John Coltrane - Side Steps

Following Fearless Leader and Interplay, Side Steps completes Prestige Records planned three boxed-set series focusing on tenor saxophonist John Coltrane. The work and artistry on display by many talented musicians over the five discs in the set are taken from recording sessions Trane worked as a sideman, occurring between 5/7/56 through 1/3/58.

The music, much of it hard bop, has all been previously released and is presented in near chronological order of the sessions. Side Steps collects complete albums: Elmo Hope Sextet – Informal Jazz, Tadd Dameron with John Coltrane – Mating Call (Ashley Kahn’s liner notes point out this “was the first album by any label to feature Trane's name on the cover”), Mal Waldron – Mal/2 and three by The Red Garland Quintet – All Mornin’ Long, Soul Junction, and High Pressure. Coltrane had previously worked with Garland in Eddie “Cleanhead” Vinson’s band and the Miles Davis Quintet.

Also included are excerpts from Sonny Rollins – Tenor Madness, Gene Ammons’ All Stars – The Big Sound, Gene Ammons and His All Stars – Groove Blues, The Red Garland Quintet – Dig It!, the self-titled The Ray Draper Quintet featuring John Coltrane, and Mal Waldron – The Dealers.

Of historical significance is the title track “Tenor Madness” because it is the only recorded summit between Rollins and Trane. Rollins, in essence, stands in for Miles with the Quintet as the rest of the band (Garland, Paul Chambers, and Philly Joe Jones) plays in support. What is impressive is that rather than hearing two young guns on the rise, blowing and wailing away to outdo the other, their different styles blend extremely well together as they trade licks, revealing a respect for each other and the music.

Although Side Steps only covers a limited period of time, close to 18 months, Coltrane’s growth as a player is still noticeable over the course of the set. In April 1957, Miles Davis kicked Trane out of his quintet due to what Miles told Downbeat was “junkie shit.” After the Waldron recording sessions on April 19th, Trane headed to Philadelphia and kicked his habit. During the latter half of ’57, he began playing with Thelonius Monk and also recorded albums as a leader, such as Blue Train for Blue Note. Trane revealed on the liner notes for A Love Supreme he experienced a spiritual awakening this year .

What I enjoyed most about Side Steps was discovering talented artists I was not aware of. It’s expected to hear Trane blow his horn well, but I was surprised and very intrigued by Draper playing tuba at a time in jazz when it was not a popular instrument. Also catching my ear for its uniqueness is Jerome Richardson on flute in Ammons’ octet, which finds Trane playing alto sax. “The Real McCoy” is credited as his first recoding on that horn

Side Steps contains Kahn’s well-written and researched liner notes that reveal the history of Trane and these sessions, original album liner notes, a sessionography identifying the players, and an informative interview by Kahn with producer/Prestige record-label owner Bob Weinstock from February 2001.

For those who don’t already own the original albums, Side Steps is a great collection to immerse oneself in. It helps complete the picture of John Coltrane and provides glimpses of some of his lesser-known contemporaries, who deserve to be heard and remembered. Although I am not thrilled with the way the packaging holds the discs (one needs to slip them between a small bit of cardboard, which could lead to scratching), I cannot recommend this set enough.

Miles Davis & Sonny Rollins - The Classic Prestige Sessions, 1951-1956

During the 1950s, the careers of trumpeter Miles Davis and saxophonist Sonny Rollins were ascending to their eventual legendary statuses, due to their great musical talents and in spite of their dangerous vices. Over the course of five days from 1951 to 1956, they recorded 25 tracks together for Prestige Records, and were backed at those sessions by well-known artists, such as saxophonist Charlie Parker; pianist Horace Silver; bassists Percy Heath and Paul Chambers; and drummers Roy Haynes, Art Blakey, and Philly Joe Jones. All of the material has been previously released over seven different albums, but now it is available in one glorious, two-disc set from Concord Music

Disc 1 opens with John Lewis’ “Morpheus,” an up-tempo piece that brings to mind the hustle and bustle of a city’s nightlife as the horns exchange leads. On the Rodgers and Hart composition “Blue Room (Take 1)” it’s apparent the masters weren’t cared for as a hiss can be heard. “(Take 2)” is much cleaner; however, Rollins sat out so Miles played throughout the piece. “I Know,” recorded for Sonny Rollins with the Modern Jazz Quartet, finds Miles delivering a more than adequate performance on piano as Rollins’ horn takes the spotlight.

Tracks 7-13 are from the October 5, 1951 session, a time when artists were now making full use of the potential LPs offered by allowing their compositions and performances to expand past the three-minute limit previously imposed by 78s. Unbound by time constraints, the pieces stretch to four, five, even ten minutes, and the musicians really soar when they take the lead. On Miles’ “Denial,” Blakey’s presence is the main force propelling the band at a solid pace. “Bluing” finds the band in a sweet, slow groove, almost too laid back as Blakely keeps playing after everyone and Miles can be heard chastising him, “Play the ending, man. You know the arrangement.”

Disc 2 opens with selections from a session over a year later in Jan ’53. Parker is part of the sextet and because he was under contract with another label, he plays tenor sax rather than his traditional alto. These four pieces, including a rendition of Thelonious Monk’s “’Round Midnight,” almost serve as an unintended baton-passing as Parker would die two years later.

Tracks 5-9, recorded on June 29, 1954, reveal a more self-assured Rollins, who wrote three of the compositions. It also provides some foreshadowing, as “Oleo” was the first studio recording Miles used the Harmon mute. Heath’s bass gets a serious work out anchoring the rhythm throughout. There are also two takes in different tempos of Gershwin’s “But Not For Me;” the second is slower and over a minute longer. The final three tracks are from the final session on March 16, 1956. On Dave Brubeck’s “In Your Own Sweet Way” you can hear Miles satisfactorily say “yeah” when it’s done, a reaction most listeners will have to this entire collection.

Producer Ira Gitler’s liner notes provide invaluable insight into the music, the men, and the moments. There is also a transcription of Miles’ improvised solo on “Down” for those that read notes.

For those that don’t already own this music, The Classic Prestige Sessions, 1951-1956 is a great way to get the combined work of this dynamic duo in one fell swoop as destiny hovered just ahead. Rollins would record his classic Saxophone Colossus a few months later, and Miles would complete his contractual relationship to Prestige with two sessions by his new quintet, which featured Chambers, Jones, pianist Red Garland, and saxophonist John Coltrane, were turned into four albums, before heading to Columbia and making jazz history.

Clifford Brown Sonny Rollins Max Roach Quintet - Complete Studio Recordings

Although trumpeter Clifford Brown, saxophonist Sonny Rollins, and drummer Max Roach did play together within quintets, this shared billing is a marketing idea by the Essential Jazz Classics label evidenced by the fact that the two albums making up Complete Studio Recordings are previous releases from 1956 identified as Clifford Brown and Max Roach - At Basin Street and Sonny Rollins - Plus Four. Also, misleading is the word “complete” because the back of the CD makes clear these are actually “The Master Takes,” so the four bonus tracks that appeared on the 2002 release of At Basin Street aren’t offered. However, don’t let the taint of commercialism sway you because if you don’t have them, these two hard bop albums are worthy of being identified as Essential Jazz Classics and of a spot in your music library.

Joined by Richie Powell on piano and George Morrow on bass, the five men would only enter the recording studio three times as a unit. There were two sessions for At Basin Street in New York on January 4 and February 16, 1956, then one a month later on March 22, 1956 for Plus Four. Tragically on June 26, Brown and Powell would lose their lives prematurely at the ages of 25 and 24 in a car accident en route to a gig in Chicago, along with Powell’s wife Nancy, who was driving.

Although CSR changes the order the tracks appeared on the original albums, the first nine are all from At Basin Street. Naturally, since the quintet is named after them, Brown and Roach have a dominating presence in each song, but the other three demonstrate their talents, particularly Rollins and Powell who take their leads between them.

The horns on “Gertrude’s Bounce” as the song opens and closes bring to mind Christmas. Everyone but Morrow gets a go to take the reins and lead on this opening track. “Step Lightly (Junior’s Arrival)” has a cool beat that swings slowly and effortlessly. “Powell’s Prances” takes off on a tear with Brown almost sounding like a bumblebee as he soars. Rollins replaces him and keeps the pace humming before Powell steps up. Roach delivers a solo before the band returns to finish off song.

The longest piece at just over nine minutes, “I’ll Remember April” finds the men really stretching out, especially a fantastic display by Roach in arguably his best solo of the entire set. When the band returns, Brown and Rollins trade off back and forth. Powell’s “Time” is a somber piece and audibly reflects his intention of “the time a man spends just sitting in jail, wondering when he’s going to get out.”

“The Scene Is Clean” finds the order slightly altered from the previous tracks as Rollins takes the first lead before Brown. The mood created from the quick tempo on their rendition of Cole Porter’s “What Is This Thing Called Love?” suggests only the positive aspects of the emotion. Morrow finally gets a bit of the spotlight, albeit brief.

The last five numbers are from Plus Four and not surprisingly the five men and the compositions sound very similar to their work in the Brown-Roach quintet. “I Feel A Song Coming” is a quick, uptempo song. The two Rollins compositions are “Pent-Up House” and “Valse Hot.” The first is almost nine minutes and features a longer passage with Rollins in the lead. After Brown takes the reins, Rollins and Brown return to alternate exchanges with Roach before giving way to his solo. The band returns, closing out the song repeating the chorus. “Valse Hot” is a waltz with Rollins getting the first lead. “Count Your Blessings” is listed as a bonus track for CSR because Brown doesn’t appear on it, which creates some separation in my ear from the Brown-Roach quintet.

The brilliance of Complete Studio Recordings is that even after more than 50 years the music sounds fresh and modern with every listen.

The Complete Tony Bennett/Bill Evans Recordings

In the mid-1970s, singer Tony Bennett and jazz pianist Bill Evans, two legends in their respective fields, joined together for Bay Area recording sessions that spawned The Tony Bennett/Bill Evans Album in 1975 and its sequel Together Again the following year. Over the years record companies have been known to get in the way of such musical unions due to contractual issues. In this instance, with Evans being committed to Fantasy Records and Bennett founding Improv Records each label garnered its own release, to the benefit of all.

In 2009, Fantasy/Concord has released the two-disc set The Complete Tony Bennett/Bill Evans Recordings. Aside from featuring both albums, there are two bonus tracks from the Together sessions and a number of alternate takes, all of which have either appeared on subsequent album reissues or the boxed set Tony Bennett: The Complete Improv Recordings.

Both men are very expressive in their emotion and phrasing as they present many aspects of love. They could easily have performed solo, as Evans did on “The Bad and the Beautiful,” and still delivered evocative pieces, but together they gel into an impressive duo, driving and inspiring each other. It’s not surprising to read in the liner notes by Will Friedwald, co-author of Bennett’s autobiography, they recorded simultaneously sharing space together in the studio.

Opening with “Young and Foolish” from Plain and Fancy, you hear both men express the regret of a relationship where the participants are aware “We haven't long to be.” Not because the couple’s love has dissipated but because of outside forces, punctuated by both men soaring on the line “the bluebird has to fly.” One of the lovers could have sung “We'll Be Together Again,” assuring “that some day some way” their reunion will happen. Evans’ playing underlies the sadness but doesn’t dwell in it. While parted, “You’re Nearer” is a song for the lovers as the narrator reveals they are still as close as they can be because “I love you so.”

The duo reveals the powerful spell a simple kiss can cast. Bennett calls forth the passion of lovers from “The Touch of Your Lips,” which bring solace and comfort, much like Evans’ melodies. Later, Bennett tries to warn himself on “My Foolish Heart” about the “line between love and fascination/ That's hard to see on an evening such as this” because he knows when “eager lips combine” that thinking will go out the window.

When in love, time appears to standstill though the moments are actually finite. A reminder is offered in “Some Other Time” from On The Town as both men tug at the heartstrings about not being able to say or get “done half the things I want to.” Later, they revisit the musical with “Lucky To Be Me,” about how a man sees his fortunes change “now that I've found you.” Evans creates a warm tone, exemplifying the narrator’s happiness.

Bennett turns the cad on “When in Rome.” He’s a Continental playboy who admits “taking a brief detour with somebody new,” offering the excuse that “when in Rome/ I do as the Romans do” yet Evans’ jaunty accompaniment makes it hard to stay mad.

“Waltz for Debby,” written by Evans and Gene Lees, is a very touching song looking toward that day when Daddy’s little girl will one day grow up and leave more than her toys behind. On the bridge, Evans’ piano sounds like the accompaniment to a spinning ballerina in a young girl’s jewelry box. They also honor sons with “A Child Is Born.”

Love is also filled with longing and loss. “Make Someone Happy” is one of those “wish I had someone” songs but it offers good advice to find happiness. Evans’ piano sounds somber and serious, cognizant of the guy’s loneliness who is being talked to, but then on the bridge his playing foreshadows the joy to be found.

Another Evans original, “The Two Lonely People,” is a heartbreaker featuring a couple sitting beside each other yet very far apart emotionally, the reverse sentiment of “You’re Nearer.” “You Don’t Know What Love Is” until you’ve lost it, echoing Tennyson’s famous quote.

However, they don’t dwell on the heartache long. The narrator casts his hopes “Love will come again” looking toward “Maybe September,” and if not then, “You Must Believe in Spring.” The latter is the longest track of the set and allows Evans the most time to stretch out, which is always a good thing.

Disc One concludes with the bonus tracks. “Who Can I Turn To?” from The Roar Of the Greasepaint - The Smell Of the Crowd, which became a Broadway hit after Bennett first recorded the song. Bennett really gives it a big finish. At the conclusion of “Dream Dancing,” you can hear the men laugh at the joy of their accomplishment, and rightly so.

Disc Two presents alternate takes from the two sessions and runs almost as long as the two albums combined. There are five from the first and 15 from the second. You can hear changes in the alternate takes, some subtle and some pronounced. Would have liked to have known the reasoning behind what they were both looking for or weren’t satisfied with, especially on “You Don’t Know What Love Is,” where they did at least 18 takes.

Much like a brief love affair, The Complete Tony Bennett/Bill Evans Recordings makes you sorry there wasn’t more, but so glad to have gotten what you did.

Marco Benevento: Me Not Me

Me Not Me, an album of mostly covers, is the second solo studio album by keyboardist Marco Benevento of the Benevento-Russo Duo. Playing mostly as a trio with bassist Reed Mathis and taking turns on drums Matt Chamberlain and Andrew Barr, who both appear on “Now They’re Writing Music,” Benevento uses an assortment of instruments and gadgets in the creation of his jazz experimentation. This album was my first introduction to his work.

MNM opens with My Morning Jacket’s “Golden.” A layer of distortion forms the base of the song as Benevento’s piano leads the way. It doesn’t really grab me and I find myself constantly distracted by other things in the room as it drifts into the background. The drums move to the forefront for a cacophonous closing as some electronic keyboard notes ring out.

The beginning of “Now They’re Writing Music” has a similar sounding swirl of electronic noise, causing me to double check and make sure I was listening to a new song. Leonard Cohen’s “Seems So Long Ago Nancy” continues the trend and I wonder if Benevento is too focused on a new toy he recently received. When the sonic clutter thankfully grows feint, his piano shines through and is a pleasure to hear. “Mephisto” is a much more straightforward jazz tune with occasional sounds added to create the impression of descending.

Deerhoof’s “Twin Killers” starts with a few bars of distortion and drums and then the trio delivers alternating engaging jazz riffs. A level of noise created by their chaotic playing rises up and then they return to the alternating lines. The original “Call Home” opens and you can hear someone whispering with a baby. Sounds of traffic play throughout. An effect of woodwinds reminiscent of the Beatles “Strawberry Fields Forever” creates a theme revisited and recreated by other sounds.

Benevento closes the album with covers by the three most well known artists he interprets. Beck’s “Sing It Again” is a piano solo. Without anything else augmenting the arrangement, it stands out and almost doesn’t fit the mood of the rest of the album. On Led Zeppelin’s “Friends” the trio return to form and the bombast they create with the help of the effects mirrors that of the originators. The album closes out with George Harrison’s “Run Of The Mill.”

While Benevento has a lot of interesting ideas on Me Not Me, most failed to engage me thoroughly and keep my full attention. The album worked better for me playing in the background. I would never think to listen to it, but I wouldn’t be put off if I happened upon it.

Willie Nelson/Wynton Marsalis: Live From Jazz at Lincoln Center, NYC

Following in the tradition of genre-blending summits that paired Jimmie Rodgers and Louis Armstrong, and Bob Wills and Charlie Parker, Willie Nelson and Wynton Marsalis played two nights of the blues at Lincoln Center’s Allen Room against the backdrop of the city at night. An album of the music was released in July 2008 to rave reviews.

Nelson and Marsalis had previously played together at the Apollo Theatre in 2003 on a star-studded bill devoted to an evening of the blues that included B.B. King, Ray Charles, and Eric Clapton, and wanted to work together again. The DVD captures the visuals of those two evenings as the duo is backed by the talented band comprised of Nelson’s harmonica player Mickey Raphael, pianist Dan Nimmer, bassist Carlos Henriquez, drummer Ali Jackson, and saxophonist Walter Blanding.

The DVD is augmented with interviews of Marsalis and Nelson, who talk about their mutual respect and admiration for their talents, the blues, and the importance of New York to a musician. Minor bits of rehearsal footage are also included. It is fantastic to see the process, and I would have loved more of it. Considering the DVD runs 84 minutes, there was certainly plenty of room.

The track listing is in a different order from the CD for no explained reason and the DVD features three extra performances. Duke Ellington and Bob Russell’s “Don’t Get Around Much Anymore” would make the creators proud because it’s given a swingin’ performance. Nelson, Raphael, and Marsalis each get some solo time on the bridge backed by the rhythm section.

Jackson shows off his skills on the skins during the opening of “Sweet Georgia Brown.” The song is unrecognizable from the legendary rendition by Brother Bones & His Shadows, which is the theme of The Harlem Globetrotters. However, the band shows an affinity for music equal to the Globetrotters talents with a basketball. After the first verse and chorus, Henriquez’ stand-up bass takes center stage. Marsalis and then Blanding each get a shot to cut loose and let their horns sing out. Nelson jumps in to remind the fellas music ain’t just a young man’s game. Nimmer comes up swiftly behind, tickling the ivories at a quick pace.

The evening closes with the gospel-blues “Down By The Riverside,” a raucous version that concludes with the band leaving the stage and playing on the floor right in front of the audience as Nelson’s bus drives off into the evening, headed for the next show.

The audio is available in Dolby Digital Stereo, Dolby Surround 5.1, and DTS Digital Surround Sound. The surround mixes put the viewer right in the middle of the proceedings, although “listener” might be the better word because as much as I am head over heels about these performances, the visuals are terribly put together and I am much more likely to play the DVD with the monitor off.

The biggest travesty is the editing, which is ghastly, cutting much too quick and drawing attention to itself. Just because a cut can be made doesn’t mean it should be. I don’t need shots of the city, which every consumer of media has seen countless times, interspersed throughout. I had hoped it was just the tempo of the opening number, “Rainy Day Blues,” that inspired the choices of director Danny Clinch and editor Paul Greenhouse, but the following song, the slow ballad “Georgia On My Mind,” is given the same treatment. I want to see the musicians play and witness the magic they create, but not even one solo is presented in its entirety. Clinch has really done a disservice to the artists and the audience, but the music is still well worth hearing.

Bill Evans: Live ’64-’75

Bill Evans was a famous and influential jazz pianist. He was a member of Miles Davis’ sextet in 1958 for eight months and was asked back to record Kind of Blue. Davis wrote in his autobiography “I've sure learned a lot from Bill Evans. He plays the piano the way it should be played.” As a leader, Evans most acclaimed trio found him joined by bassist Scott LaFaro and drummer Paul Motian although that line-up was cut short by LaFaro’s untimely death in a car accident at the age of 25 in 1961.

The Jazz Icons series presents Bill Evans - Live ’64-’75. It presents 98 minutes of performances by various line-ups of the Bill Evans Trio over the course of five sessions and 11 years. Evans is interesting to watch because there’s not a lot of showmanship. He’s there to serve the music and the instrument rather than the audience, playing hunched over, with his face almost in the keys. The viewer can see a man fully in the moment, only connecting to the other musicians through the sounds they create.

The first segment was recorded in Sweden on September 29, 1964. Appearing by themselves in a studio for a program called Trumpeten, Evans is joined by Chuck Israels (bass) and Larry Bunker (drums). They open with Ned Washington and Victor Young’s “My Foolish Heart” and it is immediately evident from the first few moments that the emphasis is on “Trio” in the Bill Evans Trio. Every instrument has an equal part and placement in the song. Evans’ piano playing evokes the mood of the title so well that Washington’s lyrics are unnecessary. Bunker brushes the drums and Israels plucks along on the bass; their sounds creating the gloominess of a rainy day or a bout of sadness. The melancholic melody of the music perfectly captures when the heart can’t get what the heart wants.

Evans counts off and they switch gears, picking up the pace on John Carisi’s “Israel.” The camera gets a great shot of Evans’ face as he works to get to where he wants the music to go. His playing fall away at different times, allowing the bass and drums to offer up solos. There are very nice close-ups on the playing of the instruments and a great shot of the trio in action together. In the liner notes there’s an interview with Chuck Israels from April 2008 appears.

The DVD jumps to France 1965 with Evans playing in front of a live audience on Jazz Pour Tous. He is joined by Niels-Henning Orsted Pedersen (bass) and Alan Dawson (drums). They open with Lou Carter, Herb Ellis and John Frigo’s “Detour Ahead.” The bass plays under the piano, and the production team does a great job of showing that visually by having close-ups of both these instruments being played superimposed together. During the opening moments, the video footage has line running through middle of picture that eventually disappears.

Alto saxophonist Lee Konitz joins the band and takes the lead for a rendition of Ernie Burnett and George A. Norton’s “My Melancholy Baby.” Evans plays rhythm with the rest of the band, taking a break for two choruses as the bass and drums become more prominent, particularly Dawson’s short bursts of percussive flourish. Evans returns and the piano replaces the sax. Then, Pederson gets to solo and really works the bass strings. The whole band plays a few bars and then Dawson gives a great solo, finally getting to unleash himself. The band closes out the song and the audience applauds and whistles their approval.

Another year forward finds Evans in Denmark 1970. It’s listed as the Copenhagen Jazz Festival but there’s no audience. Eddie Gomez (bass) and Marty Morrell (drums) fill out the trio. Starting in 1968 the three would play together for seven years, the longest time one until played together under the name. This section begins with Johnny Mercer and Johnny Mandel’s “Emily.” Evans begins alone before the others join him. Gomez bass calls out for the reins and he gets to take the lead for a verse. He sounds great but the camera shot is too tight at times. When his hands are working close together, we can see his technique, but when he gets high on the neck, the shot would only reveal one hand at a time. Morrell proves to be a steady hand with the brushes.

Dave Brubeck brought Frank Churchill and Larry Morey’s “Someday My Prince Will Come” from Snow White and the Seven Dwarves into the jazz world in 1957. The trio starts to play it as the familiar waltz, but it quickly opens up into a boundless excursion for all three to take the lead. Evans piano lines run gleefully all over, yet never out of control. Gomez plays bursts of notes of varying lengths that sneakily return to the theme. Morrell is given numerous moments to solo, growing in duration each time the rest of the band gives way. All together they return to the familiar strains of “Someday.”

In that same year on February 20, 1970 the trio were filmed in color for an appearance on the Swedish program Night Moods. For 29 minutes, they play six songs in a club before a small crowd. Images of a city at night are edited throughout the performance.

A cover of Thelonius Monk’s “‘Round Midnight” is an interesting contrast from the composer’s because they play quite differently. Evans floats along harmoniously compared to Monk’s harsh striking of the keys. Gomez playing really shines and plunks and slides his fingers across the strings. At this point through the disc, I am curious to learn more about Gomez.

Another version of “Someday My Prince Will Come” allows the listener the only chance to compare performances. The theme makes brief appearances throughout rather than just bookending the number like the previous performance. The camera work leaves something to be desired. Don’t get to see much of Evans hands playing and this cameraman is also too close to see Gomez’ work during the time he takes the lead. When Morrell takes charge, the editing speeds up to match his pace.

Harold Arlen and Truman Capote’s “Sleepin' Bee” is an odd title because the majority of the music bares no reflection as the band plays along at a good clip. Being paired with footage of an active nightlife where sidewalks are filled with passersby doesn’t help, either. Gomez’ solo comes the closest to creating the lazy buzzing I would expect.

The last segment is from Denmark 1975 entitled Bill Evans in Louisiana and it runs as long as the previous one. Evans looks much different. His hair is longer, he wears a beard, and his gray suit and tie have given way to a bright red blazer and a red shirt with an open collar. The band is set up in a recording studio. Gomez is still around, but Eliot Zigmund is on drums. The video from this session is probably best in terms of sustained periods of time showing the musicians’ hands at work. Fans should be thrilled because for the first time available on home video are rare performances of “Sareen Jurer,” “Blue Serge,” and “Twelve Tone Tune Two.”

Earl Zindars’ “Sareen Jurer” opens the set. Evans creates a wonderful melody as Gomez skips along on the bass. Zigmund links the two with the pace of the rhythm he keeps. When Gomez takes the lead, he can be faintly heard mumbling to himself, which he does throughout the set.

Duke Ellington wrote “Blue Serge” for his orchestra and featured a number of horn solos, but you wouldn’t know any instrument was missing from the Trio’s performance of it. Jimmy Van Heusen & Johnny Burke’s “But Beautiful” is a lovely ballad and features a good visual sequence of the entire trio playing. They close out with Evans’ “Twelve Tone Tune Two,” which finds the band stretching out in places like no other time in this collection. Their solos have less structure as if they are improvising on the spot.

Bill Evans - Live ’64-’75 is a great set both for Evans fans and those looking for an entrance into world of jazz.

Nina Simone: Live in ’65 & ’68

In its third wave of DVDs Jazz Icons presents Nina Simone from two different European television performances. The Holland 1965 session runs about 40 minutes and the England 1968 session runs about 23. In both she delivers personal, powerful performances that made her such a unique performer.

The Holland session opens with Oscar Brown Jr.’s “Brown Baby.” Simone is at the piano and Lisle Atkinson accompanies on bass. He plays so subtly underneath it is barely detectable. The lyrics reveal a mother’s wishes for her a little girl, “you’re gonna have things that I never had.” It’s especially poignant coming from an African American woman in 1965 as civil rights were still being fought for back home in the United States. The anguish on Nina’s face punctuates the song.

Simone’s “Four Women” has four different African-American women, each a different color, briefly tell their story. Aunt Sarah is black and has suffered long from racism, a pain that’s “been inflicted again and again and again.” Saffronia is yellow due to being biracial; her conception is marked by racism as she reveals “My father was rich and white/ He forced my mother late one night.” Sweet Thing, not likely her name, is tan and works as a prostitute. On the bridge, Simone strikes the keys harder and continues into the next verse, singing in a rougher voice. Peaches is brown and “awfully bitter these days/ because my parents were slaves.” Her rage against what she and her people have suffered is understandable and tragic if the previous women are all the archetypes she has. No wonder she’ll “kill the first mother I see.”

Simone covers Bob Dylan’s “The Ballad of Hollis Brown.” She changes the order of the lyrics of a brutal story about a man who suffers so much ill fortune that the only solution he sees for himself and his family is “the shotgun/ That's hangin’ on the wall.” Nina moves around on the piano bench like she’s riding horseback, sharing this tale of woe across the countryside.

Another highlight from Holland is “Mississippi Goddamn,” her response to events in the Civil Rights movement like the murder of Medgar Evers and the bombing of a church in Birmingham, Alabama where four black children were killed. She rejects the notion of having to go slow to gain acceptance and “equality/ for my sister my brother my people and me” from whites, and who could argue. The music is played like an upbeat jazzy show tune in contrast to the subject matter, but the juxtaposition doesn’t offset the emotion or power.

The England 1968 session for or Granada TV runs about 24 minutes. Simone opens with Morris Bailey’s “Go To Hell,” but the effect of her warning is blunted by how glorious she makes the song sound. “Ain’t Got No / I Got Life” is from the Broadway musical “Hair.” She details what she doesn’t have but then joyfully affirms what is important in life with her list of what she has got. Simone wrote “Backlash Blues” with Langston Hughes and plays it with a slow, funky rhythm as she calls out Mr. Backlash for thinking “that alla colored people/ Are just second class fools” and don’t understand they are being given “second-class houses/ And second class schools.”

Simone changes into an African dress and headscarf. She plays two abridged covers, coming in under two minutes. First, Screamin’ Jay Hawkins’ “I Put A Spell On You” and then Tin Pan Alley writer Bennie Benjamin’s “Don’t Let Me Be Misunderstood.” Simone mentions that The Animals had a hit with the latter, which came out a year after she recorded it. Her version is soft and subdued. She closes out the set with the gut-wrenching “Why? (The King of Love Is Dead)” written by her bassist Gene Taylor after Martin Luther King, Jr.’s assassination. The music plays like a gospel number as she wonders whether King died for something or in vein. In 1968 that had to be a question not only every African American pondered, but every decent person.

Nina Simone – Live in ’65 & ’68 is a great showcase of her talents because her songs and performances tell a greater story about the African-American experience, yet she makes it accessible to anyone willing to listen. Simone has that special gift to make music transcendent. This DVD is well worth checking out.

Willie Nelson & Wynton Marsalis: Two Men With The Blues

Every other 2008 album released, from those already out to those awaiting a future Tuesday, are officially put on notice that Two Men With The Blues is in the running for the best of the year. Sure, it’s not an even playing field since it features Willie Nelson and Wynton Marsalis, two of the greatest musicians in their field brought together by their shared love of blues and jazz standards, but no one said life was fair.

Over two nights in January 2007, Jazz at Lincoln Center presented an amazing evening of music entitled “Willie Nelson Sings the Blues.” Nelson brought along harmonica player Mickey Raphael to join Marsalis and his quartet: pianist Dan Nimmer, bassist Carlos Henriquez, drummer Ali Jackson, and saxophonist Walter Blanding. Those of us who were not lucky enough to get into The Allen Room can now bask in the magic.

The disc opens with Jimmy Reed’s “Bright Lights Big City,” a perfect choice for the former Abbott, Texas resident as he plays the Big City. Raphael and Marsalis trade solos, each capturing elements of the story. Marsalis explains, “Mickey is the sound of the train…and we’re like the car horns.” After they trade leads on the bridge, the sax takes a turn. Then the piano steps out from the rhythm section before coming around to Nelson’s guitar, bringing the story full circle.

Aside from blues and jazz standards, Nelson fans will recognize new takes on his songs. An outstanding rendition of “Night Life” shows that regardless of the fact it’s known as a country song, the lyrics reveal a blues song at its core. Marsalis’ trumpet rings out so sweetly in the intro, and then blows a powerful muted wail as Nelson suggests you “listen to the blues there playing.” The sax then comes in all silky and sultry. As Nelson plays the guitar on the bridge, the seamless blending with the rhythm section makes you wonder why he hasn’t always fronted a jazz band.

Nelson revisits a couple of Hoagy Carmichael numbers from his Stardust album, the title track and “Georgia On My Mind.” The tinkling piano, the brushes on the drums, and the restrained horns create a dreamy, moonlit rendition of “Stardust,” carrying the listener away on a cloud. On the bridge Marsalis comes to the forefront; his horn sounds so beautiful you want to grab your girl and dance the night away. On “Georgia,” Marsalis’ muted trumpet is very poignant, sounding like the narrator’s yearning to return back to his love.

In between these songs, we leave the big city to head south down the Mississippi to “take a trip/ to the land of dreams/floating down the river/ down to New Orleans” on “Basin Street Blues.” The harmonica and trumpet call and respond. After the rest the band completes the bridge, Willie asks, “Aren’t you glad you came with me?” to which the audience responds enthusiastically.

Clarenece Williams’ “My Bucket’s Got A Hole In It” and Grainger Porter’s “Ain’t Nobody’s Business” find Marsalis contributing vocals. He’s portrays the bartender who turns away Nelson and his bucket in the former. The song is also notable because Jackson gets his first drum solo. In terms of the latter, Nelson opens this slow blues and he and Marsalis trade solos. As Marsalis sings Willie’s offers playful asides underneath. They close out the disc with a rousing version of Merle Travis’ “That’s All.” The background vocals and the clapping audience give it a gospel feel.

Thankfully, that’s not all for these two men as they are playing occasional dates across the country and in September the DVD of their concert at Lincoln Center will be released. Their version of “Down by The Riverside” is available as a bonus track on iTunes, which I have mixed feelings about. I am glad there's more material, but since the CD is less than 54 minutes, there was plenty of room to include it.

Trailer for the DVD:

Putumayo World Music Spotlight on Louisiana

Since 1993 Putumayo World Music has been functioning as an international goodwill ambassador, introducing listeners to musical genres from around the world like a modern-day Alan Lomax. The region of the United States that has received the most coverage by them is the state of Louisiana, which has a number of great musical traditions.

In 2000, they released Zydeco. Jude Taylor, who appears with His Burning Flames on the instrumental “Burin’ Flames Special,” describes zydeco music that originated from the French-speaking Creoles as good as anyone when he says it’s “a little jazz, a little blues, a little rock ‘n’ roll, Cajun, all mixed up.” It’s peppy and upbeat, and for those not from the area, the sounds are both unique and familiar. It features the accordion and the rubboard or frottoir.

This album is a compilation of 13 tracks by legends and torchbearers, which is exemplified by current stars Keith Frank and the Soileau Zydeco Band as they cover “Co Fa,” a song recorded in 1929 by the first Creole star Amede Ardoin. Frank updates the sound by giving it a reggae beat.

The album is anchored by a four-song block by giants of the genre. The former king, Clifton Chenier and the Red Hot Louisiana Band deliver “Calinda” a wonderful toe-tapper that he sings in Creole French. Blues guitarist Elvin Bishop joins him for the track from 1973. Chenier left an indelible mark on zydeco by designing the first vest rubboard.

Queen Ida, the first female to lead a zydeco band and the first zydeco artist to win a Grammy under Best Ethnic or Traditional Folk Recording, covers the Fats Domino hit “My Girl Josephine.” She changes the lyrics to tell a slightly different story. Buckwheat Zydeco, the first zydeco to sign with a major label, used to play organ in Chenier’s band. Here, he shows the accordion’s versatility by giving the blues treatment to Chenier’s “I’m on the Wonder.” A contemporary of Chenier, Boozoo Chavis & the Majic Sounds play “Lula Lula Don’t You Go To Bingo,” a funny warning about losing “your money” and “your honey.”

The album closes with two artists putting their spin on covers. Joe K K and Zydeco Force mine the same material from which Muddy Waters created “Hoochie Coochie Man” and Chris Ardoin, a descendant of Amede, & Double Cluthin’ segue into Musical Youth’s pop-reggae hit “Pass the Dutchie.”

New Orleans from 2005 provides a similar mix of talent to honor the Crescent City. Kermit Ruffins, who helped spark the brass-band revival in the ‘80s, opens with “Drop Me Off in New Orleans,” a love song that captures the senses of the city with his brassy horn ringing out, singing about red beans and mustard greens.

If there was only one musician picked to represent the city, it would have to be Louis Armstrong. His selection is taken from near the end of his career, a 1966 recording of “Tin Roof Blues” where is gruff, raspy vocal is contrasted by the slow, sweet sound of his horn.

The generation gap is bridged with artists joining forces on the album. In 1997 Doc Cheatham and Nicholas Payton deliver a wonderful version of “I Gotta Right to Sing the Blues.” Cheatham sings, and their trumpets, Cheatham’s muted, dance together in unison. At Preservation Hall traditional New Orleans jazz is kept alive, and the Preservation Hall Hot 4 joins a former mainstay of the place, Duke Dejan, for “Wrap Your Troubles in Dreams,” a song made all the more pleasant by the vocal stylings of someone who sounds like Harry Connick Jr.

With Spencer Williams’ 1928 “Basin Street Blues” the listener gets to hear what artists can do with material as two very different, but two very good versions appear: Louis Prima’s swinging big-band version with the sax and his trumpet taking turns on the lead and Dr. John’s piano-led, slow rambling jaunt that features the clarinet. For some reason Prima’s version is faded out early rather than being allowed to come to its end.

This album closes out with a couple of numbers by Dr. Michael White that capture the feel of a parade, a city tradition. “Give It Up (Gypsy Second Line)” starts with his clarinet and then the rest of the band join in with a marching beat. Midway through, the drums take the lead and the band makes a triumphant return. On “Bye Bye/Saints” Gregg Stafford joins the doctor a combo of two traditional numbers including the city’s unofficial anthem, “When the Saints Go Marchin’ In,” which is regularly played at jazz funerals.

New Orleans’ liner notes include resource information about the city and chef Paul Prudhomme’s Seafood Gumbo recipe.

2006’s New Orleans Playground is on the Putumayo Kids label and delivers a quick 30-minute set. It features a number of songs that were rhythm-and-blues hits from the ‘50s and ‘60s by New Orleans artists. Lee Dorsey “Ya Ya,” Chris Kenner “I Like it Like That,” and Fats Domino “Whole Lotta Lovin” are all very familiar hits for fans of oldies radio stations.

The kids should get a kick out of silly songs like Clarence “Frogman” Henry’s unusual vocals on “Ain’t Got No Home,” all the animals talking on The Meters’ “They All Ask’d for You,” and Kermit Ruffins trying to get the kids who only want to eat sweets to eat right on “Breakfast, Lunch & Dinner”

The kids get a sample of zydeco with Clifton Chenier’s “Choo Choo Ch’Boogie” and its driving beat and Buckwheat Zydeco’s “Skip to My Blues,” a take on the “Skip to My Lou.” They also get to hear some New Orleans sounds as Charmaine Neville calls people out to the “Second Line,” and Hack Bartholomew leads the way on his version of “When the Saints....”

New Orleans Brass from 2007 celebrates horn players with more of a focus on modern-day players as they carry on the tradition. It opens with James and Troy Andrews’ “Bourbon Street Parade.” They trade leads on trumpet and trombone, there’s scat singing, and then it closes with a big finish by the band known as a “ride-out ending.” The Yockamo All-Stars’ “Blow Blow Tenor” lets the spotlight shine on the rich, heavy sound of the sax that was a mainstay of ‘50s rock ‘n’ roll.

Leroy Jones covers “Whoopin’ Blues,” a King Oliver tune. The drum drives the rhythm and the tuba adds great breadth to the song. John Butte covers the traditional spiritual “I’ll Fly Away” with the horns propelling his spirit. Glen Andrews & The Lazy Six play the gospel number “Over In The Gloryland.” His trombone takes the lead, and maybe it’s because the instrument has gotten such little attention on the album, but the bass really stands out as it lays down some mean licks during its solo. Bob French’s Original Tuxedo Jazz Band do a fantastic job giving the jazz funeral treatment to the classic “St. James Infirmary Blues” with trumpeter Leon “Kid Chocolate” Brown on vocals.

The previous generation gets a moment in the spotlight as The Dirty Dozen Brass Band with Dr. John play “It’s All Over Now.” Written by Bobby and Shirley Womack, it became The Rolling Stones first number-one hit in the UK. Rather than being sad the relationship is over, the music is joyous and triumphant as the narrator has moved on.

Frequent Putumayo contributor Kermit Ruffins delivers a great party tune with “Treme Second Line (Blow Da Whistle)” that calls everyone out into the streets to march in the parade. Then The Dukes Of Dixieland close it down with the ubiquitous “Saints (Street Beat).” The CD includes a video for “Do they Play Jazz in Heaven” by Ingrid Lucia, Irvin Mayfield and The New Orleans Jazz Orchestra.

For those who can’t make the trip and need to bring Louisiana home to them, Putumayo does a very good job capturing the sounds of the region with the titles on their label.

JUMPIN' & JIVIN'
Volume 1

Jazz fans that love to get their swing on will thoroughly enjoy Jumpin’ & Jivin’ Volume 1. The DVD features 27 filmed performances by jazz greats of the 1940s and ‘50s. The collections features short subjects, excerpts from film and television, and “soundies,” which were shorts films that played on Panoram visual jukeboxes. These clips are the ancestors of music videos.

The impressive lineup begins with Cab Calloway’s classic “Minnie the Moocher.” He and his band return later with “Blues in the Night.” Louis Jordan and his Tympany Five perform three numbers, which were originally part of a short subject called “Caledonia.” For “Tillie,” the band is inexplicably dressed like clowns. Tying Jordan for most appearances on this disc is Fats Waller three appearances: “Your Feet’s Too Big,” “Honeysuckle Rose,” and “Ain’t Misbehavin’,” the latter which finds Waller joined by an unknown female, who shoos away other girls from Waller and then makes the song a duet.

The makers of “Take Me Back Baby” by Count Basie Orchestra with Jimmy Rushing get creative with their piece. Beyond playing the number, there’s a funny sequence as Rushing falls asleep on the bandstand, dreaming about getting his girl back. As a singing quartet, Delta Rhythm Boys have a much easier time capitalizing on the medium of film by using costumes and sets. They appear to sing Duke Ellington’s “Take the “A” Train” on a subway car. Lena Horne, the only featured female of the roster, sings “Unlucky Woman” with the Teddy Wilson Orchestra. Her clip, part of short subject “Boogie Woogie Dream” made the best use of film with its double-exposed sequence.

The big names just keep on coming. Dizzy Gillespie and his Orchestra performs “Oop Bop Sh Bam” taken from the film Jivin’ in Be-Bop. In the liner notes, Milt Jackson is credited on vibes, but there was no one on screen playing vibes. Billy Eckstine sings the title track from the film Rhythtm in a Riff. Art Blakey backed him on drums.

Three performances were recorded in the early ’50s for some new fangled thing called television. Lionel Hampton delivers “Ding Dong Baby,” with Quincy Jones on second trumpet, and “Airmail Special.” Ellington and his Orchestra perform the instrumental “Sophisticated Lady,” demonstrating that it doesn’t have to be played fast for a song to swing.

Artie Shaw closes out the DVD with “Class in Swing,” a nine-minute short subject by Paramount from 1939 that claims to “show you what swing is all about.” The elements of the band are explained as they play “Hold Your Hats.” They are joined by singer Helen Forrest for “I Have Eyes,” and then perform “Shoot the Likker to Me, John Boy.”

Other performers on this collection include Teddy Powell, Gene Krupa, Anita O’Day, Roy Eldridge, The Treniers, Will Bradley, Al Donahue, Ralph Flanagan, Pete Johnson and Albert Ammons.

Unfortunately, this rare footage hasn’t been taken care of well. Scratches and dirt can be seen on some prints. The sound quality on “Ain’t Misbehavin’” is poor, and a couple of the clips have the audio out of sync. Through no fault of the product, there is also a reminder of America’s racial past. It’s extremely rare that the musicians mixed, and the audiences gathered to listen and dance didn’t. However, none of these issues affect the pleasure of the music.

Jumpin’ & Jivin’ Volume 1 is a great collection, working well for both the individual viewer as well as playing during a party. I’m all ready for Volume 2.

Charlie Mingus
TIJUANA MOODS

Recorded in 1957, Tijuana Moods was initially released five years later in 1962. It was written during a very blue period in Mingus’ life. He was separated from his wife Celia, so he made his first trip to Tijuana, Baja California with Dannie Richmond in hopes of forgetting her. It didn’t work, but ever the artist Mingus “decided to benefit musically” by recreating his border town experiences.

“Dizzy Moods” was influenced by Gillespie’s “Woody ‘n’ You,” sketched out on the drive down. The horns have a full, warm sound, a perfect match for heading southbound on the freeway during the late afternoon as the sun begins its descent into the Pacific. The windows are down, and the summer air feels good on your skin.

Walking the streets of Tijuana, the castanets and female vocals call out. Enter a dimly lit club, cervezas y tequila are brought to the table, and witness “Ysabel’s Table Dance.” Mingus explains, “spots in the music played by the piano represent the scantily clad woman spinning from table to table.” The Latin influences disappear about four minutes in. The jazz swings behind Shafi Hadi’s sax. These are sounds of home, the big city. Mingus still remembers what he wants to forget. The sax somberly solos and the bass returns the Latin rhythms underneath, before the number swings again. Ysabel returns to the forefront, dancing up a storm. Mingus’ thoughts continue drifting back and forth, home and here.

While the music is very good and enjoyable, I don’t get what Mingus was going for in “Tijuana Gift Shop.” I have been in them, but don’t hear the connection. It’s a brief visit before we are back on the streets and encountering “Los Mariachis,” street musicians who entertain the tourists. They play different music for different people, hoping to pick the correct song that will maximize their tips. For Mingus, it keeps coming back to the blues this evening. He can be occasionally heard shouting about his woman in the background.

Anderson & Grouya’s “Flamingo” returns Mingus to the city. The striking of the triangle announces a new day dawning, but are you ready to face it. A battle takes place: the grogginess combined from drinking to repair a heart and a night’s slumber against the slow-brightening sky alongside the city’s hustle and bustle. The song’s end reveals the winner.

Recorded during these sessions is the bonus track “A Colloquial Dream (Scenes In The City),” previously issued on the 2001 version of this album. Lonnie Elder recites this wild, Beat poem put to jazz music about a love for jazz music. Even though times get rough with the landlady looking for the rent and everything being hock, the love of jazz keeps the narrator going. Bird, Miles, and Monk make it into the dream. The song doesn’t fit the album’s Tijuana mood, but it’s a cool piece nonetheless.

In the liner notes, Mingus wrote, “[Tijuana Moods] is the best record I ever made,” and “I believe this record includes performances by some of the greatest musicians I have ever worked with.” Far be it from me to argue with the man. It’s a great album no matter what your mood.

BRANFORD MARSALIS QUARTET
Vault 350, Long Beach, CA - 1/27/07 Late Show

Formally a 1920’s bank, Vault 350 is a very nice club in downtown Long Beach on Pine Avenue. Right before the stage, there is a dance floor, then three rows of tall tables and stools wrapped around the room. On the back wall is a bar. Upstairs in the mezzanine, there are booths where you could order dinner, but I don’t know how you could focus on the performance while eating.

On tour in support of their brilliant album, Braggtown, The Branford Marsalis Quartet performed two shows that evening. They got a late start for the 8pm show, so rather than have us congregate in the small alcove out front, a group of us were taken around back and up to taken to the VIP room above the mezzanine, a small lounge containing a bar couches and tables. I didn’t feel very important, but you could see the band playing. When they cleared the place out and released us, it was a mad dash down the stairs for the general admission tables. I commandeered a table that had yet to be cleared, dead center, three tables back.

Marsalis came out and got a big hand. He told the audience he was uncertain where the rest of the fellows were. He got a laugh, but the joke was true as we waited for a few moments before finally starting at a quarter to eleven.

The band was arranged on stage in a tight square, a formation ready for battle. Marsalis out front at the point. Pianist Joey Calderazzo and drummer Jeff “Tain” Watts were stage right and stage left respectively, and slightly back a couple paces. Back that same distance from them and directly behind Marsalis was bassist Eric Revis, so for those of us in the center, Marsalis obscured him.

They shot right out of the gate with the big, brash “Blakzilla,” drummer Watts’ nod to the Akira Ifukube’s score to Godzilla (1953). His thunderous drums and the bass were the main focal point of the song. They launched ahead, driving, pushing each other. They didn’t make eye contact, just kept moving forward. Watts appeared to be a wild man, but his hard chaotic strokes had purpose.

They switched gears seamlessly into “Fate,” a Marsalis ballad he led with a sweet-sounding alto sax. It was amazing that the band was able to seemingly flip a switch, turning off all their power and energy, and play with such quiet restraint.

Marsalis switched back to tenor sax, and they followed with an upbeat number. After finishing his opening piece, Marsalis stepped aside briefly, as he did throughout the entire night when he wasn’t playing, sitting on a stool behind Revis, enjoying himself and the music as the band’s #1 fan. It is a testament to the men’s talent, the importance of the music, and Marsalis’ ego that he can give up the center stage so easily. When saying, “Branford Marsalis Quartet,” it is apparent that the emphasis should be on the word “quartet.”

When he stepped back in, it was for a duet with the bass. The drums joined in, and Marsalis retired again. Revis took the lead and sounded fantastic. Sitting so close, you got to see that he was making sounds with his mouth that he was creating on the bass. The quartet resumed, giving way for a brilliant Watts solo, then continued. Marsalis closed out the number.

The next song opened with a bass solo. Watts came in, providing soft cymbal flourishes. Marsalis, who alternated back to alto, and Calderazzo joined in. Marsalis stepped away again and Calderazzo took the lead.

The Branford Marsalis Quartet created an outstanding night of jazz. The music is as impressive to hear as it is to watch them create it. Each piece lasted about 15 minutes, so the entire set, including the encore, ran a little over an hour. That it ended was the only disappointment.

Photos of the performance can be found at the Vault 350 website under Galleries.

They go on tour in Europe for the month of March and then to the United States. The dates are listed at Marsalis’ website.