Woody 'n' Me

Woody's deep into it

I love Woody Shaw.

Every time someone starts going on about how Miles Davis is the one and only trumpet god (remember when Tim went on about that? The whole Dark Prince thing?) I sputter and say Louis Armstrong! Art Farmer! Lee Morgan! Charles Tolliver! And of course, Woody Shaw!

My love for Woody came from his recordings with other leaders including Hank Mobley, Horace Silver, the early 1970s incarnation of the Jazz Messengers, and especially Mal Waldron's amazing "The Seagulls of Kristiansund" (Soul Note, 1987), which I will have to write about in detail some time soon.

I love that Live at the Village Vanguard album and it marks another concert that I wish I would have attended. I wish I could have sat there and had a dry vodka martini (does the Vanguard make a decent martini?) and let myself get pulled away by the 26 minute title track.

one of my favourites

Woody's playing is fresh and modern and to my ears, his songwriting places him near the top of jazz composers.

As I write this, I'm listening to "Night Music", which was the first album by Woody that I ever owned. The track is Orange Crescent. It's a great place to start. The fact that the great Bobby Hutcherson guests on the album certainly helps. Steve Turre, who might be the best trombonist you've never heard of, also adds some melodic fire.

Woody's recordings under his own name came in the 1970s and 1980s when jazz was starting (or continuing) its decline in popularity. I think that's the only reason he isn't a legend. Well, he's a legend to me. He was consistently strong and he put out some incredible albums including "The Moontrane" (Muse, 1974), "Little Red's Fantasy" (Muse, 1976) and any of the live albums he recorded. His Columbia recordings are also musts. "Rosewood" (1978), "Stepping Stones" (1979), "Woody III" (1979) "For Sure!" (1980) and "Untitled" (1981).

This is creative, energetic, beautiful music and I urge you to sample some of the riches that he left for us.

This is quite a list of incredible music, and all the more amazing is that he put it all out there before the age of 44, when he died tragically, but let's not talk about his sad end, okay? Let's focus on the music.

Albums That All Humans Should Own #7

I have written a great deal about Milt Jackson on this site and friends, if you haven't taken this hint and tracked down some of his music, this post may compel you to do so.

Milt had a recording career that spanned more than half a century and he released (under his own name, as a member of the Modern Jazz Quartet, or as a guest artist) more than 100 albums so it is no easy task to pick one to showcase. I let Milt chose his opus for me.

'Bag's Opus' (1959) by Milt Jackson is my seventh pick of essential albums that all humans should own.

In the coming days I may realize that I should have named another of his albums here, since so much of his recorded output is wonderful. He is my favourite vibist (with Walt Dickerson, Bobby Hutcherson and Lem Winchester behind him) and he brings that bebop intensity to all his playing, even the ballads. He never hits a poor note and his tone is gorgeous on an instrument that can be a bit grating in the upper register (I'm afraid some late-career Walt Dickerson is, in my humble opinion, guilty of this).

I've mentioned several times that the band makes the recording and this album features one of the great ensembles. Check out this lineup:

Milt Jackson:  Vibraphone
Art Farmer:  Trumpet
Benny Golson:  Tenor Saxophone
Tommy Flanagan:  Piano
Paul Chambers: Bass
Connie Kay: Drums



the great Benny Golson

It doesn't get much better than that. Only Tommy Flanagan isn't a legend, but if you consider that he played on Coltrane's Giant Steps, and Kenny Burrell and John Coltrane,  along with some of Curtis Fuller's finest records and on and on, perhaps we need to look and Mr. Flanagan's place in the pantheon one of these days...

This disc also benefits from some fantastic arrangements by Benny Golson, who is one of the best in the business. Shortly after this album, he and Art Farmer would form the Jazztet, one of the greatest bands in jazz history.

Have a listen to "Whisper Not". Great stuff, isn't it? Enjoy!

Curtis Amy and The Doors

My last post about Bud Shank (who I listened to a lot this weekend, which made for a wonderful soundtrack) had me thinking about another jazz great who was prominantly featured in a 1960s rock hit.

I am not a huge Doors fan but I admit they have a handful of classic tracks. I like the fact that their drummer, John Densmore, played mostly jazz before he joined the band and he felt that The Doors retained jazz elements. This is apparent in the great track 'Touch Me' which turns into a jazz-like number at the end. That great sax solo is played by Curtis Amy. Haven't heard of him?

That's a shame since he was a fine player who never got his due (yes, another jazz cliche in action) but had a fantastic aggressive tone and was surely the finest horn player to ever come out of Houston, Texas. Aside from doing studio work (not only did he play with The Doors but was also featured on Carole King's mega-selling Tapestry album) he put out some fine albums of his own in the 1960s that are worth exploring. How about listening to 'Bobblin' which he recorded with a top-notch band that included two of my favourites that I need to talk to you about soon: Carmell Jones on trumpet and Bobby Hutherson on vibes.