More sublime Bobby Hutcherson, on what is easily my favorite of Kenny Barron's outings as a leader, OTHER PLACES (Gitanes/Verve), recorded in 1993 by Jim Anderson (and that alone should be enough to convey that the sound quality is top notch). Barron, Hutch, Ralph Moore, Rufus Reid, Victor Lewis, and Mino Cinelu should have given it a go as a working band, as these guys were ideally suited to each other. An interesting thing is that on tenor, Ralph Moore's sound is slightly reminiscent of Hutch's long-time collaborator Harold Land: full, emphasizing the lower to middle register of the horn, and with a distinctive slight gruffness and nasal quality (think baritone on tenor). By contrast, Moore's soprano is silky smooth, one of the prettiest sounds this side of Branford. This is the best Moore on record that I've heard, on both horns, exceeding even his stellar work with J.J. Johnson's band (captured to great effect on two live albums from the Vanguard, STANDARDS and QUINTERGY, released on the Antilles label just a couple years before OTHER PLACES). Barron is his typical brilliant self, and makes another great pianist partner for Hutch, one in a long line (Cowell, Hancock, Corea, Tyner, etc), further underscoring Bobby's keen listening abilities, helping him to avoid the muddle that could have otherwise resulted from combining two such harmonically rich instruments. As great as the Tyner/Hutcherson duo take on "For Heaven's Sake" was on the Blue Note album MANHATTAN MEMORIES (also from 1993) which I posted on recently, the Barron/Hutch duo rendition of that same tune here manages to leave it in the dust - simply awesome - I'm not exaggerating when I say this "For Heaven's Sake" belongs high on the list of greatest jazz performances ever - it is that good. Most of the other tracks on OTHER PLACES are Barron originals, and they are memorable pieces, no mere functional vehicles, particularly the stellar 1-2-3 punch that opens the disc: "Anywhere," the mysterious title track, and "Mythology." The program is rounded out by two standards ("For Heaven's Sake" as mentioned previously plus "I Should Care"), and closes on a high with Victor Lewis' infectious "Hey It's Me You're Talkin' To," on which you can clearly hear those words being "spoken" in the catchy 7-note melody. If you wanted only one album with Kenny Barron as a leader in your collection, in my opinion, this should be it. Essential.
David Sanchez - Melaza... Edsel Gomez (p) Miguel Zenon (as) Branford Marsalis (ts) Hans Glawischnig (b) Antonio Sanchez (d) Pernell Saturnino (perc). Fiery, passionate work from Sanchez, exceptional backing from Gomez and Zenon, with Marsalis guesting on the standout "Canción del Cañaveral".
(LP DIW Foldout DIW-25004) .... beautiful reissue of Tommy Flanagan`s "Trio Overseas" session including via japanese DIW from 1986 .... recorded in August 1957 with Wilbur Little (b) + Elvin Jones (dr) .... bonus material, marvellous sound and the new Cover Art is really something else ....
(LP Enja Polydor Japan MP-2213) .... recorded Live at The Domicile Munich Germany in June 1971 .... Mal Waldron (p) + Jimmy Woode (b) + Pierre Favre (dr) ....this superb blues tinged concert set - another set from the same concert one saw release as "Black Glory" (Enja Germany) - was originally released in Japan only .... Mal Waldron at his very best and (also) one of my desert island discs....
Soft Machine - Fourth Sony BMG Music Entertainment – 82876872912 LC 13989 Now playing. I hope that you will enjoy this amazing work with me!
WKCR has a feature on Bill Frisell today. I caught some of it in the car and it was real interesting to hear how different he is from so many other guitarists.
Currently listening to an old Brian Rust Mardi Gras radio show from the early 1980s - used to tune in on a Sunday night for this. Some great early jazz on here.
I gotta check this one out, thanks for posting. I was just listening again this morning to Zenon (and Hutcherson) on the inaugural SFJazz Collective CD (Nonesuch Records). He is such an outstanding player! And a strong composer (the long opening piece "Lingala" is his and is spellbinding for its entire 12+ minute course).
Taking a little break from Bobby Hutcherson's music. Listened to these two used LP finds (both NM) from this weekend: Art Pepper Quartet, THE MAIDEN VOYAGE SESSIONS, Vol. 3 (Galaxy). Recorded at the LA club of the same name, 1981, with his preferred line up of the period: George Cables, David Williams, and Carl Burnett. Four long tracks, stuff he revisited continually during this phase yet always found a way to revitalize - "Mambo Koyama," "Valse Triste," "What's New," and best of all "Landscape." Intense, burning work as usual - yet also a little less tortured, a bit more playful than many a Pepper recording from his later days. He really loved playing with these guys, who liner writer Laurie Pepper implies finally gave Art the respect and support he had long craved, and it shows - he loosens up noticeably (well as much as this tightly wound man ever did, anyway). The location recording is quite good. Die hard Pepper fans take note: "Landscape" was edited for this release (removing David Williams' bass solo), due to LP time constraints; the full unedited version later was included (along with previously unreleased material from the engagement) on the THE COMPLETE GALAXY RECORDINGS 16 CD boxed set. I have that set, and it's fabulous, but Pepper is just so damn good I still pick up the vinyl releases as I come across them, since I'm partial to the analog sound. Susannah McCorkle, OVER THE RAINBOW: The Songs of E.Y. "Yip" Harburg (LP released 1981). The juxtaposition of the name of the label that released this LP (Inner City) and the jacket is unintentionally hilarious. I mean, the (hideous) cover art makes it seem as though you're in for renditions suitable as background music for Smurfs cartoons or something! But rest assured, this is superb jazz vocal craft by McCorkle, one of the very best vocal artists to emerge during the period when jazz was all but in eclipse commercially. Her voice is luscious and distinctive, her lyric interpretations deep and knowing, and the accompanying musicians (Keith Ingham, piano and musical director, Jack Six on bass, Ronnie Bedford drums) wisely stay out of the way, shining the spotlight fully on McCorkle. One of the nicest things about this album is the tune selection; we don't just get well-known (though great) Harburg pieces like "Over the Rainbow" and "Old Devil Moon" and "What Is There to Say" and "Thrill Me," we also get neglected gems like "The Begat" (wickedly hilarious!), "The Eagle and Me" (a very unusual and remarkably modern song for the copyright date [1944], and one I've only ever heard one other jazz vocalist cover, Shirley Horn on her I THOUGHT ABOUT YOU live at Vine Street album [Verve]), and the poignant closing medley of "Here's to Your Illusions" (from the flop musical FLAHOOLEY) and "In Times Like These." For those who don't do vinyl, this was later reissued on CD on the Jazz Alliance label. So far it's my favorite McCorkle recording, and I say that as a big fan of the others I've heard. She tragically ended her own life in 2001 after battling depression for many years, but her music lives on: http://www.nytimes.com/2001/05/24/a...ut-of-silver-linings.html?pagewanted=all&_r=0
Audrey Morris - The Voice of Audrey Morris (1956) - Betlehem BCP 6010 / Spanish 1986 reissue Fresh Sound FSR 2016
Now Playing: Bobby Hutcherson - Oblique This is must for Herbie Hancock fans, his solo on My Joy is amazing. Plus you get a great jazzy version of Theme From Blow Up. I wish Albert Stinson recorded more, love his bass playing on this release.