is all about Peter Epstein: his alto is sour and his lines are
taut. Bassist John Hebert steps softly – he starts the title theme,
which McCann then follows. His solo wanders, in dizzying steps; “Pollock”
surges with jagged slashes. (The piece was inspired by Jackson Pollock, the
father of “action painting”.) There’s a Charlie Byrd feel to “Falling
Grace”, and it sounds like two horns tearing through “Mr. Fritters”. While
Epstein blares, McCann burns – thick distortion, and attitude to spare. The
solos are especially strong, and the two Petes walk tough into the distance.
“Smoking” is a mild way of putting it.
“Inquisition” mixes a sad melody, a habanera beat, and eerie
whistling strings. (The tune is “dedicated”, in its sarcastic way, to the
Monica Lewinsky scandal.) Epstein’s snake-charmer solo is easily his best.
Sadness flows from“Letting Go”: harp-like notes, spun as the bassman
strums. The tune may be slight, but the feeling is mighty substantial.
Epstein has a good yell on “Ornery”, where McCann is mostly absent. Quieter
than your typical sax trio, its strength comes from restless motion. And the
power of “The Patriot” is its country grace, a tone like steel guitar.
Epstein calls simply, and the leader proclaims – simple but it gets the job
done. If you’re looking for nice moods and quiet strength, it’s hard to
find better than this.
Jonas Hellborg
GOOD PEOPLE IN TIMES OF EVIL
(Bardo Records - 2000)
by John Barrett
Jonas Hellborg was a rock bassist who became attracted to jazz;
each of his albums has a different group, each time exploring another part of
the world. This time he’s got an Indian percussionist (V.Selvaganesh) and
the former guitarist of Black Oak Arkansas (Shawn Lane). “Aga of the
Ladies” starts like a Grateful Dead tune: lazy whoops from Jonas, folksy
picking from Lane. As it develops, the drums get more active, capped by a
delirious three-minute solo. Hellborg hits an Eastern riff on “Savitri”,
surrounded by sitar-like twangs. Lane’s solo reminds me of the late ‘Sixties
– a fuzzy tone in ordered progression. “Leal Souvenir” is better still: a
Led Zeppelin riff runs ever faster, driven by a restless beat. Jonas drones
with his top string, like a tamboura; his low strings snap with a funkster’s
fury. And speaking of funk: Selvaganesh sings in “daka-din” syllables, going
so fast your head will swim. Here is a style centuries-old, sounds as modern as
rap – you will be duly amazed.
With “Bhakti Ras” the group is joined by Ustad Sultan Khan, who
plays the violin-like sarangi. The guitars stay quiet; Khan works
strong twisting themes around an eerie backdrop. Wild rhythms course through
“Who Would You Like to Be?”, where Lane’s tone is icy and clean. (He
turns country at times – and mystical too!) “Uma Haimavati” offers busy hands
from Selvaganesh, piano-like notes from Lane, and an unforgettable bass. Fans
of jam bands won’t want to miss this – these are good people.
David Chevan/ Warren Byrd
LET US BREAK BREAD TOGETHER...
(Reckless DC Music - 2000.)
by John Barrett
It is an idea the musicians first plumbed in their album Once We Were Slaves:
the plight of the ancient Israelites is similar to that of the African
Diaspora. (This theme also appears in reggae, where parallels are
drawn often.) Playing hymns of many religious traditions, David Chevan and
Warren Byrd explore thoughts, emotions, and souls.
“Let Us Break Bread”, a tune from the Georgia Sea Islands, gets Monkish
harmony from Byrd, who sounds a little like Vince Guaraldi. The chords come
lush and slow; Chevan walks the bass gravely, almost drumming with his
instrument. “Oseh Shalom” is heard twice: Take Two is a robust ballad, while
the first has music-box keys and a drone from Chevan. The moods are totally
different, yet each has the tone of peace, seen from different angles.
There’s big thunder on “If I Can Help Somebody” (Byrd pounds the bass keys
while making tremolos) and “Eliyahu” (Elijah) proclaims, in bluesy bass and
plucked piano strings. Tart and funky, this reminds me of soul-jazz – which
it is.
Each rendition is respectful, and each gets a different approach, as the tune
requires. “Little David Play Your Harp” starts as a children’s song, and
the harmonies grow more intriguing. Two settings of “Etz Chaim Hi” have
classical charm: Byrd leads one, Chevan strums hard on the other. The
Gospel Harmonettes’ “How Much More … Must We Bear” has the feeling of “Work
Song”,with “Wade in the Water” tossed in. “Soon I Will Be Done” is a big
wave of sound, the power of God Himself. At once we hear pain, worry, tension
… and hope. This sound, the common experience of two peoples, has a message
– and beauty – for all people.
Ray Bryant
SOMEWHERE IN FRANCE
(Label M - 1993/2000)
by John Barrett
In the middle of a European tour, the sound man handed Ray Bryant a
tape of the show he had just completed. Ray put it in a bag and forgot about
it; he no longer remembers the site of the concert. He didn’t listen to the
tape until earlier this year -- its energy surprised him, as it will you.
“’A’ Train” is a restless boogie, the right hand rambling as the left hand
slams. After Ray bids the crowd a “Bon Soir”, he launches into a slow lazy
blues. This becomes “Willow Weep for Me”, punctuated by high clusters; with
“Con Alma” he jabs a left-hand vamp from “Night in Tunisia”! For a moment,
he plays the tune as a tango – the ideas never stop. After stomping on Lloyd
Glenn’s “Jungletown Jubilee”, Ray tremolos through “Django”… before
returning to the boogie. He can’t be in France – it sounds too much like
heaven.
Remember: this CD is mastered off of a portable cassette. The sound
is truly magnificent: the low keys thunder on “After Hours”. Chords tell the
story of “When I Look in Your Eyes”, revealing the tune’s elegance. While the
right hand tickles “Good Morning Heartache”, the left runs a vamp close to
“Cristo Redentor”. I told you he was full of ideas! When a man in the crowd
suggests “Roll ‘em Pete”, Ray does his own “In the Back Room”, saucy as you
like it. (So does the crowd –they applaud in the middle.) “St. Louis Blues”
strides along sweetly, and it ends in another burst of boogie. The final
applause rolls like the tide, wave after ecstatic wave. It is easy to see why.
Frank Strozier
FANTASTIC
(Koch Jazz - 1960/2000)
by John Barrett
You see the names on the cover and say “wow”; you hear the album
and think, “He belongs in this company.”
A piercing alto who played with everyone (Booker Ervin, Johnny
Griffin, etc.,) Frank Strozier never got the fame he deserved, and rarely
recorded on his own. This album, his first, pairs him with Miles’ classic
rhythm section and the amazing Booker Little. They start with a blues: Little
is quiet, with a series of thoughtful whispers. Frank hops all over,
slightly tentative before he builds steam. He’s more confident on “Starling’s
Theme”, a boppish tune with odd harmonies. Jimmy Cobb breaks into Latin
rhythm; Frank answers by quoting “Mexican Hat Dance”. And everything moves on
the aptly-named “Runnin’”: Paul Chambers cruising fast, splinters of horn,
those drums cracking hard. This group was ready … and so is this listener.
The faults are mostly technical: the sound is rather dry, and some
tunes seem pasted together, like the musicians were pressed for time. (They
probably were; most of this was taped in one day.) But the standouts – they
really stand out. Little’s “Waltz of the Demons” gets its' first reading
here; it would be Booker’s most famous tune. The trumpet is warm, a stronger
tone than we’ve heard so far – and his rapid-fire exit is great. Strozier is
also tough, and you’ll love the comps of Wynton Kelly. “Off-Shore” has that
soft lighthouse glow; Kelly is romantic and Frank’s got assertion. (An
alternate take, hear at the end, has Strozier more gravelly – and that’s how
I like it.)
Booker is restrained at times, but not on “Luck a Deuce”, where he explodes
on a fast series of high-pitched bleeps. Frank’s solo follows, which is his
best, and Wynton wraps it all in block chords. “Tibbit” is a fun little
blues, and the alternate “Demons” swing even stronger, thanks to Cobb’s
power. Booker hits the ground running, the rhythm is hypnotic, and Frank
is Frank. In all, a good day’s work … the disc lives up to its name.
Maria Ochoa y Corazon de Son
ASI QUIERO VIVIR (LIKE THIS WANT TO LIVE)
(Blue Jackel - 2000)
by John Barrett
Son is the foundation of many forms of Cuban music, but is not
often recorded outside the country. This explains why Maria Ochoa, first
heard on Cuban radio in the ‘Sixties, had to wait thirty years for her
first album. A strong likable voice, she roars like a trumpet, trilling her
R’s with glees. Whether she coos (the bolero “Como Estoy Sufriedo”) or
proclaims (“Comina y Ven”,) it is done with authority. Her band is busy yet
gentle: lots of pulsing percussion, and the happy treso f Rey Castelanos. His
wiry chords chime like a harpsichord, contrasting well with Maria’s force.
“Que Viva Chango” blows in a sweltering breeze, Ochoa trading lines with the
male chorus. Though the details change, the whole is consistent – a
sound that’s earthy, passionate, and authentic. She lives this music, and
you’ll feel it in every word.
Her band flows like a stream: rhythmic sounds blending together,
and none of them overpowering. On some tunes a flute will fly overhead; this
is great on “No Quiero Celos”. The rumbling guitars are subtle and deep; at
times they sound like marimba! “Comentario” is infectious, a
gorgeous repeating riff where Maria shouts bold. “Pagame El Beso” belongs to
the band; their vocal makes the tune live. “El Canetero” has a cute
“bopbop” refrain, and “Suena La Timba” bubbles along, where soft congas
meet insistent strings. Maria is more restrained on this one; she sits back
and enjoys the music. You will as well: they sound like old friends, jamming
on a street corner. Ifyou seek the origins of the Latin jazz beat, here is a
good place to start.
Cedar Walton
THREE SUNDAYS IN THE SEVENTIES: “LIVE” AT THE LEFT BANK.
(Label M - 1971-74/2000)
by John Barrett
Proven tunes, top musicians, a receptive audience –it’s hard to ruin that
recipe. Cedar Walton is the model of taste and consistency; through changing
times and personnel, his style prevails. In 1971, Herbie Lewis starts “Naima”
with swooping drones, like Reggie Workman did for Coltrane. In the midst of
such exotica, Walton comes softly: subtle chords, a light touch, and a deep
romance. “Shiny Stockings” run fast, with Billy Higgins adding Papa Jo
cymbals. In the resulting haze, Cedar’s notes shine like beacons – and then
he blazes with block chords. That’s right … the “Stockings” are looking
mighty good.
When Walton returned the following year, Sam Jones replaced Lewis, and he
brought a guest – the great Etta Jones. She yells those “Blow Top Blues”,
more forceful than we expect from her; the crowd approves. Cedar keeps
stoking the fire: sly tremolos, then thick chords, then some late-night soul.
Applause ripples through the start of “Don’t Go to Strangers”, Etta’s hit
from 1960. Her sweetness is joined by bell-like chords (she does the bridge
like Billie; how they love it.) Walton’s in charge, but doesn’t need to
flaunt it – he gives every situation the thing it needs. And that is the
source of his greatness.
The same trio is back in 1974: “This Guy’s in Love with You” goes smooth on
the verse, funky on the chorus. He used this arrangement on his ’73 album
Live at Boomer’s, but this one seems stronger; Jones’ walk is a big plus.
Two horns arrive for “Plexus”: Bill Hardman’s pungent blare, Clifford Jordan
with a nervous ramble. The bop is hard, and the pace restless: Higgins is
especially good. They really take off on “Pinocchio” where Jordan starts
bold and builds ever so slowly. Hardman is decent, the cymbals rain, and Cedar
is the funky glue of the tune, and the session. You’ll love this album … no
lie.
Bill Henderson
HIS COMPLETE VEE-JAY RECORDINGS, VOLUME TWO
(Koch Jazz - 1960-61/2000)
by John Barrett
Downbeat critics gave him a Wider Recognition award, his record company had
him in the studio often – things were looking up for Bill Henderson. In the
space of two weeks he cut four sessions, his raspy voice heard in lush
surroundings. Jimmy Jones wrote some wonderful string charts, over which
Billis emotive – and lovably vulnerable. Pleading on “Kiss and Run”, pensive
for “Don’t Like Goodbyes” – Henderson acts the lyric, and the strings
embrace him. Three days later, he recorded with a big brass section: this
time he shouts, with a showbiz delivery. “Slowly” gets the soul-jazz
treatment, and saxes weep for “Opportunity, Please Knock”, a great thing by
Oscar Brown, Jr. “There’s a ship out at sea/ Comingin for me” … and when he
says it, you believe it.
When the Count’s band stopped at Chicago, Henderson was ready; Thad Jones did
the charts, and how they gleam. Bill’s acting is right for “Never Will I
Marry”; the brass section roars “Hooray for Love”, with the singer calm…
and charming. That’s also true of“Skylark”, cut the next day with an
all-star quartet. Tommy Flanagan spins some cloudy chords, and Bill sounds
like love. “Royal Garden” is fun, and you’ve got to smile with “Love Is a
Bug”. The title makes sense: the songs are infectious, and Bill is an
incurable romantic!
At the start of 1961, Jimmy Jones was back with another string session.
“Bewitched” is intimate and slow: Bill’s best reading is met by a twinkling
celeste. The chart is assertive on “The More I See You”; Henderson is even
more so. A ten-piece band hollers “Yes Indeed”, and Bill is alone for
“Please Send Me Someone”: just guitar, bass, and the great Eddie Harris,
yawning a wondrous mood. A trio then stomps “Sweet Georgia Brown” hard, and
Bill’s Vee-Jay days were over. He then went into acting, appeared on several
TV shows, and just recently recorded with Charlie Haden. Looks like
opportunity did knock for Bill Henderson – it just took its time.
Linda Tate
TIME, SEASONS, AND THE MOON
(Southport - 2000)
by John Barrett
You could call her voice delicate; it caresses the lyric in
breathy excitement. Some words are trilled, and others are kissed – Linda Tate
is an old-style romantic. “I Wished on the Moon” gets a bossa bounce: as
Linda clicks her tongue, Richie Fudoli shrieks on the flute. His solo is
earthy and overblown – works well with Linda’s calm. She gives a languid sigh
to “’Tis Autumn”, a feeling shared by Johnny Frigo’s violin. (You’ll love
Fudoli’s solo; his tenor is worthy of Lester.)
When brushes slap through “Just inTime”, Linda gives it a Peggy
Lee smolder; heat rises, and the passion flower blooms. But it’s nothing
compared to “I Concentrate on You”: Steve Eisen blows a warm tenor, Paulinho
Garcia sings softly as his guitar ripples. It’s the Getz/Gilberto sound; when
Linda enters, it’s a burst of pure sunshine. Give this a listen when you’re
on vacation …or when you want to be.
Her band is always changing, from duos up to seven pieces.
Arrangements can be minimal (“From This Moment On” has a straightforward
vocal and arrhythmic surroundings) or euphoric (“Moonlight in Vermont” is a
deep pool of sound.) “My Favorite Things” rushes by, bouncy and soft;
“Falling Grace” has Garcia’s sweet vocal, and a lyric in Portuguese! She
flutters on “Where or When”, high above the tangy bassline – then she turns
sultry, which helps alot. The final “Zip-a-Dee-Doo-Dah” has a trumpet-like
voice, and a dash of good soul-jazz. Bradley Williams boogies a fine solo,
inspiring Linda’s best scat. You leave this disc with a smile, and the hope
that her seasons will be long.
Nathen Page
THINKING OF YOU
(Hugo's Music - 2000)
by John Barrett
For many years he played beside Dr. Lonnie Smith – he’s got a strong wiry
tone, and is well-schooled in the art of funk. Feel the low bounce on “Blues
in the Key of Page”, where Nathen moves like a bass. One chorus is told in
octaves, another played like Grant Green; the torch is then passed to Kevin
Bales, whose blues are wonderfully busy. The islands call on “The Bostic
Stomp”,which is a riot of bells and strings. Nathen plucks hard, for a sharp
metallic sound; reminds me of a steeldrum. “Stepping” is fast and
peaceful: Page ripples along while Leon Anderson attacks the snare, varying
his fills in interesting ways. Bales has an intricate solo, moving from the
drawing room to the barroom; a flourish from Nathen and the tune ends. These
guys are stepping with style, and it sounds like a winner.
The band really impresses me: most teach at Florida colleges, and Anderson now
plays for Ellis Marsalis. His cymbals are sleek on “Blues for Alvin”, where
the theme is sad and the notes tender. Nathen hovers on this one, a light
tiptoe sound. (Jeff Handley’s bass is quiet, but walks up a storm.) Power
builds at the rhythm’s interlude, then explodes with a thrilling
crash. “Thinking of You” takes a romp through tropical sands, and on “Brad”
the blues come slowly, in a nice tangy shuffle. Nathen’s tone is perfect,
Bales rolls softly, and the cymbals ring into the lonely night. This album
grows on you; each tune is stronger than the last. Nathen knows what he does
well, and you get plenty of it.
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