Ernestine Anderson Swings The Penthouse

Ernestine Anderson
Ernestine Anderson Swings The Penthouse
HighNote

With the recent passing of the wonderful singer, Ernestine Anderson, the release in 2015 of "Ernestine Anderson Swings The Penthouse" should not be overlooked. This live performance comes from a 1962 Seattle performance long before Carl Jefferson added her to his Concord Records artist roster when Ray Brown had been championing her. Of course when this was recorded she had already worked with Johnny Otis, toured with Lionel Hampton, recorded with Gigi Gryce and recorded an album in Scandinavia that was licensed to Mercury. She was at the first Monterey Jazz Festival, named DownBeat's New Star Jazz Singer and recorded other albums for Mercury.

Of course her early career is overshadowed by her later day career in terms of the quantity of her recordings. But here, backed by a sterling trio of pianist Dick Palombi, bassist Chuck Metcalf and drummer Bill Richardson, she brings a vibrancy to a number of standards with her own swinging delivery, impeccable phrasing and vocal dynamics making for terrific renditions of such timeless classics as "You Make Me Feel So You," "On Green Dolphin Street," Little Girl Blue," "Just in Time," "This Can't Be Love," "There Will Never Be Another You," and "Honeysuckle Rose." There is no poor tracks here as she is completely in control of the material and the trio swings hard backing her.

Ernestine Anderson certainly swung The Penthouse back when this is recorded, but the music is still fresh and vibrant and this is a wonderful addition to her recorded legacy.

I purchased this. This review originally appeared in the July-August 2016 Jazz & Blues Report (Issue 367). Here she is in Europe in 1967 singing Bobby Timmons' "Moanin'."

Kenny Burrell Plays Special Requests

Recorded live at Catalina's in Hollywood, Special Requests (And Other Favorites) on HighNote Records is the latest album by NEA JazzMaster Kenny Burrell. Its an auspicious career that started in 1951 with Dizzy Gillespie and has resulted in 108 records and CDs as stated by Bubba Jackson in the liner notes. On this release, he certainly shows no signs of slowing down in the least. It combines favorites and some audience requests (hence the title) and on this, Burrell is supported by a group that includes Justo Almario on tenor saxophone and flute; Tom Rainier on piano, Tony Dumas on bass and Clayton Cameron on drums. It is a wonderful group that swings effortlessly. Almario specifically will certainly grab one's attention with his very robust saxophone and lyrical flute, and Rainier has a clean and fluid style.

Burrell throughout is terrific. His clean, deft and precise playing is laced with melodic invention and wonderful tone that matches well with his band from his opening notes on Benny Golson's Killer Joe (and Almario's tenor makes its first impression here" to his fresh reworking of his classic Chitlins Con Carne. There are his interpretations of Duke Ellington from the familiar In a Sentimental Mood, to the lesser known Sunset and the Mockingbird (from The Queen's Suite) along with an amiable vocal from Burrell on The Feeling of Jazz. There is the lovely rendition of Freddie Hubbard's Little Sunflower, with lovely flute from Almario, and Burrell plays his acoustic guitar on The Summer Knows. 

Other songs are standards like Make Someone Happy and Bye Bye Blackbird, as well as J.J. Johnson's Lament. Listening to Burrell's spoken comments at the end of this CD, where he talks about the late show, one might hope more from this night at Catalina’s by may be forthcoming.

I received my review copy from HighNote. Here is a video of Kenny in performance with Stevie Wonder as a surprise guest at Catalina's in 2011, a year before Special Requests was recorded.

Live Magic From Etta Jones & Houston Person

The collaborations between the late vocalist Etta Jones and saxophonist Houston Person produced so much musical magic that ended with she passed in 2001. HighNote has just issued, Don’t Misunderstand, a 1980 live recording from a New York City club, Salt Peanuts, that will delight the pair’s many fans. Jones’ vocal career started in Buddy Johnson’s Big Band before joining Earl ‘Fatha’ Hines. Later she hooked up with Prestige Records and in 1968 first recorded with tenor saxophonist Person, a musical relationship that would last over thirty years with many albums for Muse and HighNote before she passed. On this live recording they are backed by Sonny Phillips on organ and Frankie Jones (no relation to Etta) on drums. The gritty soul-jazz setting was a second home for Person, who first was heard from in Johnny ‘Hammond’ Smith’s combo. The recording opens with with a fine rendition of Blue Monk by Person. Ms. Jones is first heard on the title track, a wonderful ballad the late Gordon Parks wrote, and she has a blue teardrop in her off-the-beat delivery. The groove picks up a bit as Jones delivers Exactly Like You at a medium walking tempo with a fine solo by Person, with more of the same on Ain’t Misbehavin’. Her contribution to this ends with a lesser known number I Saw Stars. The disc then has three instrumentals that showcase Person’s ballad and blues playing with his take on Milt Jackson’s Bluesology being particularly wonderful. Phillips shines on the B-3 on I’m Glad There is You, while on Bluesology he gets on down to church. Don’t Misunderstand is a disc that will be enjoyed by fans of soul-organ jazz, soulful jazz tenor sax and one of the great jazz vocalists of the past several decades.

Frank Morgan keeps Bop Flame Burning Brightly

One of several saxophonists that was labeled the next Bird, Frank Morgan notes that was the worst thing to happen to him as it was something no one could live up to and then having three decades of adversity including addiction and prison. Since he has returned to the scene the mid-eighties with a string of excellent recordings for Contemporary, he has certainly re-established himself as a superior player in the tradition of Parker. HighNote has issued A Night in the Light: Live at the Jazz Standard Vol. 3 with a marvelous band including pianist George Cables, bassist Carmen Lundy and drummer Billy Hart. I have not heard the earlier two volumes but based on the performances. No surprises in the repertoire, with four of the songs staples of Charlie Parker’s repertoire, Confirmation, Half Nelson, Hot House and Billie’s Bounce, along with On Green Dolphin Street and It’s Only a Paper Moon. These are songs Morgan has been playing for decades but familiarity does not make these performances sound routine. There is plenty of full-bodied playing here with a marvelous rhythm section and while Morgan may take these in a more relaxed fashion than Bird would have 55 years ago, Morgan’s playing is quite satisfying. Certainly nice that he has aged so gracefully and continues to enliven us with this disc.