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.  

The Hod O'Brien Trio - Fine and Dandy 

Hod O'Brien was an American jazz pianist born in Chicago in 1936. His family moved to Connecticut and while there he studied at The Hotchkiss School in Lakeville. From there he moved onto Oberlin College and The Manhattan School of Music from 1954 to 1957. According to the excellent and thorough liner notes contained in "Fine and Dandy" (compiled by Alun Morgan), "Throughout the late Fifties and early Sixties Hod led small groups of his own, worked in Oscar Pettiford's sextet and became house pianist at the Toten Villa on Staten Island, a long-running gig under under bassist Teddy Kotick's leadership which gave him plenty of opportunities to play with such soloists as Zoot Sims, Bob Brookmeyer and Stan Getz." Hod started recording for the Fresh Sound label in 1998 after meeting with producer Dick Bank. The album being reviewed here was his second effort with Fresh Sounds. On this session, Hod is accompanied by bassist Tom Warrington and drummer Paul Kreibich, two well known and very experienced jazz musicians located on the West Coast of the US. The album itself was recorded over two days (December 19 - 20, 2000) at Entourage Studios in Hollywood. The selection of songs was taken with due care and attention, with all being well regarded compositions by a number of noted composers such as Duke Ellington, Gerry Mulligan and Todd Dameron. The liner notes, which are comprised of an eight page booklet, are exceptionally detailed and very thorough, and deserve mention. The music itself is outstanding, with two of my favourite tracks being "The Squirrel", a blues written by Todd Dameron and "I Waited For You", written by Bob Russell and Dizzy Gillespie. This was one of five cd's I found at a thrift store that were being sold for a dollar each. I hope to review each one. I have already reviewed "So In Love" by Gene DiNovi, and this is my second review.  

      

Gene DiNovi - So In Love

 So In Love - Gene DiNovi

"So In Love" is a compact disc recorded on the Marshmallow label from Japan featuring the highly regarded pianist Gene DiNovi. Gene has been a mainstay on the Canadian jazz scene for many years, after moving to Toronto in the early 1970's. This was a trio album, with two other well known Canadian jazzers helping out. Neil Swainson provides the bottom end on double bass, and Terry Clarke brings his distinctive talents as a drummer to the session. According to the liner notes, (at least the ones in English, the album was manufactured and released in Japan so most of the notes are in Japanese), Gene was a favourite of Mitsuo Johfu, owner of the Marshmallow label and "a jazz enthusiast of impeccable taste and with fine feeling for the music". Gene and Mitsuo worked together collaboratively, with Mitsuo as producer, and released three CD's during the 1990's. A decision was made to record another, and "So In Love" was recorded at Lydian Sound Studio in Richmond Hill Ontario on March 21 & 22, 2001.  This recording was also produced by Mitsuo. The CD has 11 tracks in total with most being standards and Gene contributing three original compositions. Gene mentions in the liner notes that two successive days of recording - 12 hours of concentrated music-making "was very challenging, but very satisfying musically".  Gene also said that while he worked out a few things ahead of time with Neil, otherwise it was straight ahead, and that with "musicians of this calibre, you don't need too much rehearsal. I had the benefit of a 7 foot Yamaha Grand (piano) and a very good recording engineer, so conditions could not have been better". 

My impressions of the recording after listening to it for start to finish were uniformly positive. The piano sound is outstanding, having been brilliantly captured during the recording. The bass and drums mixed perfectly, providing all of the required support, while at the same time complimenting Gene's playing. I particularly enjoyed the trio's rendition of "All Or Nothing At All". 

The CD was released in 2001. The actual packaging is that of a hard cover book with tray inside to hold the disc, and the liner notes attached as pages. the front has a black and white photo of an attractive young lady and the back has a colour photo of Gene, along with information about the recording itself. I actually found this CD along with four others at a thrift store where I paid one dollar each (!) for them. I have no hesitation in recommending this excellent recording.  

 Montreux Alexander

The Monty Alexander Trio Live at the Montreux Festival

The Monty Alexander Trio Live at the Montreux Festival was recorded on June 10, 1976. This particular version is a special limited edition (1000 units) pressed and released for Record Store Day 2024, remastered from the original tapes. The release is on the MPS label (the label the original recording was released on) and the record is on 180 gram vinyl. The reissue was overseen by Dirk Sommer, noted German audio journalist and record producer, with the assistance of master engineer Christoph Stickel. It is apparent a great deal of care and attention went into this project after listening to the record. The sound is outstanding, particularly concerning the piano. The album (mint green coloured vinyl) comes with an insert containing comments from Monty himself, Stefan Franzen and Dirk Sommer. 

The trio that day in July performed at that time was comprised of Monty Alexander (piano), John Clayton (double bass) and Jeff Hamilton (drums). Monty describes the recording as "A magical moment." The trio had been working together for a while (most recently in London, England) and the musical communication is readily apparent. The dynamics, the tightness and the virtuosity is displayed throughout the recording. There is a great deal of detail on the back of the album jacket itself, as well as in the liner notes, about the artists, the song selection for the concert and the reissue. Of the six tracks (all of which are amazing), I really enjoyed "Work Song" and "Battle Hymn Of The Republic" the best. There was no shortage of enthusiasm and energy that day back at the Montreux Festival almost 50 years ago. I'm very happy it is now available in the best vinyl format available. 

 Quiet Kenny - Kenny Dorham

McKinley (Kenny) Howard Dorham was born on August 30, 1924. He achieved fame as a trumpet player and composer during the 1950's and 1960's performing with other musicians and also as a band leader. While he usually performed in a quintet or sextet with other reed or brass players, in this case he led a quartet with himself as a the lead instrument. He had a stellar rhythm section supporting him with Tommy Flanagan on piano, Paul Chambers on bass and Art Taylor on drums. The album was recorded on November 13, 1959 (a Friday, as it turns out) at Rudy Van Gelder's studio and was produced by Esmond Edwards. It was released on the New Jazz label, a subsidiary of Prestige Records. 

The album was received warmly, and has gone on to be very highly regarded, with the 3rd Edition of the Penguin Guide to Jazz on CD calling it "a minor masterpiece". There is a Miles Davis influence discernable both in Kenny's sound and the tempos of the songs. There are no bebop style "burners", rather there is an emphasis on melody and sound, with the supporting cast providing Kenny with lots of room to explore. His sound is rich and pure with definition in his tone. Tommy Flanagan gets an opportunity to solo on most of the songs, with Paul Chambers also getting a few chances to step out and show what an outstanding bassist he was. Art Taylor's drums are well recorded as well. Rudy Van Gelder was one of the best recording engineers when it came jazz, and he built his own studio in Englewood Cliffs New Jersey earlier in 1959, prior to the recording of this record. Of the eight tracks on the record, three were originals composed by Kenny, with the other five being well known standards that Kenny personally selected based on his preference. A very good example of the cooler style of jazz that became popular in the lay 1950's and early 1960's.     

                     Oliver Jones Trio Featuring Dave Young and Terry Clarke

                                                        Cookin' At Sweet Basil

Oliver Jones is a Canadian pianist who grew up in Montreal, Quebec. He was a contemporary of Oscar Peterson's, and studied as a young man under Oscar's sister, Daisy, a noted piano teacher. His style is similar to Oscar's as well. To quote from Richard Cook and Brian Morton's Third Edition of "The Penguin Guide to Jazz on CD", Jones is "a frequently engaging soloist, filling his records with good-hearted swinging music. His ballads are glossy rather than introspective, but one listens to Jones for his generous virtuosity, not his tenderness". 

"Cookin' At Sweet Basil" is a live recording from the famous Sweet Basil Jazz Club located in Greenwich Village in New York City. The recording was made on September 3rd, 1987 during the 6th Annual Greenwich Village Jazz Festival. As indicated in the title, Oliver was accompanied by two other famous Canadian jazz musicians, Dave Young (double bass) and Terry Clarke (drums). The songs are mix of originals and standards. During the opening number, "Snuggles" (written by Oliver), we get to hear the trio open up and let loose on an uptempo song. Dave performs an particularly outstanding arco solo, and then we get to hear Terry's facility as the group "trades fours". I would also recommend the beautiful interpretation of "My Funny Valentine". While this is a song that many artists have recorded, the version here has its own unique identity. The album has seven songs all told. It was released on the Justin Time Label in LP (vinyl) format (which is the one I have) as well as CD and Cassette. Oliver has over twenty recordings to his name, with virtually all (with one exception) on the Justin Time label. If you aren't familiar with his music, he one of Canada's jazz treasures, and well worth listening to. 

   

                         

 

The Art Ellefson Trio

Art Ellefson was a Canadian jazz musician who was known for playing tenor saxophone. Although he spent much of his early career outside Canada (primarily England), he returned to his home country in 1974. During this time he seems to have based primarily in the Toronto area, and performed with several well known jazz musicians. This was the first recording released under his name. 

"The Art Ellefson Trio" was recorded in 1981 in Toronto and released by the Canadian Broadcasting Corporation on its record label. The record featured Art on tenor, accompanied by Dave Young on bass and Peter Leitch on guitar. Usually, this type of recording would feature a drummer (making the group a quartet), but in this case, the lack of drummer is certainly not missed. The album swings throughout, and without drums, the bass is more prominent, and when Peter is playing rhythm, you can hear the guitar. At this point I would be remiss in not pointing out that the sound on this record while adequate, is certainly nothing to write home about. There is a lack of depth in the sound, and Peter's guitar is a little too far back in the mix when he isn't soloing. The actual performances though are well worth listening to, with the renditions of Willow Weep For Me and St. Thomas being two of my favourites. Art has a classic tone, certainly reminiscent of the more prominent tenor men of the 1950's. This is the type of jazz that isn't breaking any boundaries, but if you like a style that harkens back to the golden age of decades ago, this will be your cup of tea. 

 Ruby Braff with the Ed Bickert Trio

Featuring Don Thompson and Terry Clarke

Reuben "Ruby" Braff was born on March 16, 1927 (almost 100 tears ago!) and was a renowned jazz trumpeter and cornetist. Unlike many other brass players of his generation, he was not influenced by the be-bop movement, but rather the idiom based on the playing of Louis Armstrong and Bix Beiderbecke. He had a lengthy and distinguished musical career, recording both as a leader and a sideman with many different artists.

This particular album was recorded at Puget Sound in Toronto by Bill Smith and Don Thompson on June 14, 1979.  It was released on the Sackville Records, a small Toronto label that specialized in jazz. Supporting Ruby were Ed Bickert on guitar, Don Thompson on bass and Terry Clarke on drums. All of these three gentlemen were first call studio and club musicians, well known in the jazz community.

According to the liner notes (written by John Norris), "This recording grew out of a chance association with guitarist Ed Bickert at Toronto's Bourbon Street (a well-known jazz club). On a previous occasion at the sam club Ruby had been less than happy with an ever-changing succession of pianists." At some point Ruby and Ed joined forces, and as John relates "With Ed Bickert he established a warm musical communication almost instantly. Braff, the melodist, and Bickert the master craftsman of harmony, created music that seemed to be of one mind".  

Ruby chose all of the songs to be recorded during this session. They are all jazz "standards", some perhaps better know than others. The quality of the recording is excellent; it is one of this records where the listener feels he or she is in the control room with the recording engineer. The balance between the instruments is perfect, with a quiet intensity that never overwhelms the listener, but breaths life into all of the songs. Although this is Ruby's record, Ed gets equal billing when it comes to the solos. Don also has plenty of room when he steps out, and when it is his turn, Terry acquits himself admirably. I can't peak highly enough of how the rhythm is absolutely hand-in-glove; their years of performing together in the recording studio and on stage has enabled an almost telepathic level of musical communication. An album I would have no hesitation in recommending for fans of the older style of jazz. 

 

                                                                                R 50 

Rush has released a retrospective celebrating their 50th Anniversary. It goes without saying that 50 years in the music business is quite an accomplishment, and doing it with one band is even more amazing, especially when you consider that there has been exactly one personnel change during the band’s tenure (and that occurred after they released their first album). 

Rush has always been a “power trio” in the style of Cream, that is to say bass guitar, guitar and drums. The lead vocalist is also one of the instrumentalists. Originating in Toronto, Ontario, the original lineup consisted of Geddy Lee on bass and lead vocals, Alex Lifeson on guitar and John Rutsey on drums. This version of the band was the one that paid its dues; playing wherever they could. A big break for the band ironically came when the legal drinking age in Ontario was reduced from 21 to 18 in 1971. Suddenly, the band could know start working 6 nights a week in local clubs. The first record was released in March 1974. Shortly after the only personnel change that would occur during the band’s history took place when a decision was made to replace John Rutsey. Auditions were held and the successful applicant was Neil Peart. This lineup would be the one that would last until Neil’s untimely passing in 2020.  

Trying to come up with a selection of music that would adequately represent the exceptional catalogue Rush has created is a definite challenge. In preparing this release, a decision was made to ensure music from the beginning of the band’s history to the last time they performed together. This massive package of 50 individual tracks is their first ever complete career anthology and there is a track from every album the band has released. Befitting the 50th anniversary of the band, many of their most well known songs are included (although it would be a mistake to consider this just a “greatest hits” package). Fans will appreciate the number of live tracks as well as the inclusion of alternate studio versions of “Working Man” and “The Trees”, heretofore unreleased. The sound is magnificent throughout, the remastering done with painstaking attention to detail. There are several versions available, from the R50 Backstage Exclusive Super Deluxe Edition comprising of (wait for it) 4 compact discs and 7 180 gram vinyl records (the cds and records contain the same songs), 2 hardcover books, over 20 lithos, all in a golden box. If this seems a bit overwhelming, you can get by with just a boxset of the records or the compact discs. I chose the digital version on iTunes. 

The musical abilities of Rush has always been something that attracted me to the band, and just hearing how good everything they recorded sounds and how tight they were as a band is something that R50 really brings into focus. The progression of the band from their early heavy blues based British influences, to the later “proggier” compositions, to the inclusion of keyboards and synthesizers, to the New Wave influences and on into the 1990’s and 2000’s, where they concentrated more on concise compositions without losing the technical aspects of their music is exemplified beautifully throughout R50. 

Rush was never a critical darling, and never tried to be, something I always loved about them. I am an unabashed fan of the band’s members and their music. They were never about compromise and the fact that they had the last laugh on their detractors in the music journalism realm has something that I find very satisfying. This release is a labour of love for those that love the band, and is not to be missed if you are a fan. 

Days Gone By featuring Sonny Greenwich and Ed Bickert

 Days Gone By is a recording featuring Ed Bickert and Sonny Greenwich; two of Canada’s finest jazz guitarists. They are supported on the recording by the very capable rhythm section of Don Thompson (double bass) and Terry Clarke (drums). It can difficult to coordinate a guitarist and a pianist when performing, and two guitars is even more of a challenge. One must always be conscious of not stepping on toes when the other guy is playing. This recording is a master class in how it is done right. It is fascinating to hear how the two guitarists take turns soloing and “comping” behind each other. Clarke’s drumming is busy without being intrusive, and Thompson’s bass playing is propulsive and supportive. There are 8 songs on the recording, and the two main soloists have plenty of room to stretch out. According the liner notes, “One summer afternoon in 1979, Sonny and Ed met up with bassist Don Thompson and drummer Terry Clarke at the bassist’s Puget Sound Studio. The tape machine was turned on and the music flowed.” The session has a relaxed feeling, with the musicians really enjoying themselves playing the type of music they enjoy, while at the same time pushing each other to perform. To be fair, there are some instances of distortion and a few minor miscues, but these flaws take nothing away from the vitality and musicality of the performances. All the tracks are great, although some are real standouts. On “I’ll Take Romance”, the rhythm section lays out and we get to hear the two guitarists on their own. Everybody really digs in on “Oleo”, the hard bop standard written by Sonny Rollins. After the song is over, you get to hear the musicians spontaneously express their themselves on how much fun they had in playing it. Although the recording took place in 1979, it wasn’t released until 2000 for some reason. We can only thank fortune that the tapes were held onto and that eventually we were give the opportunity to listen to some extraordinary playing. The compact disc version was released on the Sackville label and a digital version is available on itunes.     

The Sackville All Star Christmas Record

A genre fraught with peril is the “Christmas Album”. While there are some that are genuinely loved and have stood the test of time, the field is littered with far too many examples of anodyne versions of songs already too saccharine for their own good. Jazz musicians, however seem to approach the concept of recording an album of Christmas related music with an open mind, since being it being “jazz”, it means you can experiment with the arrangements, and maybe breath some new life into an older number.

Sackville was a Canadian record company and label that specialized in jazz. In March of 1986, they brought together a quartet to record a record of Christmas music, which was released later in the same year. The “Sackville All Star” group was a quartet consisting of Jim Galloway (soprano saxophone), Milt Hinton (bass), Gus Johnson (drums) and Ralph Sutton (piano). Jim Galloway was a leader in Canadian jazz. He was born in Kilwinning, Ayrshire Scotland in 1936, and moved to Toronto in 1964. In addition to a prolific recording and performing career, Jim was also a band leader and a co-founder of the Toronto Jazz Festival. 

Side one opens with “Santa Claus Is Coming Town”, one of the best known songs in the canon of Christmas music (and before anybody might look down their nose at this selection, Bill Evans also recorded a version of this tune). The album includes three well known carols (We Three Kings, Good King Wenceslas and Silent Night), a couple of more modern well known seasonal numbers (Winter Wonderland and Let It Snow) and two other Christmas themed songs I hadn’t heard before; “At The Christmas Ball” and “Santa Claus Came In The Spring”. The final song on side two is “Old Time Religion”, which, according to the liner notes, was included because “while not exactly a Christmas song, personifies the spirituality which is so much a part of the season”. All of the songs are performed with verve and character. These were songs that all of the players would have been familiar with, and probably had played over their careers on numerous occasions. In this case, the arrangements are respectful of the nature of the song, but also inventive enough that they breathe some new life into them.  

I found my copy of this record at a used record store for 5 bucks. The original celllophane wrapping was still attached with "6.99" written in red marker across the front. It was definitely worth the original price and 5 bucks for a pristine used copy was a great deal. A nice piece of Canadian recording history, and well worth listening to over the holidays. 

Fraser MacPherson Live At The Planetarium

Fraser MacPherson is a Canadian jazz musician originally from Manitoba. He moved to British Columbia as a child, and eventually settled in Vancouver, which was to be his home. 

“Live At The Planetarium” was his first small group album as a leader. It is a trio recording, featuring guitarist Oliver Gannon and bassist Wyatt Ruther. Oliver Gannon was born in Ireland, but moved to Canada with his family in 1957 when he was 14 years old. In 1969, he moved to Vancouver, where he became a staple on the local jazz scene. In 1975, Oliver was asked to join a trio that Fraser wanted to form. The third member of the trio Wyatt Ruther was an American jazz musician who moved to Vancouver around 1973 or 74, and resided there until the mid 1980’s. During that time, he worked extensively with Fraser MacPherson (among others).

The album has an interesting history. It was originally recorded for broadcast on the French language CBC network. Fraser MacPherson then leased the master tapes, and released the performance on his own label, West End Records. Subsequent to that release, the album became known to the Concord Jazz label from California. That label was so impressed they offered to release the record themselves. According to the liner notes on the Concord release, Carl E. Jefferson, the President of Concord Jazz stated “This album by Fraser MacPherson was released in Canada with very limited distribution. It has been recorded extremely well, has superb musical quality and we are most delighted to release it on our label. If you are already a Concord Jazz fan, this will fit very nicely in your library”. High praise indeed. One technical note is that according to the fine print, this version of the record was remixed prior to Concord releasing it. 

The songs on this record are all well known jazz standards. There are seven tracks altogether, with three on side one and four on side two. Side one opens up with “Tangerine”, an established tune from 1941. This track is followed by “ I Cried For You (Now It’s Your Turn To Cry Over Me)", another chestnut, probably best known from the version recorded by Billie Holiday. The last song on side one is the Modern Jazz Quartet number “Django” (written by their pianist John Lewis in tribute to the legendary jazz guitarist Django Reinhardt). The trio takes it a relaxed tempo, leaving plenty of room for Oliver to solo. Side two features “I’m Gettin’ Sentimental Over You”, “L’il Darlin’”, “Lush Life” and “My Funny Valentine”. “Lush Life”, written by Billy Strayhorn is a beautiful ballad and without a doubt is the standout track on this side. Throughout the album, the trio play with taste and restraint, leaving space that accentuates the high quality of the musicianship on display. As indicated earlier, Concord felt so strongly about the excellence of this recording that they re-released it on their own imprint. Fraser MacPherson’s playing is relaxed and to these ears has a “West Coast” feel to it (not a surprise considering he was a Vancouverite). It would appear this was only ever released on vinyl, and there doesn't seem to be a no compact disc version. As I like to say, highly recommended.  

                         Rob McConnell & the Boss Brass

                                                                    Atras da Porta     

                                           

"Atras da Porta" was the 16th release by The Boss Brass. It was issued on the Canadian Innovation label. The album contained eight tracks in total. In addition to the high level of musicianship displayed by the 22 piece orchestra, this release is a bit unique in that five of the songs are from Latin American composers. The album was produced by Argentinian composer and producer Fernando Gelbard, who contributed his compositions “Flowers”, “Jo Jo’s Dance” and “Didi”. As far as arrangements are concerned, Rob McConnell arranged five of the tracks; “Easy To Love”, “Flowers”, “Autumn In New York”, “Didi” and “Bye Bye Blues”, two were arranged by Jorge Callandrelli; “Jo Jo’s Dance” and the title track “Atras da Porta” and Rick Wilkins arranged “Amor Ate O Fim”. As one would expect, all of the songs feature innovative and sophisticated arrangements, outstanding soloists (including Moe Koffman on alto sax, guitarist Ed Bickert, Guido Basso on flugelhorn and Eugene Amaro on tenor sax) and top flight ensemble playing. The opening track on the album is an outstanding version of Cole Porter’s “Easy To Love”, which is a real barn-burner featuring solos by Moe Koffman and Steve Wallace. In a catalogue of consistent excellence, it is hard to select one recording that stands out above the others. This one is certainly up there though. Highly recommended.   

 Cal Collins

 

Cincinnati To L.A.

 

While browsing through the local record store recently, I came across an album on the Concord label featuring a musician I didn’t immediately recognize. The artist was jazz guitarist Cal Collins, and the title of the record was “Cincinnati To L.A.” The recording was trio session with Monty Budwig on double bass and Jake Hanna on drums. I prefer smaller groups, and a trio setting with bass and drums is one of my favourites. I picked up the album, and put it on after I got home. I wasn’t disappointed. According to the album liner notes, which were written by Leonard Feather, Cal, who was born on May 5, 1933 grew up in what Cal described as a country and bluegrass atmosphere, in a household with mandolins, banjos and guitars. As a child, Cal played the mandolin. A little later on, he was exposed to Django Reinhardt and Charlie Christian, and focused on jazz. After a stint in the Army, he decided to take on the challenge of making his living as a professional musician. He paid his dues, mainly working around Cincinnati, until in 1976, after a recommendation, he auditioned for Benny Goodman and was selected to become the guitarist in Benny’s group. While performing in California with Benny, he was offered an opportunity to record with Concord Records. 

“Cincinnati To L.A.” was Cal’s second record on Concord. The album has ten tracks, all of them jazz standards. The songs provide a variety of settings for the trio to shine, and of course lots of room to hear Cal’s very talented playing. The years of working in lounges I’m sure provided Cal with an impressive repertoire of material to work with, and on this record, we get to hear him in different settings. Of note, he is featured as the solo instrument on “If I Had You”. The group’s performance of “Willow Weep For Me” is also a highlight, emphasizing the bluesy aspect of the song. One of the things I found interesting about Cal was his choice of guitar; a Gretsch 6120 hollow-body, an instrument not normally associated with jazz. 

Unfortunately, very little of Cal Collin’s excellent recordings made the transition to compact disc, although there are some videos on YouTube. The album “Cincinnati To L.A.” was produced by Carl Jefferson of Concord Jazz, and was recorded in California. The catalogue number is CJ-59. I should mention that in his discography, Cal is noted as being a popular sideman, appearing on a variety of other Concord albums. As I like to say, highly recommended.   

 

André Previn and His Pals, Shelley Manne & Red Mitchell: “West Side Story” 

 The musicians on this recording are André Previn on piano, Shelley Manne on drums and Red Mitchell on bass.

André Previn was born in Berlin in either 1929 or 1930, and emigrated to America in 1938 with his family. While primarily known for his successful career in Hollywood where he composed, orchestrated and conducted film scores (he started at 17 years of age, and by the time he was 31 had been involved on upwards of thirty), his abilities as a jazz musician are sometimes overlooked. Which brings us to this record. The musical West Side Story (inspired by Romeo and Juliet) was composed by Leonard Bernstein. To quote the liner notes on the back of this album’s jacket, written by Lester Koenig (the founder of the jazz label Contemporary Records, on which the album being reviewed was released) “The music by Leonard Bernstein is an integral part of the total conception, its unconventional song structures and harmonic progressions are not the kind which would seem to lend themselves readily to modern jazz treatment. Yet, possibly because of the challenge provided by the Bernstein material, André Previn, Shelley Manne and Red Mitchell have improvised on it brilliantly, transforming it into one of their most imaginative show-jazz albums.” One of the things that I noticed when listening to the record was the detail and care given to how the songs were arranged, and the space between the instruments. André Previn constructed interesting musical alterations to the music in order for the trio to perform their version of the songs. While the musicianship of all three players is exemplary, as a bassist I will always been drawn to what is happening on the bottom end. Red is one of my favourite bassists, and on this recording you get to hear some outstanding playing from him. A jazz trio interpretation of a musical may not be to everyone’s taste, but this one is certainly a favourite of mine.      

                                                     Tony Rice Sings Gordon Lightfoot

                                                                            

For those unaware of who Tony Rice was, he was one of the most accomplished acoustic guitar players on the planet. He was greatly admired by his peers, and during his lengthy career he performed primarily as a Bluegrass artist, although his musical talents defied any type of categorization. 

One of my favourite recordings of his was his tribute to Gordon Lightfoot. Unlike most albums of this nature, the 17 tracks on this disc were culled from various recording sessions that Tony was involved in. In the liner notes Tony recalls his time with J. D. Crowe and the New South in the mid 1970's and the initial decision to cover one of Gordon's songs. That particular band was noted for its approach to bluegrass, and has been recognized as a revolutionary force in the "newgrass" movement as well as influencing mainstream country as well. According to Tony, the band was looking for material that would be different than the standard fare, and "it was when J.D. Crowe, Ricky Skaggs and I were together that the first Lightfoot tune happened. We did ""Ten Degrees and Getting Colder"". 

All of the songs included in this collection were recorded with intricate attention to detail. The acoustic instruments allow the listener to hear Gordon's songs performed with great care and attention, and with space and depth that allows the beauty of the melody and harmony to be front and centre. There are no lush string arrangements, orchestrations and vocal overdubs to crowd out the performance of the musicians.   

Tony Rice has gone on record as stating that Gordon Lightfoot was his favourite songwriter, and his appreciation for Gordon's talents is borne out by the reverence and interpretation of his songs on this recording. They never worked together, but had met, and as Tony puts it, "We've hung out a few times, had a good time". Perhaps the succinct and respectful acknowledgement comes from a quote from Gordon himself, as printed on the back of the disc. "...fantastic contemporary bluegrass renditions of these songs...the musicianship on the collection is marvellous, getting into some high profile instrumental work. Thank you, Tony". High praise indeed.