Take 5 - Part 3 of Body and Soul.

Today is the third, and for now final, Take 5 devoted to performances of Body and Soul. Our first installment had renditions that preceded Coleman Hawkins' classic recording. last week we started with on Hawkins and then included four other tenor saxophone recordings. This week, I present five other recordings of this standard.

First up we have Billie Holiday from 1940.

Next up is Bud Powell

Hank Jones is another piano master who has recorded it.

Ella  Fitzgerald performed it on a legendary Frank Sinatra TV show.

Finally, we close with Chet Baker.

Robert Francis Valentine for Chet Baker

Robert Francis
Valentine
Aeronaut Records

Singer-songwriter Robert Francis, has a new album "Valentine" where he covers the classic "Chet Baker Sings," which was the late Baker's first vocal recording. The origin for this session came from one night he came by a Wednesday jazz gig that Aeronaut's owner John Mastro organized and sang "a standard "My Funny Valentine" with the house band. A few weeks later he recorded this album with backing from Guitarist John Storie, bassist Tim Emmons, drummer Kenny Elliot and sax man Zane Musa (who are all members of Jeff Goldblum's band The Mildred Snitzer Orchestra). Saxophonist Musa passed away a few weeks after this was recorded.

Francis evokes Baker's low-key, whisky laced vocals without simply imitating Baker. The backing helps contribute to this with Guitarist Storie providing a nice setting and Elliot's adroit use of brushes contributing to the feel of the performances. Francis almost whispers "My Funny Valentine" until he cries "stay little valentine," while his more demonstrative singing on "Time After Time" is complemented by Musa's saxophone, both feathery and robust. Musa adds obligatos on "I Fall In Love Too Easily" and solos with some delightfully old school tenor. His robust tenor sets the plate for Francis' swinging "There Will Never Be Another You."

A particular highlight is "The Thrill Is Gone," with Francis' melancholy vocal echoed by Musa's  sax. I have not heard Francis outside of this recording, and even if stylistically indebted to Baker here, the performances have their own charm. This charm, in part, results from the sympathetic backing, as well as Francis' own vocals, leading to focused, concise performances. This is available as a 10 inch vinyl album and as a digital download from the usual sources.

A publicist provided me with a download of this. Here is Robert performing "Time After Time."

Charlie Parker Live At Jiyayr Zorthian’s Ranch

The following review was written in fall 2006 for Jazz & Blues Report, although I do not believe it was published. I received my review copy from the publication.

The release of previously unissued performances by Charlie Parker will certainly be a cause of celebration for fans of jazz history. The release, At Jiyayr Zorthian’s Ranch, July 14, 1952 (RLR Records), makes available what admittedly is not a high fidelity recording of Bird at a party held at the ranch of painter and sculptor Jiyayr H. Zorthian and was one of many he hosted of “intellectuals, artists and naked nymphs” over a half-century’s time. 

A pretty wild time was had by the attendees including, quoting the back cover “a massive strip-tease was performed and during Bird’s playing of Embraceable You. Whatever wild things were going on, the music was recorded privately and the sound is hollow and some portions had too much noise or distortion to be used and at other points, the performance is cut off, such as after Bird’s solo on Embraceable You. Also the bass and piano are not very audible. 

Playing with Bird at the party was Don Wilkerson on tenor sax, Frank Morgan on alto, Amos Trice on piano, Dave Bryant on bass and Lawrence Marable on drums with Chet Baker sitting in on one of the two versions of Scrapple From the Apple. Its interesting to hear A Night in Tunisia without someone handling Gillespie’s trumpet part and Parker sounds very good even if the sound is muffled before Wilkerson takes a solo which microphone problems required some editing before he is followed by Frank Morgan who sounds pretty good. 

The beginning of Ornithology was edited out for technical reasons with Parker caught in high flight as the track opens. Frankly the exhortations for people to take it all off could have been edited off Embraceable You, which has Parker in fine form on the ballad, while Parker and Marable trade fours on Tadd Dameron’s Hot House. The first version of Scrapple From the Apple, has a couple of nice Parker solos and Baker’s only appearance which suffers from the audio quality, while Cool Blues is a nice lengthy performance which includes Parker and Morgan trading fours as well as exchanges by all three saxophonists. 

The rest of the performances are also notable although the music will not be for casual listeners. This music has never been available in any format and while Parker is first-rate here, the audio quality will limit its overall appeal. For some, this will be a priceless addition to the known work of one of the twentieth century’s greatest artists.

Chet Baker's Musical Candy

Companion to the DVD of Zoot Sims "In a Sentimental Mood," MVD Visual has released in the US the Gazell Records DVD of Chet Baker, "Candy." Like the Sims video it is an intimate trio recording that finds the trumpeter in the library of Sonet Records in Lidingo, Sweden. Sims is backed ,by pianist Michel Graillier and bassist Jean Louis Raissinfosse with one duet with bassist Red Mitchell. Mitchell, was resident in Stockholm at the time, also conducts a brief interview with him.


Performances are introduced by the song-titles and the CD opens with Baker taking the vocal on Candy, before his trumpet solo. While by the time this was recorded, Baker's James Dean-like looks had a weathered look, certainly the visual appeal of him is still apparent as is the genial melodicism of his approach. Bassist Raissenfosse sets the tone on his 5-string electric upright bass providing a bass line to anchor the performance of Love For Sale, with more lyrical playing from Baker and some nice piano by Graillier. It's followed by a lively version of Bud Powell's Tempus Fugue-It, and the bluesy late-night feel of Sad Walk.


The trio portion concludes with a nice Red's Blues with some nice playing by all, Miles Davis's Nardis, with a slight exotic flavor and the standard Bye Bye Blackbird, which of course many know from Miles' classic recording. Baker's playing is suggestive of Miles and like Miles he focused on painting a mood rather than exhibit fleet technical facility, and his vocals similarly inhabited a narrow range but had such an expressive quality to them. One can't overlook pianist Graillier who turns in a nice blues solo on Red's Blues, or Raissinfosse's firm playing throughout.


Mitchell and Baker are seen at a piano when Mitchell mentions that he was able to work out on piano some chords in playing My Romance, and Baker stating it was among the first songs he recorded before the two of them play a duet of it with Mitchell playing piano. It is a fine way to end this engaging DVD.

I received a review copy from MVD Video.

CTI Masterworks Reissues Jim Hall's Concierto

As part of the 40th Anniversary of CTI Records, Sony through its CTI Masterworks imprint has reissued a remastered edition of guitarist Jim Hall’s Concierto. This 1975 release had Hall with a group that included Sir Roland Hanna on piano, Ron Carter on bass, Steve Gadd on drums, Paul Desmond on tenor saxophone and Chet Baker on trumpet. It was a collection of swinging, small group performances mixed with a rendition of Concierto De Aranjuez, the Joaquin Rodrigo composition that was a central part of Miles Davis’ classic collaboration with Gil Evans, Sketches of Spain. Don Sebesky, instead of orchestral arrangements, set it up for the sextet on this date.

The result is a solid album of what would have been considered mainstream jazz at the time. This swinging group played with a clean, cool tone perhaps best exhibited by the dry martini alto of Desmond and Baker’s tart, lyrical style thatcomplemented Hall’s own spare and lyrical style. There is almost a cool, chamber music quality to these performances which is not completely surprising given Hall spent time as a member of Chico Hamilton’s unique quintet that included cello and Buddy Collette or Paul Horn.

Cole Porter’s You’d Be Nice To Come Home To, opens with Hall and the rhythm before Desmond enters followed by Baker who provides counterpoint during Desmond’s solo before taking a solo that focuses on his middle-range and continues the melodic qualities of this performance. Hall’s Two Blues is a brisk Hall original with Baker soloing before Hall takes the spotlight mixing single note runs with carefully voiced chords while the lovely The Answer Is Yes, was contributed by Jim’s wife Jane on which Hall’s solo is almost a duet with Carter as Hanna adds occasional chord voicings and Gadd lightly propels the groove.

As indicated, the centerpiece of this album is the sextet rendition of Concierto De Aranjuez. WIth a hint of flamenco in Hall’s guitar, it is followed by Baker, evoking but not imitating Miles, and then Desmond enters with Baker weaving his trumpet around the alto. Obviously the feeling is quite different than provided by the Gil Evans orchestral arrangements with focus no longer simply on the trumpet. The recording is marvelous as with Hanna’s lead, Hall takes the first extended solo backed by the economical and quiet playing by Carter and Baker (along with Hanna’s spare comping) allows one to focus on how he constructs his solo and his deft use of a horn-like tone. Desmond follows with a hint of blues in his dry, songbird tone. Chet Baker’s solo is a bit freer than Miles’ playing on Sketches (which we know today that part of Miles’ solos were actually written parts), and fits the pensive playing of the others. Hanna follows with a solo and then Hall returns. Its captivating listening to the sweet lyricism that this group displays, although the performance does not reach the exhilarating peaks of Davis’ recording or the recent revisiting of it by Harmonie Ensemble New York.

Included on this release are two bonus tracks, the Ellington-Strayhorn Rock Skippin’ at the Blue Note, and the Hall-Carter collaboration Unfinished Business was not on the original release. The former is a delightful quartet performance whose melody seems linked to Just Squeeze Me, while the latter brings out the lyricism of Hall, Carter and Desmond. Alternate takes, but not necessarily lesser performances, of the first three selections are also included to provide over an hour of music. As stated above, this was wonderfully recorded by Rudy Van Gelder, and while the latest Japanese reissues of this material has been remastered by Creed Taylor and Van Gelder and likely may be better sonically, the Sony reissues still sound wonderful. Concierto is an album of straight-ahead jazz that is substantial, quite lovely sounding and still sounding fresh and contemporary.

My review copy was provided by a publicity firm for the release.