Horizons Jazz Orchestra Plays the Music of Lee Harris: "The Brite Side"

Horizons Jazz Orchestra
Plays the Music of Lee Harris: "The Brite Side"
Pineapple ARTS Management

The South Florida based Horizons Jazz Orchestra salutes the late baritone saxophonist, composer, and arranger, Lee Harris. With trumpeter Dennis Noday, Harris had formed the big band Superband to perform Harris' arrangements and compositions. Social media promoter Jeanette C. Piña championed this band. She supported a project to record Lee Harris' music faltered as Harris' health failed. Ms. Piña got Noday and the lead trombonist, Michael Balogh, to realize the project. However, Harris passed before the project could be finished. As some of the members of Superband moved on to other projects, Balogh and Ms. Piña decided to rebrand this big band as the Horizons Jazz Orchestra and make the debut album a tribute to their old friend.

Balogh recruited for this recording three old friends as guest artists who play on some, not all tracks. These are trumpeter Carl Saunders, drummer Jonathan Joseph, and woodwind specialist Billy Ross. Notable members of the Orchestra include the rhythm section of Gary Mayone on keyboards, Ranses Colon on basses, Luke Williams on guitar, and George Mazzeo on drums. Other notable band members include Scott Klarman, Joe Miletti, and Randy Emerick on reeds, and Dennis Noday on trumpet and flugelhorn.

This recording is a wonderfully played, welcoming collection of originals, and innovative arrangements of some classic songs. Harris' arrangements result in some very captivating performances. The opening "Red Apple Sweet" is a lively Harris original in several portions that sounds like a contrafact of "Wade in the Water." There is impressive section work before short solos from guest drummer Jonathan and Mayone on the organ before the tempo slows down, and Balogh plays a lovely solo. There is a gorgeous performance of "Pure Imagination" from the film "Willy Wonka & the Chocolate Factory." In addition to the resonant reeds, Saunders showcases his brisk, bright flugelhorn playing here.

Harris's arrangement of Turner Layton's 1918 song, "After You've Gone," brings a modern tone to a song associated with traditional jazz groups. Mayone opens this energetic performance on electric piano, with solos from Klarman and Ross on alto sax and tenor sax respectfully before Saunders solos on trumpet against Harris' arrangement of the horns. Saunders' crisp trumpet is again in the spotlight on "The Fourth Dimension," an uptempo swinger. Randy Emerick's brawny baritone sax and guitarist Williams also solo on this number.

The title track opens with Mayone's repeated morse-code riff against a soaring melodic line before shifting tempo while incorporating the Christmas hymn "God Rest You Merry, Gentlemen." On electric piano, Mayone takes a frothy solo followed by a bluesy tenor sax solo by Ross. Scott Klarman takes a dreamy soprano sax solo on "Summertime," with Harris' arrangement providing gorgeous horn voicings.

Closing the album is "A Train Bossa," Harris' imaginative reconstruction of the Billy Strayhorn composed Duke Ellington theme song. Ross' solo here shows a bit of Stan Getz's influence, while Saunders plays with crisply and a definite bite. It is a superb close to an outstanding big band recording.

I received my review copy from a publicist. Here is the Horizons Jazz Orchestra playing "The Fourth Dimension."

Bobby Sanabria West Side Story Reimagined

Bobby Sanabria
West Side Story Reimagined
Jazzheads

Drummer and bandleader Sanabria leads his 21 piece big band in a joyous celebration of Leonard Bernstein’s classic musical. Recorded in performance at Jazz at Lincoln Center in  2017, a little more than 60 years after “West Side Story” premiered and during of centennial of Bernstein, the musical also has a personal connection to Sanabria given his growing up in a gang-filled Bronx.

This backdrop would be of little importance if the big band rearrangement of Bernstein’s marvelous music. There are plenty of superb soloists present including Christopher Washburne’s trombone and Andrew Gould’s alto sax on “America,” but the real stars are the arrangers including Jeff Lederer on this as well as Niko Siebold on “Jet Song.” The writing often has the sections playing against each other as well as restating the musical themes and tempo shifts whether having a segment evoking a rollicking jump blues followed one sounding like a marching band. This recording is like listening to a jubilant musical carousel.

The delight of the rendition of “Gee, Officer Krupke,” the lyricism of Matt Wong’s arrangement of “Tonight,” and the kaleidoscope of moods provided the arrangement by Takao Heisho for “The Rumble/ Rumba,” are some further examples of the enthralling performances here. This is a terrific release. Sanabria and the Multiverse Big Band are performing this music on tour, including a performance at the Kennedy Center next season.

The addition of Latin rhythmic grooves, the sheer exuberance of the stellar performance and Sanabria’s brief narrations introducing certain numbers incorporating lyrics or with respect to “America,” where he notes the realities of discrimination facing Puerto Rican’s and other immigrant/migrant communities. This includes the lack of adequate assistance to Puerto Rican after the devastation of Hurricane Maria. If the magnificent music was not sufficient reason to purchase this, part of ether proceeds will be used to help in the Puerto Rican recovery. 

I received my review copy from a publicist. This review has appeared in the July-August 2018 Jazz & Blues Report (Issue 379). Here is a video Bobby Sanabria and the Multiverse Big Band with special guest Candido performing "Manteca," at a benefit for Puerto Rico.

Valery Ponomarev Big Band Our Father Who Art Blakey

Shortly after his arrival in the US in 1973 after leaving the Soviet Union, trumpeter Valery Ponomarev met Art Blakey, who would become his mentor and "jazz father." The years he spent as one of Blakey's Jazz Messengers left a firm imprint on him and now four decades later, with the Valery Ponomarev Big Band, recorded a tribute to Blakey, "Our Father Who Art Blakey" (Zoho), transforming a number of songs associated with the legendary drummer and his most famous ensemble into big band charts which were recorded at Dizzy's Coca Cola Club at Jazz at Lincoln Center and at the Zinc Bar. The booklet accompanying this CD did not include the members of the big band who are: Saxophones –Todd Bashore, Chris Hemingway, Peter Brainin, Steve Carrington, Anthony Nelson; Trombones – , Stafford Hunter, Alvin Walker, David Wight, Jack Jeffers; Trumpets – Rick Henly, Miki Hirose, Josh Evans, Waldron Ricks; Piano – Mamiko Watanabe; Bass – Ruslan Khain and Drums – Victor Jones. For the Zinc Bar, Andrew Gould replaced Brainin; Corey Wallace replaced White; Danny Hall replaced Walker and Ricks replaced Allen with Benny Golson appearing on the two numbers from this performance.

Ponomarev, discussing transforming Blakey's small group charts for a big band, suggests that it was not the challenge it might seem. He observes that if one listens to Blakey's music, it is already big band already and notes Blakey's own background in big bands. Ponomarev also states in his arrangements that he quotes some of the solos from the originals. Listening to this recording, one is impressed by how he has maintained so much of the feel of Blakey's music.

After a brief overture from the leader, the band launches into Bobby Timmons' classic "Moanin'" which features strong solos from Ponomarev and Golson and some nice scoring. The rhythm section of Watanabe, Khain and Jones is superb  in capturing the snap, crackle and pop of the original recording, and Watanabe's own solo is punctuated by riffs of the brass and reeds and Khain solos as well. Freddie Hubbard's "Crisis" features Josh Evans' trumpet which is thoughtful, imaginative and capable of considerable heat followed by a strong tenor solo from Carrington and fervent trombone from Hunter.

Ponomarev's rationale for including Duke Jordan's "Jordu" is based on Clifford Brown's association with Blakey as well as Brown being his main trumpet hero. The band arrangement is based on Brown's solo from the classic Clifford Brown & Max Roach recording, and provides the foundation for  solos from Rogers on trumpet and Brainin on tenor sax for this fresh interpretation of a jazz classic. Victor Jones helps lay the Latin rhythmic foundation for another Duke Jordan composition, "No Hay Problema," that Blakey performed for the film "Les Liaisons Dangereuses." Evans and Carrington both are afforded considerable solo space by the 56-bar form of the composition, and Evans (who I have seen with the Evans-Lacy Legacy Band) impresses with his mix of mellowness and fire. The leader's scoring of his horns is splendid.

Ponomarev's original "Gina's Cooking" post-dates his time with Blakey and the composition has a Mingus-like flavor with tempo changes. It showcases Anthony Nelson's take no prisoner's baritone and alto sax from Bashore before Jones takes a short solo as well as pushes the performance on.
The album concludes with Golson's classic "Blues March," which Golson recalled writing after Blakey mentioned he had never played a march. Jones sets the tone and groove before Ponomarev and Golson, the two Blakey alumni, each solo at length. Trombonist Wallace, alto saxophonist Bashore and pianist Watanabe also stretch out on the recording's longest performance.

"Our Father Who Art Blakey" is a real gem of a big band recording with classic compositions, superb arrangements and terrific ensemble playing in support of the marvelous solos that were enthusiastically received.

I received my review copy from a publicist. Here is the Band in performance.

The 14 Jazz Orchestra Nothing Hard Is Ever Easy

The 14 Jazz Orchestra is comprised of 13 of South Florida’s premier Jazz and studio musicians. Under the direction of Dan Bonsanti takes a Contemporary Jazz approach to a wide assortment of styles, performing compositions from Jazz composers such as Billy Strayhorn, Joe Henderson, Chick Corea, John Scofield, and Wayne Shorter and pop/rock artists such as Paul McCartney and John Lennon. Certainly not tied to nostalgia, the band has been delighting audiences since its first public performance in 2013 with its contemporary approach that is adventurous yet lyrical and highly rhythmic. Featuring the saxophone of Ed Calle, the debut album "Nothing Hard Is Ever Easy" (Dabon Music, LLC)..

The members are alumni of the University of Miami: Ed Maina, Ed Calle, Neal Bonsanti and Peter Brewer on reeds; trumpeters Stephen Reid, Cisco Dimas and Ray Chicalo; Dante Luciani and Major Bailey on trombones; and a rhythm section of Jim Gasior on keyboards, guitarist Tom Lippincott, with Matt Bonelli and Jack Ciano on bass and drums. A trio of special guests bring their formidable talents to the album – bassists Will Lee and Mark Egan on one track each, and drummer Marko Marcinko on three. This ensemble brings a contemporary and fresh approach to jazz classics, popular hits gospel and fusion works connected with figures as Duke Ellington, Charlie Parker, Weather Report, Chick Corea, the Beatles and Ray Charles.

Bonsanti arranged ten of the eleven performances, the sole exception being Clare Fischer's arrangement of Billy Strayhorn's "U.M.M.G." that he re-orchestrated and opens the recording. After a swinging performance with Dante Luciano standing out on trombone, The 14 Jazz Orchestra turns its attention to a big band treatment of Wayne Shorter's "Palladium," with Calle on tenor and Jim Gasior on electronic keyboards prominent. Jaco Pastorious' "John and Mary," dedicated to his two children mixes a delicate ballad like sensibility with a island-like flavor with Calle serpentine soprano showcased.

Bonsanti's arrangement of "Donna Lee (In Disguise)" is an imaginative reworking of this Charlie Parker classic whose tone is set from Gasior's Tyner-esque piano and sports driving tenor sax from Calle while guest Marcinko pushes the groove on drums. Luciano's growling trombone opens a slow blues drag rendition of Percy Mayfield's hit for Ray Charles "Hit The Road Jack," with trumpeter Cisco Dimas making effectively use of his mute in a manner that Bubba Miley or Cootie Williams would approve. The trumpet of Ray Chicalo and the baritone sax of Peter Brewer are at the forefront of a stately version of Thomas Dorsey's gospel classic "Take My Hand Precious Lord," while "With a Little Help From My Friends" is a pretty straight big band rendition of the Beatles' tune with Will Lee on bass and some very attractive tenor from Calle.

Other performances reimagine Chick Corea and a John Scofield tune that was part of Miles Davis' repertoire and exhibit the same range of musical adventure, lyricism and rhythmic drive that make "Nothing Hard Is Ever Easy," such a stimulating big band listening experience.

I received my review copy from a publicist.  Here is a very brief taste of The 14 Jazz Orchestra.

George Gee Swing Orchestra Swing Makes You Happy!

George Gee has been leading the George Gee Swing Orchestra since 1980, inspired by Count Basie who mentored him. While leading the big little band (9 pieces that sounds much bigger) he has had the services of trombonist, composer and arranger David Gibson for five years and the results of their collaboration can be heard on “Swing Makes You Happy!” (Rondette Jazz).

The recording features 19 selections that include 5 Gibson originals, and three transcriptions from Chick Webb’s repertoire. Gibson handled all of the arrangements. Gibson’s trombone anchors the brass section that includes trumpeters Freddie Hendrix and Andy Gravish. The saxophone section consists of Ed Pazant, Michael Hashim and Tony Lustig on alto, tenor and baritone respectively; while the rhythm section consists of Steve Einerson on piano, upright bassist Marcus McLaurine and Willard Dyson on drums. Vocals are provided by Hilary Gardner and John Dokes.

Listening to this brings back memories of Panama Francis’ reincarnation of the Savoy Sultans from the late seventies and early eighties. This band swings hard and at full throttle with joyous conviction. The rhythm section is stellar and there are plenty of strong solos with Lustig’s baritone sax and Hendrix’s trumpet among the many pleasures throughout thsi recording. Gibson’s opening “Comin’ Home” is suggestive of Basie from the 50s as his the swinging “I Know.” Of the vocalists, I was already familiar with Hilary Gardner and she sings quite well on “Sweet Pumpkin”, and “No Moon At All.” This writer is not as enamored with Dokes. I have heard much better renditions of “I’d Rather Drink Muddy Water,” although the taut Basie-style arrangement is solid as is Ed Pazant’s alto solo. Dokes also does not come across convincingly on “Evenin’,” which was a feature for Jimmy Rushing when he was with Basie. Gardner and Dokes duet on “If I Were a Bell.”

I do not wish to imply that Dokes is a poor singer, but to these ears he doesn’t convey the warmth and feeling of say Jimmy Rushing and Joe Williams (or Carmen Bradford who sang “I’d Rather Drink Muddy Water” with Basie.). It is a minor criticism as the the music here is infectious with its ebullient spirit. Listing to the George Gee Swing orchestra, one indeed agrees that “Swing Makes You Happy!”

I received my promo copy from a publicist. This review originally appeared in the January-February 2015 Jazz & Blues Report (Issue 358) although I have made some minor stylistic changes.  Here is a performance clip of them.

Archie Shepp's Attica Blues Orchestra - I Hear The Sound

It was in September 1971 when inmates rebelled at New York State’s Attica Prison to protest the inhumane conditions. A few days later when Governor Nelson Rockefeller ordered the prison to be retaken by force. Thirty-nine people were left dead: twenty-nine prisoners and ten hostages were all killed by the troopers’ bullets. A month later there was another tragedy at San Quentin resulting in more deaths including that of Black Panther George Jackson. These events inspired Archie Shepp to record Attica Blues a few months later in January 1972 to pay tribute to those whose lives were taken during these events.

In 1979 there were original and repeat performances of Shepp’s Attica Blues Orchestra at the Palais des Glaces. In 2012 Archie Shepp revived the ensemble, together with a brilliant, dynamic collective of performers. It is an orchestra that transcends styles and epochs. The band is international in scope, combining great American artists such as: Amina Claudine Myers, Jimmy Owens, Famoudou Don Moye, Ambrose Akinmusire, Reggie Washington, Tom McClung with an some of Europe’s brightest stars on the European horizon: Stéphane Belmondo, François Théberge, Christophe Leloil, Izidor Leitinger, Raphaël Imbert, Cécile McLorin-Salvant, a Franco-American vocalist, the remarkable and talented soprano, Marion Rampal of Marseille and The String Quartet from Dijon.

Performances of this ensemble was recorded on Sept 9 2012 at the Jazz à La Villette Festival, June 14 2013 at CNCDC de Châteauvallon and on June17 2013 at Les Nuits de Fourvière Festival and Shepp has released this on his own Archieball label as I Hear The Sound. The production of this release was helped by a Kickstarter crowd funding campaign that I was among the contributors to. The actual CD has 11 tracks with two additional tracks available as downloads. It includes a booklet with background information.

The music is captivating and often compelling ranging from the revival of Attica Blues and Mama Too Tight,  the moving renditions of Duke Ellington’ Come Sunday and Cal Massey’s The Cry of My People, to the lovely Ballad For a Child and The Stars Are In Your Eyes. Shepp, in addition to being featured throughout on tenor and soprano saxophones, adds his vocals to those of Myers, McLorin-Salvant, and Rampal. Shepp’s vocals have a certain amateurish charm and contrast with Myers and McLorin-Salvant.

Reggie Washington’s bass helps gets things going on the funky Attica Blues before Myers comes in on piano joined by guitarist Pierre Durand and drummer Famoudou Don Moye as Shepp digs in on  tenor as a trombone growls. The women provide vocal coloring singing “I Gotta Feeling” while Shepp sings about things going wrong, folks not knowing what is right or wrong and there is a story that is gotta be told as the vocalists and the horns add emphasis to Shepp’s wail. The shifting textures and moods of this performance is indicative of the multi-faceted nature of the music on the recording. This is followed by Amina Claudia Myers doing her original Arms with Shepp on soprano sax and the strings caressing her vocal (which Shepp joins in).

Muted trumpets and a bass ostinato introduce Blues For Brother G Jackson with its cry of there being no justice throughout the land prior to Shepp wailing the strong blues groove on tenor. Shepp’s admiration of Duke Ellington is displayed on Come Sunday as his tenor caresses the theme before Cecile McLorin-Salvant delivers the prayer at the center. Three of the compositions  on I Hear The Sound are by Cal Massey whom Shepp and John Coltrane both championed. Particularly moving is The Cry of My People, with moving vocal choruses and soaring trumpet from Ambrose Akinmusire in addition to strong playing from Shepp and a stunning blues-drenched piano solo (likely from Myers) .

The rest of the album is equally stirring and full of passion. Orchestrations and vocals help provide fresh takes on a couple of Shepp staples,  Steam (with Shepp on soprano and McLorin-Savant taking the latter vocal), and  Mama Too Tight. The latter number certain is quite a bit of fun, although the performance of this funky James Brown influenced classic does not quite have the taut groove of the original from some 45 years ago..

The physical CD has eleven tracks along with instructions to download two further selections; the ballad The Stars Are In Your Eyes and the driving Ujaama. They complete the moving and exhilarating music by Archie Shepp's Attica Blues Orchestra. I have listened to I Hear the Sound a number of times over the past few months and each time I am moved by the heart and power of the music captured.

As I have noted, I supported the production of this release on Kickstarter. I also received a review copy from a publicist. Here is a performance of Archie Shepp's Attica Blues Orchestra performing Cal Massey's The Cry of My People.

Here is a lengthy interview (80 minutes), from the youtube.com video series "The Hang," of Archie Shepp with Bret Primack and Willard Jenkins discussing thsi recording, kickstarter, John Coltrane, the state of jazz today and so much more.

David Weiss' Endangered Species: The Music of Wayne Shorter

Wayne Shorter's 80th Birthday (which was two days prior to this review being posted) has led to  world-wide celebrations of Shorter's music. For example, in Washington DC, there have been several groups leading retrospectives of Shorter's compositions from different stages of his career. In a similar vein, trumpeter David Weiss arranged and orchestrated several Shorter compositions and then assembled an All-Star, twelve member big band. This band performed at Jazz at Lincoln Center where they were recorded. Endangered Species: The Music of Wayne Shorter (Motéma Music) is collected from those performances.

Its quite a band that Weiss assembled. The saxophone section included Tim Green on alto sax; Marcus Strickland on tenor and soprano sax; Ravi Coltrane on tenor saxophone and Norbert Stachel on baritone sax and bass clarinet. Diego Urcola and Jeremy Pelt along with Weiss are the trumpet section while Joe Fiedler and Steve Davis are on trombone. The rhythm section has Geri Allen on piano, Dwayne Burno on bass and E.J. Strickland on drums. This large group provides for a different take on these compositions than generally were initially heard when first recorded with smaller groups. Also, it does result with a certain similarity between the performances whereas Shorter's performance of a composition such as Nellie Bly with Art Blakey would have a different flavor than Fall with Miles Davis.

With that in mind, there are plenty of pleasures. Weiss' arrangements provided a rich backdrop along with the marvelous full ensemble playing to set the mood and frame the solos. The rhythm section sparkles with Geri Allen stunning both as part of the rhythm and as soloist . Throughout there are plenty of brilliant playing including trombonist Davis at the beginning of Nellie Bly; trumpeter Pelt and saxophonist Coltrane on Fall; Tim Green on "Mr. Jin"; Marcus Strickland on soprano sax on Weiss' The Turning Gate (the one non-Shorter composition but based on one of Shorter's works); Pelt and Allen on the lovely ballad Eva; and Pelt and Strickland on the closing Prometheus Unbound.

Whether one agrees with annotator Bill Milkowski that Wayne Shorter is jazz's greatest living composer, there is little question that he is amongst the greatest and has produced one of the most significant body of compositions over six decades. By investing the compositions with his own musical vision and assembling a terrific band, David Weiss has produced this substantial salute to Wayne Shorter that shows how fresh and contemporary the music of Wayne Shorter remains as it continues to inspire so many musicians and listeners.

I received my review copy from a publicist for this release.  

James Morrison's Snappy Too

James Morrison is a virtuoso in the true sense of the word. He not only plays trumpet, but also trombone, euphonium, flugel horn, tuba, saxophones, double bass and piano. He has played with countless musical legends including Dizzy Gillespie, Cab Calloway, Woody Shaw, Red Rodney, George Benson, Ray Charles, B.B. King, Ray Brown and Wynton Marsalis. His musical career is a fairly varied one that goes beyond the usual jazz gigs. He recorded Jazz Meets the Symphony with The London Symphony Orchestra conducted by Lalo Schifrin, performed concerts at the Royal Albert hall with the London Philharmonic Orchestra and at the Royal Opera House, Covent Garden for Princess Anne. He was also the artistic advisor to the Sydney Symphony’s Kaleidoscope series, which has included performances by Chick Corea, Dianne Reeves, Gary Burton and Kristjan Jarvi. 

In 1990, James Morrison recorded Snappy Doo, an album that featured Morrison along with three legendary artists (Ray Brown, Herb Ellis, and Jeff Hamilton) creating a seventeen-piece big band sound through the use of overdubbing.  Ray Brown and Herb Ellis have passed on, but Morrison has recorded its sequel, Snappy Too (Aleph Records). For this album he did not replace Brown or Ellis, so he had to pull out his acoustic bass and brush up on guitar, in addition to playing trumpet, trombone, sax, and piano as he did for the first album. This was recorded mostly in his Sydney studio before moving to Los Angeles where Hamilton added the drum parts and Morrison added some improvised solos. 

This writer has not heard the earlier recording, but if one listened to Snappy Too without knowing how it was recorded, one would be knocked out by this big band recording, although it opens up sounding like a slightly scratchy Dixieland recording of All of Me that segues into the tight big band setting for Morrison to take a crisp, bright trumpet solo initially against just a bass accompaniment before the full big band backing resurfaces. Morrison’s own The Master Plan is a nice slow groover that hints at A Night In Tunisia mixed with the (Theme From) The Pink Panther. with some cool West Coast styled tenor (think of Stan Getz, Zoot Sims, Al Cohn). Then he turns to trombone as the lead instrument on Getting Sentimental Over You. His playing on trombone like tenor sax and trumpet has a crispness and an appealing lyricism in the solos while the big band arrangements and accompaniments are lush but not syrupy. 

The original The Call, is a Basie styled-blues with a loping beat with marvelous ensemble work. I particularly lie the brass riffs that accent his trumpet solo that has him hitting quite a few high notes here. No Regrets has a pensive quality with Morrison featured on alto saxophone and trumpet and followed by him on trumpet on the lively big band bop-flavored Zog’s Jog. 

Sad Blues moves from the big Band setting to that of a traditional New Orleans jazz band with idiomatic tailgate-flavored trombone and trumpet set against a crisp parade-like rhythm. Another non-big band performance is Someday My Prince Will Come taken as intimate trombone - guitar duet. Morrison’s gospel-inflected Going Home, is in two-parts with the first part being somewhat more sober with a stride-inflected piano interlude leading into a more exhilarating mood. Its a spirit-raising close to a remarkable recording. Snappy Too is an astonishing technical achievement, but more importantly the music heard is wonderful.

I received my review copy from a publicist. Here is a promotional video for this recording.

The New Orleans C.A.C. Jazz Orchestra Has A Mood Indigo

Often forgotten in Rounder Records recordings of New Orleans music in the 1980s and 1990s was the fact they did some straight ahead jazz recordings that are well worth noting. The following review of The New Orleans C.A.C. Jazz Orchestra appeared in the August 1998 Jazz & Blues Report (Issue 230). I likely received a review copy from Rounder.

In 1996, Pianist David Torkanowsky put together a big band, The New Orleans C.A.C. Jazz Orchestra, with some of the Crescent City’s greatest musicians and fronted them with three of the city’s pre-eminent singers, George French, Germaine Bazzle and Johnny Adams. Its a band that includes Herlin Riley on drums, Nicholas Payton on trumpet, and Ed Peterson, Wessell Anderson and Victor Goines on reeds. They have a recording, Mood Indigo on Rounder. The band is heard on a variety of standards from such pens as Duke Ellington, Hoagy Carmichael, Cole Porter and Percy Mayfield. It is refreshing to hear three distinct vocal styles backed by this swinging aggregation. George French’s take on Don’t Get Around Much Anymore has a sophisticated and relaxed flavor that brings Joe Williams to mind, which is reinforced by his rendition of Carmichael’s New Orleans, a song this writer is familiar with from the sixty five year old recording by Bennie Moten’s Kansas City Orchestra that included Count Basie and Jimmy Rushing. On Sometimes I’m Happy, Germaine Bazzle provides a contrasting style as she phrases the lyrics in a staccato fashion, as if playing the lyrics on a trumpet. On the mid-tempo Ellington blues, I‘m Just a Lucky So and So, Bazzle in contrast caresses the lyric, singing in a legato fashion. On her last feature, Porter’s I Love Paris, Nicholas Payton is heavily featured with some hard bop trumpet. Adams, sings very cleanly and precisely on Percy Mayfield’s Lost Mind, a staple of his repertoire, and on which he contributes a mouth trombone solo. The three join together on Mood Indigo, opening with three-part harmony with Bazzle taking the vocal lead on parts with some exquisite trombone solos from John Touchy and Mark Mullins, two persons this writer is unfamiliar with. The recording closes with the three trading lyrics on a medley of Everyday I Have the Blues (featuring Bazzle), Stormy Monday (featuring French), and Not Trustworthy (featuring Adams on another Percy Mayfield lyric) that closes with the three singers each delivering their chosen lyric.

Duke Ellington and Orchestra in Zurich with Special Guest Don Byas

TCOB Music calls itself The Montreux Jazz Label ™ and has several different series which can be distinguished by the color of the CD spine. Red is devoted to bebop, hardbop and postbop, green is devoted to the Swiss Radio Days Jazz Series and has vintage jazz concerts recorded by Swiss radio (I have heard an excellent live Art Blakey set), while blue is devoted to the music of the forties and fifties in general. One of the recent productions in the blue series presents vintage Duke Ellington & Orchestra.

Live in Zurich, Switzerland presents a May 1950 performance by Ellington in Zurich that certainly will be welcomed by fans of the Duke Ellington. The Ellington Orchestra that day included trumpeters Harold Baker, Ernie Royal and Ray Nance; trombonists Lawrence Brown and Quentin Jackson; saxophonists Jimmy Hamilton, Johnny Hodges, Harry Carney, Jimmy Hamilton and special guest Don Byas; the Duke and Billy Strayhorn sharing the piano chair, Wendell Marshall on bass, and Butch Ballard sharing the drums with Sonny Greer.

In addition to Don Byas’ appearance here, the program is quite fresh opening with Suddenly It Jumped, before going into Ring Them Bells. Creole Love Call features Kay Davis’ remarkable vocalizing while Harry Carney gets to showcase his baritone on Paradise. Air Conditioned Jungle showcases Jimmy Hamilton’s clarinet, while Byas shines on How High the Moon, which opens as a ballad for two or so minutes before the band kicks up the tempo first moderately, then ratchets it up into hyperdrive before Byas slows it down for its ending.

The Tattooed Bride, which was then a relatively recent composition of the Duke, is the lengthiest performance here with Lawrence Brown’s trombone and Jimmy Hamilton’s clarinet prominent Billy Strayhorn takes the piano chair for the band’s his classic, Take the A Train, while Frankie and Johnny features a healthy does of rollicking stride piano from the Duke, some violin from Ray Nance and more clarinet from Hamilton.

More piano is heard in the introductory portion of Rockin’ in Rhythm. Johnny Hodges’ alto is featured on the tone poem, Violet Blue, and the hot blues, Jeep is Jumping. It likely is Ray Nance handling the vocal on W.C. Handy’s St. Louis Blues, while trumpeter Ernie Royal is showcased on S’Wonderful, opening first using a mute before launching into his bop-inflected saxophone. This is a very welcome addition to the Ellington discography with its interesting personnel and the very interesting selection of material. The sound of this live recording sounds pretty good as well.

This review appeared in slightly different form in the April 2008 Jazz & Blues Report (Issue 303). I believe I received my review copy from that publication. This is still available including as mp3s.

The Planet D Nonet Travels The Spaceways

The musical legacy of Sun Ra continues to inspire many years after he made the transition from this planet. His pioneering blend of music, poetry, dance and theatre as well as the science fiction trappings of the performances may have led many to miss just how inspired a composer and arranger he was. Sun Ra visited Detroit in the mid-1970s and thereafter, and developed a substantial following there, like elsewhere. Included were musicians who have been and are performing Sun Ra’s music. The Planet D Nonet is a group of musicians from the Motor City who perform a range of music and have issued a double CD, We Travel The Spaceways: The Music Of Sun Ra (East Lawn Records).

For those familiar with Sun Ra’s recordings from the 1950’s such as has been reissued on Delmark or Evidence, the tenor of many of these performances (mostly recorded live) will not be surprising in the least. For those who attended performances by Sun Ra and His Arkestra, then one may be surprised by the performances absent the chants, heavy percussion and sun Ra’s electronic keyboards. Folks unfamiliar with Sun Ra from performance or recording might be unable to recognize the music here as coming from Sun Ra. This is music that has a touch of Tadd Dameron, intriguing harmonies, adroit tempo shifts and still sounds fresh.

The Planet D Nonet does a marvelous job in bring these compositions to life. While the personnel may shift, these are strong musicians anchored by R.J. Spangler on drums, pianist David Gadd and bassist Noah Jackson. Joshua James on baritone sax provides a presence while guest Salim Washington provides oboe and some holy ghost tenor sax on a few tracks, Jim Holder on tenor sax, James O’Donnell and Ken Ferry on trumpet to spotlight a few of the many folk who contribute in one way or another.

The notes from drummer Spangler and Rick Steiger provide a good overview of the compositions and the performances. The opening Velvet, described as a “‘Tadd Dameronesque’ swinger” opens with some robust baritone from Joshua James followed by Ken Ferry’s solid bop-laced trumpet. Trumpeter Herbert Dotson was an important member of Sun Ra’s groups in the 1950s and composed one of the leader’s signature numbers, Enlightenment, which in James’ transcription and arrangement, leads to some memorable ensemble playing with a short piano solo. Interstellar Low Ways is a moody-blues-tinged number a bit of exotic flavor captured in James’ arrangement with James Holden’s tenor sax featured followed by Salim Washington’s strong contribution on oboe. A studio performance has effective use of muted brass and different soloists including trombonist Tony Buccilli. The Kingdom Of Not, is a 1956 Sun Ra minor key blues with an outstanding solo from Justin Jozwiak on tenor (with some accenting by nice brass riffs) followed gutbucket some baritone sax from James that focused on the instruments lower range on the first of two performances of this.

Others tunes are heard in two or more renditions, including Ancient Aethopia. The first of the performances opens with a brief free ensemble chorus before Noah Jackson’s bass leads the statement of the main theme. Salim Washington takes the first of the featured solos, employing the tenor saxophone’s entire range, with honks, squeals and holy roller cries. After Joshua James explores the higher reaches of the baritone and its deep bottom, James O’Donnell takes off with a ’space trumpet’ solo. A second version of the tunes has guest saxophonist Kenny Millions conjuring up spirits with some fiery tenor sax with the rest of the band engaging in wild collective space-improvisation. The`final rendition is perhaps the most stately one although it has some fiery jazz tenor from James.

In addition to the fascinating explorations of Sun Ra’s book, there is a medley of the big band staples, King Porter Stomp and Big John Special, which were songs associated with Fletcher Henderson. The performances here evoke the charged, if slightly ragged, performances of the Arkestra this writer remembers watching 30 years ago. There is terrific high note trumpet from Patrick Hessian and stunning, spontaneous clarinet by Kenny Millions that connects the two numbers. It displays the same spirited ensemble playing and solos that characterize this salute to Sun Ra and his legacy. For more information on this, contact East Lawn Records at www.eastlawnrecords.com and they are on myspace at www.myspace.com/planetdnonet,  Its available on CD and download from cdbaby.com and as a download from itunes.

I received a review copy from East Lawn Records. Here they are playing King Porter Stomp.

Jeff Fairbanks' Project Hansori's Mulberry Street Has Fresh Big Band Sounds

Trombonist and composer Jeff Fairbanks was inspired by the convergence of cultures in New York City, especially around Mulberry Street where Little Italy intersects with Chinatown.He notes that in the south end of this street, some “Chinese-run funeral parlors, while conducting Buddhist ceremonies, maintain the Western brass band tradition established by their previous Italian operators. As a player in the brass band, my interest was caught by this unique and unlikely blend of cultures.” It is this blending of Asian (Chinese and Korean) and Western musical traditions that is the heart of the Fairbanks’ Project Hansori, a big band that explores his efforts at a musical fusion. “Hansori” is Korean for “one sound,” and Fairbanks’ ensemble attempts to bring distinct parts together in an original way on an new BJU Records release Mulberry Street. With his band is a special guest, Fred Ho on baritone sax, but the players are unfamiliar to these ears.

The opening selection is one of two he hasn’t composed, San Ma Da, by Jae-Hoon Park, is a Korean church hymn about the fall harvest, and Fairbanks makes an impressive solo statement followed by Remy Le Bouef’s slippery soprano and Linda Oh’s impressive bass. Fairbanks’ sophisticated arrangements adds atmosphere and texture for the lively performance. Woodside Story opens with Chinese flavor in the reeds (flute and clarinet) along with Chinese percussion before becoming a spirited performance incorporating the Chinese musical figures within the swinging big band performance with John Yao buzzing on trombone and Michael Webster on tenor sax constructing a marvelous solo.

Hoping For Hope is based on a certain rhythmic pattern in Korean Samulnori (“four objects sound”) music with Fairbanks stating the theme first against Francesca Han’s piano effectively making use of repetition, with the scoring of mostly clarinets against the brass very appealing here and guitarist Sebastian Noelle effectively working off the percussive center of this number with the horns playing building into a rhythmic frenzy. Han Oh Baek Nyeon/ 500 Years is a quartet rendition of an old Korean folk song with Fairbanks trombone along with Rami Selo on gayageum, Heun Choi Fairbanks on cello and Yosun Yoo on percussion with the cello expressing a somber tone reinforced by Jeff Fairbanks trombone. Bi Bim Bop is built on the spoken rhythm of the title and a 12-tone row that is constantly twisted and recycled to considerable effect.

The core of this disc is the marvelous Mulberry Street Suite, which, as noted, was inspired by the brass bands at Chinese-run funeral parlors. At certain funerals, both Western and traditional Chinese bands perform “often playing songs against each other in a tradition of using music to scare away evil spirits.” The suite is Fairbanks attempt to create “an abstract impressionism of these experiences.” Part 1: Entrance and Funeral March. is solemnly played as Han’s piano rings the tempo of a brass band entering the home and playing a dirge with a brief soprano sax interlude with Jason Wiseman trumpet solo exploiting the middle range.

Part 11: Scaring Away Evil Spirits with Joyful Sounds, has a contrasting mood after the initial incorporation of Chinese folkloric sounds and percussion as well as scoring soprano saxophones to suggest the oboe-like suona. Fred Ho takes a short baritone sax solo at the beginning while Erica Van Kleist takes a lengthier solo interlude on alto sax that is rooted in the lower register of the instrument followed by mesmerizing interplay between the various band sections. Part III: Releasing Grief is a portrayal of moments in a Chinese funeral of releasing all their grief. Fred Ho enters unaccompanied before the full band comes in playing both Buddhist and Christian hymns with Ho taking a lengthy solo reaching deep down as well as adding squeaks and squalls set against Fairbanks somewhat dramatic scoring. “Part IV: The Send-off, with a trombone solo by Mark Miller at the beginning, evokes the part of a funeral where the casket is brought outside several bands play simultaneously. To achieve this effect the band is split into five separate ensembles near the end playing separate melodies. It serves as a dazzling coda, not simply to the suite, but the album.

The composition, Mulberry Street was commissioned by the BMI Foundation Charlie Parker Composition Prize with other grant support for the project. With Mulberry Street, the Jeff Fairbanks Hansori Project has produced a fresh and stellar big band recording that has brought together various musical traditions for a fresh and dazzling musical experience that is likely to be among this listener’s best of 2011. Highly recommended.

My review copy was provided by a publicist for the recording.

Classic Ray Charles Live Recording Reissued With Unissued Tracks

Concord Records continues with its restoration of the post-Atlantic Records Ray Charles catalog with Live in Concert. The source for this was a September 1964 concert at Los Angeles’ Shrine Civic Auditorium and featured Charles and his band that included backing vocals by the Raeletts, Oliver Beener and Wallace Davenport amongst the trumpets; Julian Priester and James Herbert amongst the trombones; Keg Johnson, David ‘Fathead’ Newman, Bill Pearson, Hank Crawford, and Leroy Cooper on saxophones; Sonny Forriest on guitar; Edgar Willis on bass and Wilbert Hogan on drums. Charles had expanded from his legendary little big band to the full orchestra in 1961 and Quincy Jones had helped with providing arrangements from his big band book.

The performance here (about 70 minutes of music) was the first after a European and Japanese tour and was recorded by Wally Heider who was a pioneer in location recordings of the time. This release includes 7 previously unissued performances that were not included in the original 1964 album release, adding nearly a half hour of unissued performances including renditions of One Mint Julep, Georgia on My Mind, That Lucky Old Sun, In The Evening (When the Sun Goes Down), Busted, Two Ton Tessie, and My Baby (I Love Her, Yes I Do), to go along with such numbers associated with Charles as I Got a Woman, You Don’t Know Me, Hide Nor Hair, Hallelujah, I Love Her So, and What I’d Say.

Of course its a terrific band (Charles’ jazz piano chops are displayed on Swing a Little Taste) with Fathead and Hank Crawford getting solo space, and terrific section work and swing. And its nice to hear Charles at this stage as he was expanding his repertoire, but had not relegated many of his early R&B classics to brief treatment as part of a medley so we get strong renditions of I Got a Woman, Hallelujah, I Love Her So, Don’t Set Me Free, and What’d I Say, along with more recent additions to his repertoire as You Don’t Know Me, Margie, and Georgia On My Mind. And Ray still was front and center with the blues with the terrific In The Evening, and dig Charles’ terrific blues piano at the beginning. Material-wise, the only misstep is Two Ton Tessie, which was likely from some forgettable show, but Charles still puts everything into the performance.

Bill Dahl contributes his usual insights in the accompanying booklet and the sound quality is excellent. Live in Concert is an welcome addition to Ray Charles’ discography. There is some simply terrific music here, capturing “The Genius” at his prime.

My review copy was provided by Concord Records.

Roland Vazquez's "The Visitor" Is Superb Big Band Jazz

Composer-Arranger-Drummer Roland Vazquez has been on the scene for sometime and in the late 70s was a member of Clare Fischer’s all-star band “Salsa Picante.” Later working in New York, he attended the Manhattan School of Music, obtaining a Masters in Music and while continuing to play, lead ensembles and compose, he also started teaching at the Manhattan School. He has also taught at University of Michigan and the American Academy in rome to illustrate his experiences. His compositions have not been limited to jazz, but also chamber music, and have been performed in a number of contexts including one that was for a string quartet and orchestra. His new recording, “The Visitor” (RVCD/Roland Music) is a big band recoding that includes several of his compositions that he has been performing, but with the help of a grant from The Aaron Copland Fund For Music, he was able to get this recording memorialized in a studio and issued.

Besides composing six of the seven selections, Vazquez conducts the wonderful big band heard here. I confess not being familiar with most of the musicians on this recording. Joel Frahm on saxophones was the most familiar name but many of the participants have made a strong impression including the rhythm section of pianist Luis Perdomo; guitarist pete McCann; electric bassist James Genus; drummer Ignacio Berroa; and percussionist (also on congas) Samuel Torres. The compositions are inspired, the arrangements vital and the solos are striking.

The opening composition, “ Urantia” is taken for a mythical name for earth and after an opening section with some wonderful piano by Perdomo, both Aaron Heick on alto sax and Alex Norris on trumpet solo propelled by the Afro-Cuban rhythmic foundation laid by the rhythm section. “Thru a Window,” opens with a languid unaccompanied piano by Perdomo section before the tempo kicks up a notch with Christos Rafaelides adding coloring on the vibes with e composer’s exhilarating arrangement for the reeds and brass. There is also strong tenor from Dan Willis, soprano sax from Roger Rosenberg, and with striking percussion playing from Berroa and Torres. Torres’ percussion evokes the ocean tide coming ashore at the beginning of the title track which is a feature of Frahm’s saxophone and Perdomo’s piano. One is delighted by Vazquez’s layering of sounds and the interplay between the brass and reeds.

One might find it impossible not to be at least tapping one’s feet on “ Whirlpool” with its driving and funky latin rhythm, with Heick’s strong alto playing benefiting from the imaginative musical colors Vazquez’s has provided him. “Sevilla” is a reflection of a time in medieval Spain when their was co-existence between Christian, Jewish and Muslim communities and the inspiration of that time compared to contemporary intolerance with some exquisite playing by Perdomo. Clare Fischer’s “Guarabe’” was part of a Grammy Award winning recording, “Salsa Picante,” and this lively big band recasting serves as a fitting salute to a mentor with more spirited piano and alto saxophone, with Perdomo introducing a tempo change introducing a blustery baritone sax solo by Rosenberg followed by the horns soaring behind Norris’ fiery trumpet and to the performances exciting conclusion.

The concluding “ The Path of Change” is described as “an episodic ‘Latin rhythmic chamber jazz,’” that was more recently translated from small group to full big band orchestration and provides guitarist McCann to take the forefront with some Santana inspired playing prior to Berroa and Torres taking the spotlight as a baritone sax and responding horns provide a musical backdrop. This is a strong conclusion to one of the best big band recordings I have heard in some time. Highly recommended. This is available from cdbaby and downloadable at itunes. His website is http://www.rolandvazquez.com.


For purposes of FTC regulations, I received a review copy from the publicist for this release.

Roy Gaines High Class Big Band Blues

The “Bluesman For Life,” Roy Gaines, has his first recording in nearly a decade with “Tuxedo Blues” issued on Gaines own Black Gold label. Gaines last US disc was the excellent 2000 Severn release “New Frontier Lover.” Also in 2000, Gaines recorded a CD in Japan on the P-Vine label, “Guitar Clashers from Gainesville, Tokyo,” with Japanese guitarist, Mitsuyoshi Azuma. Gaines, who took up guitar inspired by t-Bone Walker, has toured, played and recorded since the fifties including studio work with the likes of Bobby Bland, Junior Parker, Big Mama Thornton, and Jimmy Rushing, as well as played with such legendary musicians as Roy Milton (at the age of 16), Ray Charles, Chuck Willis, Billie Holiday and Harry Belafonte. His recording career started with albums for the RCA Groove subsidiary and then albums for a variety of independent blues labels producing highly acclaimed recordings like “Bluesmen For Life,” “Lucille Work For Me,” and “New Frontier Lover,” that displayed his marvelous guitar playing and virile vocals.

“Tuxedo Blues” is a big band album which the spotlight focused on Roy Gaines vocal and guitar. In the booklet accompanying this, Gaines talks about what was involved in putting this recording together as well as inspiration. The music harkens back with the relationship between the blues and jazz spheres were much closer such as with the Territory bands, such as the Blue Devils, Bennie Moten, Count Basie and Jay McShann, as well as the bands of Lionel Hampton and Budd Johnson. After all T-Bone Walker fronted big bands and Gatemouth Brown led a big orchestra in his early days. This is the tradition Gaines pays homage to here which isn’t far removed from some of his recordings such as “New Frontier Lover,” with their substantial horn players and arrangers, although the big bands here produce an even richer, fuller sound. The music may be dressed up to be at home at the most elegant ballroom yet Gaines’ performances never lacks grit.

While Gaines acknowledges the great Jimmy Rushing as a major vocal influence, his sound reminds me of the classic B.B. King of the late fifties and early sixties. The opening “ Send For Me,” which was a hit for Nat King Cole has a nice full horn section before Gaines adds a nice solo. Gaines wrote the civil rights themed “Blues From Hell,” with his brother Grady, recalling 400 years and how long must he wait to be free from hate with a hard swinging George Pandis arrangement. Roy’s old friend, Joe Sample, is at the keyboard on the lively “Gold Old Days,” with Gaines relaxed vocal phrasing surrounded by Leslie Drayton’s rich arrangement, with Sample laying down a lively piano solo followed by some jazzy fretwork from Gaines.

Roy previously recorded “Thang Shaker” on the P-Vine “Guitar Guitar Clashers from Gainesville, Tokyo,”and against John Stevens’ arrangement lays down some scintillating guitar on a lyric where Gaines boasts I’m your thang shaker, i’m your lover shaker … so let your belly button roll, let it roll, all night long,” with another sophisticated piano solo from Sample. Leslie Drayton’s arrangement of an old Louis Jordan classic “Inflation Blues,” helps frame a strong rendition of this number than in this writer’s opinion bests B.B. King’s similar big band recording of several years back. Quincy Jones wrote “Miss Celie’s Blues (Sister),” for the movie “The Color Purple,” and Grady is playing guitar in the club scene when this is performed in the film. Here Gaines comes across almost as a crooner in delivering this lyric which features an New Orleans inspired instrumental section with Jackie Kelso is on clarinet, Mike Daigeau adds gutbucket trombone and George Pandis lays down some hot trumpet. Gaines collaborated with New Orleans legend Edward Frank on a lovely blues ballad “Come Home,” with a generally restrained vocal and a nice vibraphone solo from Onaje Murray.

“Reggae Woman,” originally “Calypso Blues” by Nat King Cole, opens like a jumping blues stomp to which are added some Jamaican ska rhythmic touches with a lively John Stevens arrangement with a nice guitar break with a jazzy tone and nice mix of single note runs and chords. Joe Sample’s fellow Crusader Wilton Felder adds some Texas tenor for the sole instrumental on this, a slowed down, midnight slow drag reworking of the Michael Jackson hit, “Rock With You.” “Route 66” opens with just the rhythm with Sample and Gaines each taking a chorus or two before the horns kick in and Felder and Jackie Kelso get to strut on tenor and alto sax retrospectively. Gaines’ off the beat vocal adds to the appeal of the interpretation here.

“Tuxedo Blues,” is yet another impressive addition to Roy Gaines highly underrated discography. He is in fertile form throughout this and the superb big band settings would make almost anybody fronting them sound good. The result is a superb disc that should have wide appeal to fans of blues and jazz.

For FTC regulations purposes, a publicist sent me the review copy of this CD

Jack Towers RIP- Recorded Legendary Ellington Band at Fargo ND

Word has spread slowly that Jack Towers passed away December 23, 2010 at the age of 96. He had been suffering from Parkinson’s disease.

Towers was known as one of the premiere restorers of musical recordings in the United States. This reputation was based on recordings he and a friend Dick Burris made of the Duke Ellington Orchestra playing a dance at the Crystal Ballroom in Fargo, North Dakota, on November 7, 1940 where they had hauled a bulky Presto-S disc cutter to record the Ellington Orchestra playing before around 600 young people. 


The evening’s music was captured on 16-inch aluminum discs coated with acetate that enabled the recording of approximately 15 minutes per side, as opposed to the roughly 3 minutes that fit on an average 78 rpm recording. And while Towers, friends and some insiders (such as some members of the Ellington Band) knew about these recordings, the release of a double vinyl album in 1980 was a revelation to jazz and music historians capturing a wide ranging repertoire of the Ellington Band in an informal setting.


The release of the Ellington Fargo Recordings was awarded a Grammy in 1980 for best Big Band Recording. It included some fragments of songs as well as extended performances of others known only from shorter studio recordings. It was also recorded with arguably the finest edition of the Ellington Orchestra which included Jimmy Blanton on bass and Ben Webster on tenor saxophone, along with such Ellington stalwarts as Barney Bigard on clarinet, Johnny Hodges on alto saxophone, Rex Stewart on trumpet, Harry Carney on baritone sax, Tricky ‘Sam’ Nanton and Juan Tizol on trombone and Sonny Greer on drums. Ray Nance had just joined the band, replacing the recently departed Cootie Williams.

Original CD release of the Ellington Fargo Recordings

And the band sounds great on any number of features. There is the great half valve playing on Stewart on “Boy Meets Horn,” the fiery “Harlem Air Shaft,” the exuberant “Koko,” and so much more. While the opening of “Stardust” is missing, Ben Webster is reported to have carried a disc with his performance for the rest of his life, and it was a performance that he would return to many times after leaving Ellington. The sound is very good except the vocal microphone (from which the Duke announced some tunes) is off the recording mike so that Ivy Anderson’s vocals are low in the mix.


In the CD era, the Fargo Recordings have been issued on CD including some segments of performances that previously were not issued on the original 2-LP release. There are some criticisms about the release of the complete material even half minute fragments, but the current CD release is of an historic document. In any event, today, folks can upload to their computer and edit our those selections they do not wish to listen to. It is currently available from the Storyville label from Europe both on “The Duke At Fargo 1940 Special 60th Anniversary Edition” and as part of the 8-CD “The Duke Box,” a collection of radio air-checks and concert recordings. These are recordings I have listened to many times and will do so many more.

While this is the centerpiece for Jack Towers, he was a radio broadcaster for many years, working for the USDA and became head of radio broadcasting. After he retired from the USDA in 1974, he devoted himself to remastering rare recordings, primarily of jazz groups including the legendary Dean Benedetti recordings of Charlie Parker, and rare works by Count Basie, Benny Goodman and other greats. His legacy is great among Jazz collectors and enthusiasts of which I am one of many.

Some material for this blog was based on Harvey Siders’ JazzTimes review, http://jazztimes.com/articles/12323-the-duke-at-fargo-1940-special-60th-anniversary-edition-duke-ellington-and-his-famous-orchestra and from Matt Schudel’s December 28, 2010 Washington Post obituary,http://www.washingtonpost.com/wp-dyn/content/article/2010/12/28/AR2010122804198.html.

Robin McKelle's Big Band Vocals

Robin McKelle at
2007 Montreal Jazz Festival

I had an opportunity to see Robin McKelle, the first time I went to the Montreal Jazz Festival in 2007. Her vivacious personality came across in her performance as well as her strong vocals. The following review appeared in the November 2008, Jazz & Blues Report (Issue 310) although I have made a few stylistic changes in the text. This CD is still readily available.

Berklee alumni Robin McKelle has just issued a new album, Modern Antique (Cheap Lullaby). It is at least her second album and she performs and number of standards along with some intriguing and unusual material backed by a big band; sometimes horn driven and other times strings dominated.


McKelle is quite a good singer, if occasionally she comes off as cute and sultry. McKelle, at times, reminds me of Streisand, with a jazzier delivery. Things kick off on a terrific start with a hard swinging rendition of the surprising opening number, Steve Miller Band’s “Abracadabra.“ Kudos to the very imaginative arrangement of this song, which is followed by a hot Latin groove for her take of “Come Love.” The ballad “I Want to Be Love,” with strings and reed accompaniment, is done as a torch song and some might suggest she overdoes her singing here.

“Lover Man” opens and built around a funky bass riff that sets the groove, whereas she returns us to Heaven with a Basie-like arrangement for “Cheek to Cheek.” Strings frame her singing for the lovely ballad “Day By Day,” followed by the Buddy Johnson blue ballad, “Save Your Love For Me,” a rendition that contrasts to Ella Johnson’s original recording with brother Buddy’s orchestra, but not as satisfying as Charles Brown’s suave interpretation of this marvelous song.

Other noteworthy performances include the sprite “ Lullaby of Birdland,” and “Make Someone Happy,” with strings and nice trumpet and her nicely delivery of the lyric that perhaps evokes Streisand the most. The album concludes with McKelle’s own “Remember,” with her piano and the strings for accompaniment, a lovely song of lost love.

Special commendation to Willie Murillo who produced this and contributed several of the arrangements. When I saw McKelle in Montreal, she was backed by a combo, but she certainly is not overpowered by the full big band accompaniment she receives here. Its a marvelous and rewarding recording.


For FTC purposes, I received my review copy from Jazz & Blues Report.

Roy Hargrove Big Band in Montreal

2010-0612 Roy Hargrove Big Band at DC Jazz Festival-1230, originally uploaded by NoVARon.

Last night in Montréal , Monday June 28, Roy was wearing a dark suit and Roberta Gambarini was lovely in a chiffon blue dress (this picture was taken in Washington DC 12 days ago). I was seated in the back of the lower level with my camera stowed away and listened to another riveting evening by this superb big band at one of the concert halls at the Place d'Artes.

Like the previous show, Roy took the mike, this time during "Autumn Leaves" but a highlight of the performance (amongst the many) may have been New Orleans pianist Jonathan Batiste who was not with Roy in Washington. Throughout the evening he was mostly in the background, helping drive the band and rhythm with his playing while exhibiting a deft touch. It was marvelous watching and listening to him soften his touch comping behind Roberta Gambarini's enchanting vocals. Than on "Autumn Leaves," he started a solo in a very Monk-ish way, deliberately playing some skittish, angular figures before a display of his technical virtuosity. Then he dazzled us on the opening of a hot latin number before the band kicked in.

Its a band of terrific soloists and ensemble playing and watching Hargrove dance around while Roberta was singing or listening to his soloists enhanced the marvelous evening. I had previously placed in my Amazon cart the album "Emergence," based on the DC performance. Last night's performance cemented that decision. Now to locate some Jonathan Batiste music.

For FTC regulation purposes, I purchased my ticket.