Tag Archives: Jazz

Quincy Jones and Orchestra ‘Around the world’/’I dig dancers’ (American Jazz Classics) 4/5

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

Barney Kessel ‘Some like it hot’ (American Jazz Classics) 4/5

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.

Tim Stenhouse

Eric Dolphy, Mal Waldron, Ron Carter ‘Where?’/’The quest’ (American Jazz Classics) 5/5

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

Louis Armstrong, Dave Brubeck, Lambert, Hendricks and Ross ‘The Real Ambassadors’ (Poll Winners) 4/5

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.

Tim Stenhouse

Roland Kirk ‘Anthology. The Atlantic Years 1965-1976’ (Warner) 4/5

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