Cool school vocals were never cooler than those of Frank Sinatra who could swing with the best of the crooners and both albums handily placed on one CD here illustrate precisely why. These date from the beginning of his newly created Reprise label and the earlier the better in terms of quality. There is a genuine freshness and vitality to the orchstrations with Johnny Mandel in control on the first recording while Sy Oliver takes over the reins on the second. The first is slightly stronger with a wide range of the great American songbook on offer. This includes a storming ‘Let’s fall in love’ with the lightest of string accompaniment, with an atmospheric ‘In the still of the night’ and a latinesque take on ‘The coffee song’. Irving Berlin, Gershwin, Kern and Cole Porter all get a look in. The second album is a tribute to trombonist and band leader Tommy Dorsey and the uptempo brassy intro to ‘Imagination’ typifies the sound. Perhaps not as compelling in its more mournful sound overall, ‘I remember’ would probably benefit from a few more swinging versions, especially of ‘Polka dots and moonbeams’ and ‘East of the sun (and west of the moon’). Fine musicianship nonetheless with flautist Bud Shank and vibist Emil Richards just two of the musical treats to be savoured.
This is a real find. Fans of early Quincy will be familiar with the ‘Big Band Bossa Nova’ album, but they would probably be unlikely to know either of these hard to find releases that are conveniently placed here on one CD. The first album has something of an Afro-Cuban flavour (and a pan-Latin one come to that) and one fully understands why when browsing the cornucopia of talents on percussion. Nigerian Babatunde Olatunji, Tito Puente and Carlos ‘Potato’ Valdes would help hot up any musical proceedings and the brass section is just as good with Curtis Fuller, Jerome Richardson, Sahib Shihab and Phil Woods on hand. Key numbers include ‘Hot sake’, which takes a leaf out of the Cal Tjader songbook, (Horace Silver devoted a whole album to the country’s music) while big band mambo comes in the shape of Rico Vacilón’. A major Afro-Cuban workout is exemplified on ‘Africana’. Flamenco-style castanets ring out on the lovely ‘Manolete de España’ while a downtempo take on Ary Barroso’s ‘Baia’ with the flute of Shahib Shihab impresses also. The second album is more melancholic with French impressions on ‘Under the Paris sky’ featuring the trumpet of Clark Terry and baritone saxophone of Jerome Richardson once more while there is even some barrelhouse piano in the intro to ‘Mack the knife’. Quincy Jones was just twenty-seven years of age when these recordings that date from the beginning of the 1960s were recorded. He never lost his jazz sensibilities and even on ‘Thriller’ three decades later, a jazzy input is clearly recognisable, not least the hammond organ playing of one Jimmy Smith. This re-issues represents excellent value for money and is a welcome extension to the early part of Jones’ career. Tim Stenhouse
Of course the title refers to the seminal comedy film starring Jack Lemon, Tony Curtis and a certain Marilyn Monroe and the songs in the film are used as a pretext to re-interpret them here in a jazz idiom and joyfully swinging one at that. This archetypal West coast recording dates from 1959 on the Contemporary label and arrived during a prolific period for leader Barney Kessel. A terrific line-up includes Art Pepper on alto, Joe Gordon on trumpet, Jimmy Rowles on piano, Monty Budwig on bass with the great Shelly Manne on drums. Kessel solos beautifully with pianist Jimmy Rowles on ‘I wanna be loved by you’ which Monroe immortalised with her wispish voice. What is particularly lovely to hear is the revisiting of many of the songs that date originally from the 1920s in a pared down setting of bass and guitar duet and this is not better illustrated than on ‘Stairways to the stars and ‘I’m thru’ with love’. Two alternate takes and three additional pieces, not on the original album and from a different session with only Kessel and Rowles retained, make for a most welcome re-issue.
Alto saxophonist and flautist Eric Dolphy is often regarded as part of the avant-garde, but here on this superlative pairing of albums, he, along with other musicians, skilfully craft their way between melodic post-bop and newer territory that borders on free without ever losing the plot. In fact the music recorded sounds as fresh as the day they were first recorded with comprising sessions completed on 20 and 27 June 1961. Booker Ervin is added on the second album and his duets with Dolphy are thrilling with ‘We did it’ which is a standout number while ‘Status seeking’ recalls an imaginary Charlie Parker meeting Coleman Hawkins head on. Yet there is great beauty equally from Dolphy on bass clarinet on ‘Warm canto’. There are even hints of the ‘Sidewinder’ riff on ‘Warp and woof’ a full three years before Lee Morgan recorded the tune! On the first album the version of the standard ‘Softly, as in a morning sunrise’ is as different as you are ever likely to hear. Lengthy and informative orginal sleeve notes, including by Nat Hentoff, round off the impeccably packaged music. Tim Stenhouse
This fine album has not been re-issued since the 1980s when CDs first arrived and this is an infinitely superior sound and package all round. It is fascinating to hear Louis Armstrong outside his normal context of either strings and big band orchestrations with greater emphasis on the voice which still carries some punch. The recordings date from 1961 and there is the opportunity to hear Louis play trumpet on ‘Someday my prince will come’ which, by chance, Miles Davis recorded during the same year. Elsewhere the pairing of Carmen McRae with the Dave Brubeck band in trio format is a marriage made in heaven and they would repeat the experience live at ‘Basin St. East’, a few numbers of which are included as extras here. On the original album Carmen and the trio excel on ‘Summer song’ which is the better of the two versions on offer while the live vocal take on ‘Take five’ is a classic’ and ‘In your own sweet way’ a lovely refined number. Lambert, Hendricks and Ross end up dueting with Satchmo on several numbers, but this writer would have liked to hear a more equal distribution with the trio shining by themselves plus trio. Ironically their tribute to the legendary trumpeter can be heard on ‘Blow Satchmo’ with the fine accompaniment of the Brubeck trio.
If you are looking for a release that contains that captures that elusive essence of flamenco known as ‘duende’, look no further. This live recording from Seville in July 2011 will cater for all your musical needs and then some. Navarro is a highly respected flamenco singer and her albums have consistently sold well in her native land. Here we have the opportunity to hear the singer in her purest form, accompanied solely by guitarist Juan Antonio Su☺arez. One is immmediately struck by the sheer beauty of the voice which is devoid of the commercial clichés of the genre in so far as there are no excessive ad-libs or embellishments. Rather Diana Navarro focuses on delivery alone and in this respect she excels. The repertoire is eclectic within the confines of flamenco and covers a variety of sub-genres that are difficult in parts for the non-specialist to distinguish. Highlights include ‘Tinieblas’ with a gorgeous, lengthy guitar introduction and the faster paced cambiñas style of ‘Deja que te mire’, but this is definitely an album to be savoured as a whole. Deserves to be heard outside strictly flamenco aficionados. Tim Stenhouse
Multi-reedist extraordinaire Roland Kirk divided fans and critics alike with his own unique high energy brand of post-bop jazz that willingly and effortlessly took on board new developments in contemporary black American music at the time. With the benefit of hindsight, we can now view these recordings in a slightly different light and simply appreciate Roland Kirk for what he was: an amazingly/highly versatile and proficient player who was steeped in the blues, the then emerging soul and jazz genres, and, in addition, had a wide ranging love of music that also took in Hindemith, Villa-Lobos as well as Fats Domino. While his recordings on Warner as a whole cannot be considered a comprehensive guide to his career overall (a simliar anthology of the early 1960s period on Mercury is required to superseed the expensive and now long deleted complete recordings package that surfaced in France during the 1990s), within the framework of the one label here it is does cover the essential material and goes a bit beyond that two, though unlike an earlier 2 CD set ‘Does your love have lions’, it does not include Kirk’s participation in the Mingus band (these sides are readily available elsewhere for those interested). For those not already familiar with the musician’s craft, it is a fine place to begin and then supplement with individual albums of the calibre of ‘We Free Kings’ and ‘Rip, Rag and Panic’.
By the mid-1960s Roland Kirk was a fully mature musician and the live recording which opens CD 1 from ‘Here comes the whistleman’ is testimony to this. Of all the numbers that can be immediately appreciated by even a passive fan of jazz, ‘Making love after hours’ is a fine way to introduce Kirk to a wider audience. It also affords the listener the opportunity to hear a then young Lonnie Liston Smith accompanying on acoustic piano. For lovers of a more intense style of jazz, ‘A tribute to John Coltrane’, from a live recording on the 1968 LP ‘Volunteered slavery’ will fit the bill nicely and evidence of Kirk’s appreciation of what came before as does ‘Lady’s Blues’, another homage this time to Billie Holiday. However, Kirk was a keen listener of new trends and within a year of Bill Withers recording the classic ‘Ain’t no sunshine’, the reedist had produced his own inimitable version, complete with added percussion, miscellaneous instrumentation from Sonelius Smith and even background vocals courtesy of one Cissy Houston, mother of Whitney. CD 2 features one of Roland Kirk’s most beloved compositions, ‘Serenade to a cuckoo’, which was an ideal pretext for Kirk to display his mastery of a panoplia of instrumentation including the nose flute as well as the newly invented manzello and stritch.
One could quibble with the odd selection and there are some omissions such as the title track of ‘Bright moments’, but that would be splitting hairs. Ideally one would have liked a large photo of Roland holding and playing more than one reed instrmuent simultaneously and, believe me, this was no mere gimmick, but rather the sign of a highly original artist in full flow. Terrific value for money and extremely generous timing with full details on the recordings and useful notes from jazz writer Kevin Le Gendre. Tim Stenhouse
Brazilian saxophonist Leo Gandelman has an impeccable training with a period at the prestigious Berklee College of Music before beginning a professional career in 1979 and thereafter going solo in 1987. Musically, he fits into the soul-jazz bag with hints of a Latin tinge in parts. As such this release will appeal to jazz fans more generally who like their jazz on the melodic side and Gandelman’s influences seem to include in his approach to the tenor the likes of Eddie Harris and Stanley Turrentine to name but two. This is typified on numbers such as as ‘Lançamento (‘Release’)’ and there are even hints of Harris’ epic ‘Cold duck time’ on ‘Camisa 7 (No. 7 Jersey’)’. Accompanied by an acoustic trio and horn section, Gandelman blends in well with the other reeds on the samba-jazz piece ‘Nego, ta sabando (‘They know’)’ and there is some lovely Latinesque piano vamping on ‘VIP VOP’ which would not be out of place on a Horace Silver album. Another composer, Wayne Shorter, is evoked on the busy opener ‘Sinal veremlho (‘Red sign’)’. The only standard is a beautiful cover of Edu Lobo’s seminal song ‘Reza (Peace’)’ which here is taken at a slower pace than on the original vocal version. One wonders why Gandelman does not devote an entire album to the composer, following on from his 2007 recording devoted to composer/pianist Radamés which earned the tenorist the best instrumental album award in Brazil. In comparison to another Brazilian reed player, Hector Costita, who recorded jazz-fusion during the early 1980s, this new recording is more straight ahead, but with a subtle Brazilian influence nonetheless. An accompanying DVD with both the leader in performance and a documentary is added to the package which all helps to enhance the listener’s understanding of the artist.
Jamaica’s fiftieth anniversary celebrations are forthcoming and now is an appropriate time to listen to one of the island’s finest and longest standing musical institutions, the Skatalites. If the 1960s was the golden era of the collective with the great Don Drummond at his peak, then the group adapted well to the 1970s with a superb instrumental dub album re-issued as ‘Heroes in dub’ (Motion Records) and even in the early-mid 1980s the nucleus of the Skatalites was still intact as heard on the excellent Island/Mango album from 1984 ‘The return of the big guns’. Sadly, several key members of the band have now passed away leaving just Lester Sterling and vocalist Doreen Shaffer (who rejoined the band in 1992) from the original line up. The good news is that the replacements have maintained the fine level of musicianship and the most recently deceased original member. drummer Lloyd Knibb, can be heard on several tracks so there are in practice three original members who can be heard here. For lovers of Jamaican jazz, the minor theme pieces have always been a joy to behold and the Lloyd Knibb penned classic ‘King Solomon’ finds this band at its apogee. Likewise the uptempo groover ‘The leader’ impresses with a fine trumpet solo from Kevin Batchelor and some fiery alto courtesy of Lester Sterling. Covering jazz standards ska-style has been a recurrent practive of the band and on this occasion the Horace Silver chart hit ‘Song for my father’ is given a fine rendition while there hints of another Blue Note classic on ‘Hot flash’ which has all the feel of Lee Morgan’s ‘The Sidewinder’. Indeed a whole album of Blue Note covers would make a fine one-off project for the future. In general the album is full of instantly catchy hooks such as the breezy Eastern-themed opener ‘Desert ska’ while there are two version of Lalibela’, the first instrumental ska and the second a dub version. Doreen Shaffer excels on the mid-tempo Love is the way’. Lengthy and informative sleeve notes will be a fine introduction to the collective for younger fans of ska and the classic Studio One recordings are still readily available (watch out for the Ja 50 anniversary listings).
Portugese singer Luisa Sobral is difficult to categorise, but has a jazz-pop sensibility with elements of folk and a nasal voice that recalls Blossom Dearie. This parallel is most evident on the opener ‘I would love to’ and on the 1950s style small jazz combo outing ‘Mr. and Mrs. Brown’ with a fine clarinet solo from Lynus Wyrsch. Sobral is to be commended for not going down the already well trodden retro bossa nova route, but does on two numbers sing in Portugese where her voice is more distinctive, the best of which is the laid back ‘O en graxador’. In contrast ‘Xico’ is an uptempo song with trad jazz accompaniment. There is certainly a market for the more delicate sounding female voice in an old school jazz setting and those who already like Gretchen Parlato and Stacey Kent will find much to appreciate here, though in Sobral’s case the range is at present still somewhat limited. A promising release nonetheless.