Mark Eisenman: Sweet and Lovely

 Sweet and Lovely

Mark Eisenman featuring Pat Collins and Jimmy Cobb

 

 Mark Eisenman is a well known jazz pianist. He was born in New York City in 1955, but has been based in Toronto since 1972. Since that time, he has established himself as a constant on the Canadian jazz scene. In January 2003, during the International Association for Jazz Education Conference (which was being held in Toronto), a unique opportunity presented itself to Mark. Jazz legend Jimmy Cobb, the drummer who played on the Miles Davis album "Kind of Blue", was in town for the conference. Jimmy was someone for whom Mark had always had the greatest of respect for, so with the assistance of the highly regarded Toronto bassist Pat Collins, Mark and Jimmy entered a local recording studio and produced the trio album "Sweet and Lovely".  The Cornerstone Records' website describes this recording as "A genuinely rewarding performance by a trio formed, out of the blue, by a jazz pianist with a profound respect for this music and an equally accomplished skill at communicating it in the most unpretentious and heart-felt manner".  I couldn't agree more. The album contains 10 tracks altogether, including 3 originals composed by Mark. The last song is "Someday My Prince Will Come", a song that Jimmy would have performed on numerous occasions when he was part of the Mile Davis group. A thoroughly enjoyable listen. 

 

Edification - A Tribute To Ed Bickert

 

 

Edification is a release on the Canadian jazz label Cornerstone. It is a heartfelt tribute recording to one of jazz guitar's greatest exponents, and one of Canada's most renowned jazz musicians. The following musicians performed on the recording: Lorne Lofsky, Rob Piltch and Reg Schwager (on guitar), Kieran Overs, David Pitch and Neil Swainson (on bass) and Terry Clarke, Davide DiRenzo and Barry Elmes (on drums). All of the tracks are trios (guitar, bass and drums). Many, if not all of the musicians who performed on the recording had played with Ed at one time or another. Most of the songs featured on the album are well known standards that Ed was familiar with. It is noted on the Cornerstone website in the description of this recording that "Ed did not play any original compositions, his genius was the way in which he interpreted the music of others." Ed's influence on the musicians can be heard in the choice of the songs, and the way they are arranged and performed. While I adore every track, the final song, a gorgeous rendition of "Here's That Rainy Day" featuring the trio of Reg Schwager, Neil Swainson and Terry Clarke is a real standout. 

Mike McClelland Rm 210 - You'll Hear It, The Music of Bob Fenton

 As indicated in the title, this recording is a tribute to Canadian jazz musician Bob Fenton. Born in Windsor in 1925, Bob was a pianist and composer of note. He spent a great deal of time at the mecca of modern jazz, New York City during the 1950's. During that time he was able to listen to and meet with much of the amazing talent that performed in that city on a regular basis. Bob's journey eventually brought him home to Canada and he settled in Toronto. Over his career, he performed with a number of prominent jazz musicians, and also was known as an excellent accompanist, working with many singers.  In Toronto, Bob not only performed regularly but became a mentor to a number of younger musicians. 

"You'll Hear It" is a tribute to to Bob Fenton the composer, with the music being performed by a quartet of some of Toronto's finest players. All of the compositions, with one exception, were written by Bob. In preparing the review of this CD, I was able to speak with Mike Murley, who played tenor and soprano sax on the recording. The liner notes on the CD's jacket included a heartfelt tribute from Mike to Bob, wherein Mike speaks glowingly of his opportunities to partake in weekly sessions at Bob's house performing Bob's original music, something Mike told me that he was always very interested in doing. During Bob's time in New York, he was exposed to the jazz greats, and Mike that you could hear the influence of such artists as Thelonious Monk in Bob's compositions. The other players on the recording were the leader, Mike McClelland on drums, Reg Schwager on guitar and Neil Swainson on bass. When I asked about the decision to have a guitarist as opposed to a pianist, Mike indicated that Reg was a good fit for the project. After listening, I couldn't agree more. In a quartet setting like this, the guitar seems to open up more space for the rest of the band. Reg's comping is supportive, and his solos inventive. Mike said that it was actually Mr McClelland that had the idea for the project. Mike switches between the two different saxes, performing beautifully on both. The rhythm section supports the music without overwhelming the soloists, always providing propulsion and a strong sense of swing. 

The album was recorded during a single session in July 2024. It has been released on Cornerstone Records, a Canadian label. To my ears, I hear the kind of jazz that was being recorded on labels like Impulse during the 1960's. The melodies, as indicated to me during my conversation with Mr Murley, are strong. The music is vibrant and while having more modern elements, is still very listenable. As I like to say, recommended.

    

Barney Kessel Plays "Some Like It Hot" 

Barney Kessel was one of the best known American jazz guitarists during the heyday of the Los Angeles music scene. Not only was he a first call studio musician, he also had a very active performing and recording career at the same time. Between 1954 and 1959, he cut 10 albums for Contemporary, a record label that specialized in jazz and was located in Los Angeles. 

The album Barney Kessel Plays Some Like It Hot was based on the movie that was released in 1959. According to the album liner notes, the musical director of the picture urged Barney - who was in the orchestra that recorded the film's score - to record a modern jazz album of the songs used in the film. 

There were seven musicians used in the recording sessions that make up this record. Barney Kessel plays guitar, Art Pepper plays clarinet, alto and tenor sax, Joe Gordon plays trumpet, Jimmie Rowles plays piano, Jack Marshall plays rhythm guitar, Monty Budwig plays bass and Shelley Manne (who also played with Barney during he recording of the film score) plays drums. Not every track uses the septet though, there a couple of duos featuring Barney and Monty. Additionally, in the liner notes, Barney mentions that in addition to his regular guitar (a Gibson ES 350p), on this recording he also plays a six string bass guitar (not the four string version though), and a classical guitar with nylon strings. 

Barney stated in the liner notes that making the record was fun for all involved, and the arrangements were all "head arrangements" (which basically means there were no written arrangements, the musicians decided how they would perform the song while they were recording it). Although these songs were older numbers that all predated the period of the 1950's (the movie was supposed to be taking place in Prohibition-era Chicago), the musicians gave them a modern feel, with a definite bebop approach to the performances. 

Barney Kessel Plays Some Like It Hot is a record where the players perform very musical and sincere renditions of some really interesting songs. It isn't just the soundtrack, it is interpretations on these songs that are an absolute treat to listen to.  The album was recorded in two sessions; March 30 and 31, 1959 and April 3, 1959. My version is the mono version (and it sounds awesome), Contemporary M 3565.         

     Dexter Gordon - Homecoming

Live At The Village Vanguard 

"Homecoming", featuring the famous American tenor saxophonist Dexter Gordon, was recorded live at the famed New York jazz venue the Village Vanguard over the course of two evenings, December 11 and 12, 1976. The original release was a double album. Dexter had just signed with Columbia, a major American record label and this recording coincided with his return to America after over a dozen years in Europe. Dexter had supporting him the Woody Shaw-Louis Hayes group, a group he had already spent some time working with. The personnel consisted of Woody Shaw on trumpet and flugelhorn, Ronnie Matthews on pano, Stafford James on bass and Louis Hayes on drums. This was no slap-dash affair; as indicated earlier Dexter had already spent some time working with the supporting musicians, and prior to the week long engagement at the Village Vanguard (during which this album was recorded), rehearsals began. The result was an exhilarating performance, deeply steeped in the "bop" tradition of jazz. Of the eight tracks on the records (each side has two tracks), two are Dexter's compositions, two are Woody's compositions, and one was written by the pianist Ronnie Matthews. The other tracks were well known compositions suited to extended performances. The band drives hard behind the soloists, and everyone seems to recognize this is an important event (no coasting allowed). Dexter is in fine form, and seems ecstatic to be back home. According to the notes, he received a rapturous welcome as well. Good, solid, live jazz played with passion and verve.     

Lennie Tristano

New York Improvisations

 

"Jazz is not a style. To me, jazz is a feeling" - Lennie Tristano

New York Improvisations is not the product of a club date or a studio session. Rather, the album is a series of home recordings made by Lennie in his home studio over the two year period of 1955 and 56. The songs on the record had not been previously released, and so with the technical assistance of Lenny Popkin (preparation of the master) and Don Pulse (technical assistant, Columbia Recording Studio), the original tapes of Lennie Tristano playing with bassist Peter Ind and drummer Tom Weyburn were for the first time made available to the general public. The record itself is an Elektra Musician Jazz Masters Edition, released in 1983 (about 28 years after the tapes themselves were made). The listener needs to be reminded that these recordings were made by Lennie for personal consumption, and probably as teaching aids, as much of is career was focused on teaching. Therefore they don't have the polish one would expect from the studio, with abrupt endings and fades. Nevertheless, they are a valuable record of one of jazz music's most enigmatic artists.      

 

The Stan Getz Quartet 

Pure Getz

"Pure Getz" is (by my admittedly dubious counting skills) the 90th recording by Stan as either a leader or co-leader. This is by any standard an incredible legacy, and there were more to come. Stan made this recording around the time he turned 55. Although older, none of his skills had diminished; in fact the 1980's would be a decade during which some of his best recordings would be made. 

"Pure Getz" was recorded in January and February of 1982. The rythym section was composed of Jim McNeely (piano), Marc Johnson (bass), and either Victor Lewis or Billy Hart on drums. McNeely, Johnson and Lewis would go on to record several more times with Stan, both live and in the studio. These were all younger men than Stan, and so would have grown up being exposed to his earlier recordings. There is certainly no lack of empathy with the musicians; everyone seems very in tune with the arrangements and the song structures. This is a first rate band that plays with both verve and delicacy, using the appropriate style depending on the number. Marc Johnson, who had been part of the Bill Evan's trio prior to this album, has a tremendous tone and solos with complete aplomb. Stan's tone is magnificent throughout as he moves between ballads, regular tempos and real burners. No hesitation whatsoever in recommending this excellent album.