Lou Blackburn on the Trombone

Lou Blackburn is a revelation. If you're going to download one album from iTunes this holiday season, may I suggest Lou Blackburn's "The Complete Imperial Sessions" which features the trombonist in partnership with trumpeter Preddie Hill. Never heard of either man? That's okay. He is newish to me too but don't let his lack of fame disuade you.

This is some killer music will be a perfect soundtrack to your holiday cocktail parties.

I know that by now you trust my judgement and are likely already downloading this album, but to alleviate any doubts, or to entertain you while the download continues, have a listen to Perception. That's a great groove isn't it? That's hard bop at its finest.

Regrets, Milt

I told you it would happen. I love 'Bag's Opus' but lately I have been listening to 'Bags and Trane', which is an incredible album Milt recorded with John Coltrane and an all-star line-up in 1959. Perhaps I should have named it the #7 album that all humans should own. Shall we call it #7.5?

two of the greatest

Have a listen to the title track and as soon as you hear the great Hank Jones play that opening riff you know you are in for something special. Milt and John have a great repoir. My man Paul Chambers plays some great bass as well and Kenny Clarke is great on drums, as he always is.

This really is a stellar disc and I can't recommend it highly enough. It was recorded the year before Coltrane released his seminal 'Giant Steps' and began to create one of the great bodies of work in modern jazz.

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!

Who Doesn't Love a Bargain?

amazing amazing amazing

My wife likes to tease me about liking second hand shops and that doing so is a Ponka family tradition. I don't deny it - I admit to a thrill upon finding those gems that you occassionally discover. I especially love used book stores and I am still thrilled that I got the three volume set of Paul Metcalf's Collected Works in hardcover for $45 during a recent trip to Minneapolis. I am reading his Genoa with awe.

My love of a bargain goes for music too. Friends, you know I am willing to drop $100+ dollars on a Mosaic box set (the Charles Mingus set ships in three weeks! I can't wait!) but there are amazing deals for the bargain hunter to be had out there. Last night I was browsing through iTunes and came across a new series of music anthologies called 100 Original Tracks which has, you guessed it, 100 songs by a particular artist. I was excited to see that they had a jazz collection by Quincy Jones. I have one of his albums - This Is How I feel About Jazz (1957) - which is great stuff and features a who's who of jazz superstars including the great Charles Mingus, Art Farmer, my man Paul Chambers, Milt Jackson and Lucky Thompson. (Have a listen to "Sermonette" and I challenge you tell me you don't love it...) I wanted to hear more of his music, so you can understand why I was excited to find a collection that had so much of it. The kicker? The set only cost $6.99! I know! Crazy, right? That's less that 7 cents per song! How could I not buy it? I cleared a gig of space from my iPhone and downloaded it on the spot.



serious value for money...

The downside of sets like this is that there are no liner notes so it is impossible to know what musicians are playing on each track (why doesn't iTunes provide liner notes??) but for the price you truly can't go wrong. I think the set is worth it for the live version of Oliver Nelson's "Stolen Moments" that features some killer trumpet work by Freddie Hubbard.  (Without liner notes, I only know it's him beacuse Quincy introduces him by name... I can recognize some players by their sound alone, but not in this case.) Freddie played on the original recording with Oliver Nelson's killer band, but to be honest, I prefer his playing on this track. Perhaps it is the live setting that has him playing with such intensity...

There are some other fine sets in this line so if you have $20 to spare, you could pick up a few hundred tracks of amazing jazz. Enjoy!

Elmo and The Fox

love the cover design

Birthdays may be increasingly difficult to endure as one grows older - you know I speak the truth - but it does afford one the opportunity to ask for new jazz as a gift. Helping to lessen the blow from Time was Harold Land's The Fox (1959).

I have been somewhat familiar with Harold Land, mostly from the quartet he shared with Carmell Jones, but I'm not sure I truly heard him until this album. What drew me to this disc was the piano player: the great Elmo Jones (who fit that jazz stereotype of not receiving the acclaim he deserved during his lifetime) who was a marvellously inventive pianist who had great melodic skills who isn't afraid of dissonance when the mood should strike him (a touch of Thelonius in his playing...) and while I adore his trio recordings, I was eagerly anticipating listening to him playing in a quintet setting.



plaintive Elmo

Have a listen to the title track and you'll instantly understand why a fan of Elmo Hope would be drawn to The Fox. The rest of the band is delightful and wasn't that a great discovery on a birthday? There is always new jazz to discover and doesn't that make the world a better place? The band may not have names that you are familiar with, but they are worth a listen:

Harold Land: saxophone

Dupree Bolton: trumpet

Elmo Hope: piano

Herbie Lewis: bass

Frank Butler: drums

Dupree Bolton plays with fire. It is a shame that he had such drug problems as it would have been nice to hear more recordings from him. How many great jazz albums were never recorded due to musicians being locked away in prison or sanitariums due to drugs?




the great and obscure Dupree Bolton

Most of the players often worked with Curtis Counce, (who was a bass master that we haven't spoken of before, but we should! After all, one of his album titles is a classic: "You Get More Bounce With Curtis Counce" which also features Jack Sheldon, another all time favourite, on trumpet) who was part of that great West Coast scene of the late 1950s along with Gerry Mulligan, Shorty Rogers, Chet Baker, Bud Shank, Bob Cooper, Jimmy Giuffre and Bob Brookmeyer.

I highly recommend this album for those of you who like exciting uptempo jazz played by a top notch band. Enjoy!

Salt Peanuts, Salt Peanuts

At this time we would like to play a tune - it was composed by my worthy constituent, Mr. Dizzy Gillespie, in the year of 1942 - we sincerely hope you do enjoy, Salt Peanuts.
(introduction by Charles Mingus)
 

That day in Toronto, May 15, 1953, when an all-star line-up recorded  one of the great live albums in jazz: Jazz at Massey Hall; an album released by Charles Mingus and Max Roach  on their Debut label.

Though the audio quality is far from perfect, the lineup is incredible. I wonder if you could come up with five greater players; each one was so famous, that they have become jazz icons. Such a discussion: the best quintet's imaginable! It would be a delightful conversation for us to have over coffee. Or perhaps wine if you are free one evening. I had a chianti last night that was out of this world. You'd prefer Scotch? Not a problem. I have a lovely 15-year-old. But for now let's focus on the band that blew the roof off of a half-empty Massey Hall on the same night Rocky Marciano knocked out Jersy Joe Walcott:

Charlie Parker: alto saxophone
Dizzy Gillespie: trumpet
Bud Powell: piano
Charles Mingus: bass
Max Roach: drums



suddenly in walked Bud, and then they got into something

From Max Roach's opening were he plays the melodic line on the drums before being joined by the rest of the band, you know this is going to be a killer track. First you are startled by Charlie Parker's solo, he sounds electrified and Dizzy shouting 'Salt peanuts! Salt peanuts!' to the  hall (where I have seen so many great shows) only adds to the intensity and you think "Who can top Bird?" Then Dizzy starts to blow and he matches Parker's skill, energy and ingenuity. Then comes Bud Powell, who had recently been released from a mental hospital and was in such rough shape that he had to be helped to the piano, and I challenge you to find Powell play any better. If you were to say that Powell, on that night at least, got the better of his bebop colleagues, I would have a difficult time arguing against you.

I listened to that song earlier, as I was enjoying this unseasonably warm autumn day, and I know I will be listening to it again in a few hours once I finish my afternoon appointments.

Until soon, my friend, when we shall discuss important issues like life and the greatest quintet.

Still Dizzy after all these years...

I have still been listening to a lot of Dizzy Gillespie but this time I am able to share the track with you. This song, 'My Heart Belongs To Daddy' is a jazz standard written by Cole Porter and has been recorded roughly 1,000,000 times (a slight exageration perhaps...) and though I have many fine versions of it, this one by Dizzy's band from 1959 is my favourite - or at least my current favourite.

This band doesn't have a cast of heavyweights, other than Sam Jones on bass, but don't let that fool you into thinking that this track is anything less than stellar. Les Spann plays some great guitar, which is all the more impressive since he was primarily a flautist! Another example proving that jazz musicians are in a class of their own. The combination of Dizzy's trumpet and Les' flute is wonderful on other tracks on the album so it may be worth tracking it down. You won't be disappointed.

One day in 1957 Dizzy, Benny & Gigi walk into a studio in NYC...

jazz riches!

I am fortunate enough to be the proud owner of the Mosaic Records boxset "Verve/Philips Dizzy Gillespie Small Group Sessions." I have been listening to it a great deal lately (as you would too!) and one session (of the 15 included in this set!!) that has recently captured me was recorded in 1957 and released as "The Greatest Trumpet of Them All" (and the case that he is the greatest could certainly be made: listen to this or this and the list could go on!).

Like many of the greatest recordings in jazz, it's the band that makes all the difference. Dizzy was always a fine player and one of those players who rarely put out a weak record. For this one, he not only pulled in two of the finest young sax players of the era, but also got them to arrange the eight tracks. Benny Golson on tenor and Gigi Gryce on alto. These men not only play amazing horns, but have that octet playing masterfully.  The arrangements are stellar and show the talents that these two men would continue to display.

an underrated album

Even if you don't want to shell out the $119 for the complete set (or download it from iTunes for $70) , I encourage you to track down this album and enjoy!

Johnny Smith on Guitar

The Intense Mr. Smith

My three year old daughter has had trouble sleeping lately so last night I told her I would put some music playing in her room. I decided on 'The Best of Wynton Kelly' (which is available cheap on iTunes and holds boundless riches).

'I don't like this jazz, daddy,' she tells me. What?? I love Wynton Kelly but perhaps he's not for everyone. I would have tried to convince her of Wynton's many merits, but debating the finer points of jazz with a child is a fruitless task.

Instead I put on one of the great jazz albums of all time: 'Walk, Don't Run' (1954) by Johnny Smith.

Mr. Smith has one of the most instantly recognizable sounds in jazz. If you are a fan of his music (which all of you should be) it only takes a few bars of his superlative playing for you to know to whom that clean smooth tone belongs.

The title track became a hit for The Ventures and it was one of the first songs to usher in the surfer sound in the 60s. It makes one wonder if there would have been a Beach Boys without Johnny Smith...

My daughter loved this gorgeous album and I'm sure you will too. All of his albums are worth seeking out. Enjoy, 'Walk, Don't Run' my friends; a perfect song to fall asleep to, or to drive to work to, or to do just about anything to. It's hard to not love Johnny Smith.

The Art of the Trio - Barney Kessel

I've written a fair deal about how I have recently been enjoying the jazz trio and the vast variety of sounds that can be produced, and that isn't just with the piano at the centre; the guitar trio also offers delights.

I have been loving Barney Kessel lately and this amazing song 'Crisis' is not only a great example of Barney's swinging style, but, like the Bill Evans Trio, shows how large a role the drummer and bassist play in the song. This isn't just Barney saying 'Listen to me! Aren't I amazing??' since from those opening moments of Shelly Manne and Ray Brown (both giants in their own right) laying down a captivating beat, you are aware that this group is a strong and cohesive unit.

I know you will enjoy this one my friends!

Ladies and gentlemen, Ray Crawford

you don't get much cooler than this

I am new to the music of Ray Crawford, and friends, I wish he recorded more. His incredible album Smooth Groove has been in constant rotation this week, making for a very groovy few days.

I am familiar with him from his recordings with the great Ahmad Jamal (he played on his earliest recordings before Vernel Fournier joined the group. I would have loved to hear what Crawford and Fournier would have done together!), but on Smooth Groove (1961) he has a bluesy feel that I can't get enough of. Have I mentioned that I wish he recorded more? Cecil Payne is a stand-out on baritone sax and the entire band is in top form.

Have a listen to the delightful "Miss April" then do yourself a favour and buy this disc immediately.  Weekend is upon us and you'd be hard pressed to find a better summer weekend soundtrack. If only he'd recorded more...

The Art of the Trio

Erroll Garner on the keys

I know you've heard me talk before about being a recent devotee to the piano trio. I am constantly amazed by the different sounds available to those three musicians. Today I was listening to one of the all-time classic jazz recordings: 'Misty' by Erroll Garner from the album 'Contrasts' (1954).

This song is such a classic that it would be easy to dismiss it, much the same way you could dismiss the Dave Brubeck Quartet's 'Take Five'. Dismiss 'Misty' at your peril! Some things are popular for a reason. It didn't hurt the legendary status of the song that Clint Eastwood made a movie called 'Play Misty For Me.'

Have a listen (and take a look) to a live version. He really did have a sound of his own. Perfect music for a blustery spring day.

Because you know how much I love to share music with you,  let's listen to the incomparable Johnny Smith's version. We need to discuss Mr. Smith some time soon!

The Piano Player in my Dreams is Named Phineas?

Though I have little acuity on the keys, when I dream I am often a gifted jazz pianist. I wake and feel certain that if I were to have a piano placed in front of me I would be able to play; that the unconscious ability would remain for at least a moment. They are vivid and joyous dreams.

the best men wear glasses

Today I realized that when I am dreaming, my piano playing sounds like that of Phineas Newborn, Jr.

Now I admit I have heard the name, and even heard some of his music but I never really heard it until today. That is, I never heard it while I was awake...

I read a great article at Jazz Profiles that prompted me to listen to his album 'Here Is Phineas' that features the great Oscar Pettiford on bass and Kenny Clarke on drums. The fact that the album is subtitled 'The Piano Artistry of Phineas Newborn Jr' should give you some idea of the breathtaking nature of the 23-year-old's recording debut. It's an incredible display of virtuosity that I can't recommend highly enough to fans of jazz piano.

Phineas, like Monk, Oscar Peterson and Art Tatum (quite the list of names to be placed with!) has a unique voice that will surely become instantly recognizable to me after a few more listens. I suspect my collection of Phineas (pronounced by him as 'Fine as' by the way) will be growing in the coming weeks. Lucky me!

I hope when I sleep tonight I will again sound like this.

What's Spinning Today

You know that I'm fond of the Modern Jazz Quartet and have written often about how they are one of my favourite bands of all time (one of many, admittedly...) but I am also a fan of vibes-master Milt Jackson's solo work.

For the most part, it is quite different from the MJQ since that band's music was largely arranged by pianist John Lewis and had a healthy dose of classical music infused into their sound. His solo work tends to be more bop oriented, which makes sense since he did hone his chops in Dizzy Gillespie's band in the '40s. It was there he first played with John Lewis.

The story goes that when the horn players took an intermission, this rhythm section would remain onstage and soon enough decided to leave Dizzy's band to explore their own sound. In 1952 Percy Heath joined the band and then three years later Connie Kay replaced Kenny 'Klook' Clark and the foursome would go on to greatness.

Even though the MJQ toured and recorded regularly, Milt Jackson also recorded under his own name with many of the biggest names in jazz including John Coltrane, Oscar Peterson and Wes Montgomery.

Milt ringing those bells

This morning I was taken by 'Sandra's Blues' from the album 'Bean Bags' (1959). (Milt Jackson's nickname was 'Bags', which in a genre full of classic nicknames such as Klook, Bird, Duke, Lady Day, this ranks as one of the worst... but what's in a name, right? At least it's not as lame as Mel Torme's nickname: The Velvet Mist...) This track features the breathy sax of Coleman Hawkins and the guitar work of a young Kenny Burrell.

A great song to begin a Friday. Enjoy!

Black Coffee in the Morning

the happy couple, pre-Playboy

On my way to the office this morning, just before I pulled off to buy a morning cup, 'Black Coffee' began to play.  This is one of my favourite standards and my preferred version is by the Stan Kenton band, arranged by Bill Holman, and while I am not typically a fan of big band music, this arrangement swings. Ann Richards never sounded better than she did on this song. She was 19 and new to Stan Kenton's band and Stan, aged 43, married her shortly after she joined the group and by all accounts, in spite of the difference in their ages, they had a perfect marriage. They had two kids together and all was going well until the sixth year of marriage for when she posed in Playboy magazine without telling him... Imagine a little something like that coming between a couple!

Ann came to a sad end, like so many in jazz, so instead let's think about her days as a drop dead gorgeous singer with one of the most popular bands in jazz. Have a listen to her and Stan play 'No Moon at All' from the album 'Two Much' they put out shortly before the marriage fell apart.

Doesn't the album title seem too perfect considering the drama that was about to befall them? Where is the Hollywood movie about their time together? Time to call my agent! I'll start writing it tonight!

I wish you would have been there driving with me this morning to hear Ann sing 'Black Coffee' so perfectly. Unfortunately, this particular version isn't available on the web, so you will instead get to enjoy Peggy Lee's fine rendition.