• Abby and Norm Group – Volume I: The Book of Norman – I have known Norman Zocher since the mid-1990s.  He is an incredible guitar player and composer, which – as this CD so very clearly shows – tons of breadth.  Also in this band are Brooke Sofferman (fantastic drummer; friend since 1995), Bevan Manson (pianist, former teacher of mine), and the great George Garzone (tenor saxophone, also a former teacher).  Oh, wait, also the “Abby” part of the group, Abigail Aronson.  Speaking of Abby…
• Abby and Norm Group – Melodic Miner’s Daughter – This would be the Volume 2: The Book of Abby portion of the series, if it were not for the fact that they came up with the world’s most tongue-in-cheek/nerdy album title ever.  This title is a mash-up of Coal Miner’s Daughter and the very hip scale, melodic minor.  Abby’s playing on both CD’s is fantastic.  I always liked her bass playing, in part because she does a great job of laying down the foundation, but also because of her overtly lyrical approach to her bass lines.  That style of bass playing is not so incredibly common among the total-jazz-immersion bass players; we need the Rock and Roll music to make the bass line a little more…uh…lyrical.  Really nice CDs.
• John Abercrombie – Timeless – Man, oh man, I love this CD.  I know, I know, it must be so boring to read those words from me after months and months of writing that, but this CD is just fantastic.  It’s a trio record with Jan Hammer at the peak of his fusion powers and Jack DeJohnette at the end of his own fusion explorations in the band Compost (or at least, around the end of that time).  “Lungs” is so cool!  “Ralph’s Piano Waltz” was in the repertoire of the band that I toured Europe with the first few times.  Gotta get that tune back into my life…
• John Abercrombie – Gateway – Some of my favorite Dave Holland, and Jack DeJohnette is amazing as always.  Great writing on this CD, too, especially “Back-Woods Song” and “May Dance.”
• John Abercrombie – Abercrombie, Johnson, Erskine – This CD was one of the first Abercrombie CDs I ever purchased, and it made a very strong impression upon me.  I thought that the patience of “Alice in Wonderland” was unmatched, and the curiosity found in their solos on “Stella By Starlight” and “Beautiful Love” was inspiring, to say the least.  Plus, it was recorded at Nightstage, in Cambridge.  The club isn’t there anymore, but when I found the old building, with the sign still up, only a few blocks from where I used to live, well, it was a cute little moment for me.  Oh, and this recording is my 2nd favorite one of Mark Johnson; the first being a Paul Motian CD called Bill Evans, on the JMT label.
• Stan Getz – Stan Getz & J.J. Johnson at the Opera House – So swinging.  J.J. Johnson sounds amazing on this CD.  The medium tempo “My Funny Valentine” takes are really excellent.
• Stan Getz – Stan Getz and the Oscar Peterson Trio – Have I said the word “swinging” yet?  And Ray Brown is an absolute monster on this CD.
• Sonny Clark – Sonny’s Crib – Incredible.  The two versions of “With a Song in My Heart” and “Speak Low” are a delight to listen to and compare.  Coltrane, Donald Byrd, Curtis Fuller, Paul Chambers, Art Taylor.
• Horace Silver – Doin’ the Thing/Live at the Village Gate – This is probably the first Horace Silver record I ever heard.  My dad had this one, The Jody  Grind, and Song for My Father.  They were probably original Blue Notes, not reissues.  Anyway, we listened to those records a lot at my house when I was a kid.  Doin’ the Thing is a delight; not quite as shredding as the other two I mention, but still amazing.  I need to get ahold of a chart on “Filthy McNasty”…

So that brings us up to date.  Not sure where to go next – continue with CDs or wait for the turntable to come back?  Or just listen to music, regardless of its placement in the alphabet…?

Best, R.

The first CD my collection – alphabetically – is by Susanne Abbuehl; a recording called April.  By now, my affection for the music in my collection must be exasperating to read, but, having said that, I love this CD.  When I first heard this CD – actually, the first track, “yes is a pleasant country/Ida Lupino,” it was one of those car stopping, wait until the announcer says who that was before moving on, moments.  I simply couldn’t believe my ears.

This tune, a lovely 5/4 ditty, is played by a – get this – bass-less group.  The text comes from E.E. Cummings and the “Ida Lupino” section is by Carla Bley.  I thought, “amazing voice, fantastic writing, Cummings, Bley…I need this CD.”

Abbuehl”s voice is dark and raspy at times, light and pure other times.  She studied Indian music (in India), and jazz voice with the amazing Jeanne Lee.  Those two influences come together on tunes like “Mane Na” and “‘Round Midnight.”

Anyway, if you like Cummings or Bley, bands with no bass (!), and/or amazing musicianship and an incredible singer, this CD is for you.  As for me, this record is very high on RM’s Influences, and I continue to hope to play with Abbuehl someday.

Best, R.

• Social Call – Arrangements by Quincy Jones and Gigi Gryce, with amazing performances by Ray Bryant, Hank Jones, Wendell Marshall, Philly Joe Jones, Ubie Green and others.  This recording is positively swinging.  “Social Call” is magical, and this LP has yet another great version of “Thou Swell.”
• Finally - Gasp!  What an incredible album!  OMG, I wish I was on this record, or that someone I know would like to make a record like this because, good God, this is incredible.  The playing is outstanding, and the arrangements – which, by the way, are by Betty Carter – are still fresh.  Normon Simmons, Lisle Atkinson and Al Harewood are the wonderful rhythm section.  They even play free on this album.  And her singing!  I love her scatting, but for me, the most wonderful thing about Betty Carter’s singing is the level of risk that she was able to introduce in her interpretations of the melody.  No American Idol contestant would be able to hang…
• The Betty Carter Album – Gasp, again!  Another amazing one, and all the more interesting because it’s on the Bet-Car label.  Mostly originals, and completely arranged by Betty Carter, this proves – as if proof was necessary, or that Finally didn’t provide sufficient evidence – that Ms. C was an incredible arranger.  Another amazing band…
• Look What I Got – Grammy award winning LP with Stephen Scott, Benny Green, Curtis Lundy, and Lewis Nash.  Beautifully recorded, lovely, swinging performances.

The next installment might take some time to get through: Ron Carter albums.

Best, R.

But I digress.

I have recently listened to:

• Greg Burk – Many Worlds – Greg is one of the most amazing pianists I have ever known.  He plays wonderfully on a bunch of CDs, including mine (Study of Light).  He brings a beautiful sense of curiosity to any music, it is no surprise to me that his newest CD, Many Worlds, is as good as it is.  His colleagues are Ron Sequin and Michel Lambert, and they sound great.  Henry Cook – another pal – plays some of the best music I have ever heard him play on this CD.   These worlds are definitely worth exploring.
• Kate Bush – Hounds of Love – Back to LPs.  Kate Bush is a musician who I was vaguely aware of until about 1995, and then I became more and more interested in her music.  Now, I have most of her recordings, and have found wonderful things on all of them.  Honestly, I bought this record because Eberard Weber is on it, and he didn’t disappoint!  In fact, “Mother Stands for Comfort” (one of two tracks  he is on) is my absolute favorite track on the record, and my all-time favorite Kate Bush song.
• Don Byas/Bud Powell – Tribute to Cannonball – It’s not really a tribute to Cannonball; he (Adderley) merely produced the album.  Don Byas sounds great, and so do Kenny Clarke, Idrees Sulieman, and Pierre Michelot (he rules!), but this 1961 recording is definitely not Bud Powell’s shining hour.  It’s a little heartbreaking to listen to, unfortunately.

And then, the Benny Carter section.  When I first started re-buying LPs in 1999, I hardly even knew who Benny Carter was.  But the more I heard, the more I liked.  He was extraordinary.  A composer, arranger, alto saxophone and trumpet player, and singer, this guy is the definition of swing-era.

• 1933 – Amazing.  Great tracks with sidemen like Max Kaminsky, Chu Berry, Teddy Wilson, Sid Catlett, Mezz Mezzrow (on drums?  No way…), Shad Collins, and J.C. Higginbotham.
• Swingin’ The ’20′s – I love this one.  A later Earl Hines recording, but he still sounds incredible, and with Leroy Vinnegar and Shelly Manne on bass and drums, this rhythm section is hard to beat.  Great “Thou Swell.”
• Further Definitions – A must own.  Seriously.  All saxophone players need this record, not just because it’s great, but because it was recorded in 1961 and the saxophone players are Carter, Coleman Hawkins, Phil Woods, and Charles Rouse (the definition of modernism at the time – working with Monk).  All bass players need it because this stars pre-Coltrane Jimmy Garrison, working with (Papa) Jo Jones on the drums.  Dick Katz and John Collins on piano and guitar round out the rhythm section.  Absolutely amazing record
• Montreaux ’77 – A great jam session sounding record.  I love Pablo Records (the record label) in the 1970s.  As always, NHOP (Niels-Henning Orsted Pedersen)’s playing is practically obscene, it’s so amazing.
• Summer Serenade – My least favorite of the Benny Carter collection, although there are some nice moments.  Kenny Drew, Jesper Lundgard and Ed Thigpen are a nice foundation for Carter.  But there just isn’t as much vitality in the playing as I was hoping for.  Thigpen sounds like he’s playing nylon tip sticks on a pretty big ride cymbal, which isn’t the greatest sounding thing either.  Sorry.

Watch out: Betty Carter records are up next!

Best, R.

• The Time Machine – This is a rare, early example of using the advantages of tape recording to record an album.  Burton overdubbed piano and vibes, with a couple of Steve Swallow bass performances and drums and percussion (courtesy of Larry Bunker) on just about every track.  A lovely “Chega De Saudade” and brilliant “Falling Grace.”
• Duster – The first Burton album I ever heard (except maybe Who is Gary Burton?).  My dad had this on LP, and I remember getting this album confused with Herbie Hancock’s Third Plane because the album covers are similar (to the eye of the average 6 year old).  Early, amazing Larry Coryell (guitar), great Swallow and Roy Haynes.  Some tunes by Michael Gibbs – I had a chance to meet him shortly after I moved to Boston (at Berklee – my ear training teacher was Gibbs’ friend, and Gibbs was an artist in residence for the year).  I was – get this – too shy.  I love his writing.
• Lofty Fake Anagram – Ok, now here’s something.  Coryell is absolutely genius on this album, which is a pretty challenging feat, given how great this album is.  More great tunes by Gibbs and Steve Swallow, plus Duke Ellington and (a personal fave) Carla Bley.  Bobby Moses sets a standard on this LP.
• Country Roads & Other Places – Not exactly my favorite album.  Swallow and Burton are great, but I don’t quite connect with the material (even with Gibbs and Bley tunes on here).  Guitarist Jerry Hahn sounds great and Roy Haynes is wonderful as always.
• Gary Burton & Keith Jarrett – Scott Yanow (All Music Guide) suggests that these two return to see how they get along now.  Nice Jarrett and Swallow originals on this, and Sam Brown (on guitar) is so, so good.  I can’t seem to get enough of his guitar playing; I have many records with him on guitar, and he’s always fantastic.  Bill Goodwin, on drums, is totally great.
• Paris Encounter – Gary Burton & Stephane Grappelli, with Burton’s band (Swallow and Goodwin).  I would love to know the back story on this one.  A very unlikely pairing, in my opinion.  Still, they make some great music.  Especially lovely are Swallow’s “Falling Grace” and Gibbs’ “Sweet Rain” (man, I love his writing.  Did I say that already?)  But the best part of this album is the rockin’ band photo on the back cover.  Nice cape.
• Seven Songs for Quartet and Chamber Orchestra – This LP is all about Gibbs’ writing and orchestrations, which are just gorgeous.  Mick Goodrick enters the picture and plays brilliantly (as always).  More on the Gibbs/Burton pairing when I get to Gibbs’ In the Public Interest.
• Ring – This one knocks me out.  It’s great, but the thing that totally pushes me over the edge is Eberhard Weber’s playing.  I ADORE his playing, and his writing.  Actually, I might be the only person on the planet (really!) to have recorded a cover of “Colours of Chloe”.  It’s on my CD, Study of Light.  He plays so great on this LP, as do Mick Goodrick, Pat Metheny, Steve Swallow, and Bob Moses (whose playing on “Colours…” is practically hardcore).
• Hotel Hello – I purchased this album because of decades of seeing this LP referenced in the Real Book.  It didn’t really do much for me the first time or two I heard it.  It’s nice, but…  Well, having said that, “Vashkar” is very, very interesting.
• Passengers – Gasp!  Sigh!  Oh…My…God…I…Love…This…Album.  The LP listening/blogging project hasn’t really turned up too many recordings as influential to yours truly as this one.  Ok, so what if I learned/transcribed Paul Desmond’s solo on “Take Five” when I was in 3rd grade?  Anyway, gasp, I love this album, and I always have, from the first time I put the needle to the vinyl.  Burton, Goodrick, Metheny, Swallow, Weber, and Danny Gottlieb (on drums).  They play some Metheny originals, and the greatest (IMO) version of “Sea Journey”.  I love the tunes, the arrangements, the sound, the playing, and this album flipped me out enough that I found myself on a mission to learn more about Eberhard Weber (Herr Weber, call me!).  A-ma-zing.
• Times Square – A great album, with my favorite version of Swallow’s “Como en Vietnam.”
• Duet – It’s nice.  I like Crystal Silence more, but hey, this is a nice one too.

So, on to the next great musician!  I wonder who it will be?  Actually, I have a couple of Greg Burk CDs to finish up and write something about.

Best, R.

• “Why Was I Born?” – a magnificent piano/tenor duo.  Coltrane sounds amazing.
• “Freight Trane” – the definitive version, I think
• “Minor Mishap” – I have so many versions of this.  Tons.  This one is fantastic.
• “How Long Has This Been Going On” – Lovely.
• “Eclypso” – Note to self: transcribe and play this tune.  Further proof that Tommy Flanagan was a great composer.

Super nice record.

R.

Best, R.

Really.  No, really.  I mean, it’s kind of strange that he doesn’t have more cred among the jazz nerds.  You know how Jack Black et al argue about all the records in their collection in High Fidelity and then they berate customers who aren’t hip enough to buy the cassingle version that was only released in, like, Slovenia or something?  I was in the middle of that very problem at my favorite Cambridge record store a few years ago, buying Dave Brubeck albums while the customers were actually arguing (with the staff) about whether or not Brubeck could swing, and whether his music was actually any good.

Here’s what I think: he’s great.  I like certain things about his playing, and just like everyone, there are somethings I wish was a little more burning (like his line playing).  But as an arranger, he’s fantastic.  Check out his arrangement of “Brother, Can You Spare a Dime” from Tritonis, or his fantastic arrangement of “I Feel Pretty” from Plays Music from “West Side Story” and…, or, for that matter, “All the Things You Are” from Jazz at the College of the Pacific (although there is a pretty distasteful – by today’s standards – quote in Brubeck’s solo on that take).   The arrangements are truly top notch.

The list is:

• Jazz at the College of the Pacific – Earlier than the classic quartet, this stars Paul Desmond, with Ron Crotty on bass and Joe Dodge on drums.  Not essential, but very, very good.
• Brubeck on Campus – a 2-fer LP of Jazz Goes to College and Jazz Goes to Junior College.  The personnel on these records start to introduce the classic band, with Joe Morello appearing on drums.  Joe Dodge is still on some tracks, and the bassists are Norman Bates (not Anthony Perkins) on some tracks and Bob Bates on others (brothers, as it turns out).  Great playing.  I have been thinking about the bass playing quite a bit, and even more so with the introduction of Eugene Wright (on the next LP on the list).  As a bassist and a longtime fan of the slick nerdy things we can do to add a little flavor to the mix, I had a hard time connecting with the bass playing on these records (and those with Wright) until now.  These guys never play anything strange.  And at various times in my own development, I would have thought that by virtue of the absence of anything strange, the playing couldn’t possibly be great.  But now, I’m so impressed with their bass playing because of that very fact.  I think that they play with clarity and reliability, constantly demonstrating what it means to be the foundation.
• Plays Music from “West Side Story” and… - Just great.  This is the classic quartet, and everyone plays beautifully.  As I said, “I Feel Pretty” is particularly great.
• Curcio/I Giganti Del Jazz – an Italian import starring the classic quartet.  Very nice.
• Brother, The Great Spirit Made Us All – I jump right from the classic band to the late 1970s.  I never would have purchased this record (or those to follow in this list), if it weren’t for the fact that they star the great tenor saxophone player, Jerry Bergonzi, aka, my former teacher.  The first time I heard these records, he made them, carried them, created all that was interesting to my ears.  I still think that he is amazing on these recordings, but add to that a recent thought: what if Jerry’s playing was so great that he pushed Brubeck to greater heights?  I find Brubeck’s playing to be much more daring than on the classics.  Could have been a sign of the times, the fact that his band was made up entirely of youngsters, and/or/but/also/maybe Jerry’s amazing playing.  He sounds great.
• Back Home – A very nice live date.  Bergonzi also plays some mean electric bass on this record (and on the next one).
• Tritonis – Jerry Bergonzi is absolutely amazing on this record.  “Like Someone in Love” is truly astounding, and, as I said, “Brother, Can You Spare a Dime?” is a great listen.

There are some obvious things missing from this list, but don’t worry: I have them on CD.

Next up is an LP by Chico Buarque and even though I’m leaping to CD, I have a bunch of great new Greg Burk CDs to listen to.

Best, R

• The Quintet, Vol. 1 – This is just extraordinary.  It’s a collection of the great moments Clifford Brown played with Max Roach, Harold Land (by the way, Land’s The Fox is essential), Richie Powell, and George Morrow.  Fantastic.
• Brownie Eyes – Another compilation, I think.  “Easy Living” is unbelievable.
• West Coast Session, aka, Jazz Immortal – thanks to Stereo Jack for the real title and personnel.  Exceptional “west coast” jazz.  Joe Mondragon has always been a favorite of mine.  Zoot Sims sounds great.
• The Paris Collection, Vol. 1 – again, great.  And again, the bassist – in this case Pierre Michelot – has always been a favorite of mine.  Other amazing cats on this record include Gigi Gryce, Art Farmer, Quincy Jones (on trumpet), Jimmy Cleveland, and Alan Dawson.
• All Stars – on Trip Jazz, a reissue label.  Long versions of “Caravan” and “Autumn in New York” with tons of solos from other musicians.  Kenny Drew is fantastic on this album.  Further hats off to the bassist, Curtis Counce.

Marin Brown – I only have one LP (but I have some CDs!) of his, which is Afternoon of a Georgia Faun, starring Jeanne Lee, Anthony Braxton, Chick Corea, Andrew Cyrille, Bennie Maupin and other greats.  Side one of this is some of the most beautiful improvised music on record.

Ray Brown – I have tons of recordings with Ray holding down the bottom end, but only one LP – Something for Lester.  It’s a trio date with Elvin Jones and Cedar Walton (who is becoming more and more of a favorite of mine).  Ray plays his butt off on this record.  The opening solo, on Walton’s “Ojos De Rojo” is incredibly modern and hip, even though this is a 1978 date.  Slammin’ date.

Claudio Monteverdi – Vesperae Mariae Virginis, aka, Vespro della Beata Vergine, aka the Vespers of 1610.  I know that letter M is not next in the alphabet, but I was in a mood.  This music is exquisite.

Now, I have to figure out why the right speaker is not working.  Once that’s up and running again, on to the Dave Brubeck section.  Getting close to letter C – you know, for Cookie!

Best, R.

Joanne Brackeen is so great.  She is yet another musician who I read about when I was growing up in the midwest, but had to move to Boston to hear.  The first time I ever heard her music was not on record, but live at the Berklee Performance Center in the spring of 1993.  She was celebrating her new gig on the piano faculty, which, as far as I was concerned, was VERY cool.  Her music is intricate, dense, a whirlwind of sound, and she hires incredible musicians.

• Tring-a-Ling – with Billy Hart, Michael Brecker, and (my former teacher) Cecil McBee.  The band glides through this somewhat complex music effortlessly.  McBee, in particular (from my totally biased vantage point) is especially incredible.
• Prism – did I mention something about incredible musicians?  This is a duo record with the great Eddie Gomez.  Fantastic.
• Keyed In – augmenting the Brackeen/Gomez duo is Jack DeJohnette.  A great record.  In the AllMusic Guide, critic Scott Yanow (rightly) notes how strange it is that this record would be on Bob James’ label, Tappen Zee.  Very odd, but I’m very happy that it happened.

Dollar Brand, aka Abdulla Ibrahim, released what has become an incredibly influential album, at least to current and past (and probably future) members of the Either/Orchestra.  African Marketplace, the album, features the song of the same name, which we have played a zillion times.  Excellent, excellent tune, played by a great band that stars Carlos Ward, and Cecil McBee’s amazing bass playing.

Like Joanne Brackeen (and so many others), it took a move to Boston to get my ears in front of speakers blasting Anthony Braxton.  I have never seen him live, but since he is only 2 hours away in CT, I hope to.  His work on Arista is incredible.  In fact, I grant the status of BFF to anyone who decides to give me this collection.  Ok, maybe not BFF (that has to go to the person or institution that helps me fix my bass – long story, for another post), how about BF-for-a-really-long-time?

• New York, Fall 1974 – My favorite Dave Holland period is around this time.  Ok, there is this early 1980s thing, too, that I love about Holland.  But in Braxton’s band, playing this music…?  Amazing.  Same with Kenny Wheeler (ok, ok, they both have solo albums that I adore!).
• Five Pieces (1975) – My absolute all-time favorite Anthony Braxton album.
• Creative Orchestra Music (1976) – Speechless.
• NW5-9M4: For Trio – I love this one, too.  Reminds me of that great Henry Threadgill album X-75, Volume 1, although now that I say that, I wonder if it is a musical likeness or if it’s just because of the title?
• In The Tradition – A former teacher of mine (Allan Chase) asked in class one day, “Does it matter if an improviser who is associated with the jazz avant garde plays the jazz tradition?”  Incredible question.  I think this album, and Seven Standards, Vol. 1, show incredible courage on Braxton’s part.  He sounds nothing like, I mean, well, he only sounds like Anthony Braxton.  From the vantage point of a mainstream jazz musician, it’s not really going to work out.  But anyone with ears who is willing to open themselves up to another approach will find that his playing on these tunes really is amazing.
• Seven Standards, Vol. 1 – speaking of this record, it’s great.  Actually some of my favorite Rufus Reid is on this album.

What a strange way to end a Brackeen, Brand, Braxton string of records, that is, with Shooting Rubber Bands at the Stars, Edie Brickell and the New Bohemians debut LP. Maybe it’s the bassist’s Clevinger Electric Upright bass talking, but I love this record.

I was so, so fortunate to play one semester in a big band at New England Conservatory that Bob Brookmeyer coached.  Actually, it was a jazz composers’ orchestra, so we played the music of his students (plus 2 of his), but he was there and had many insightful things to say.  I realized then how many Brookmeyer albums I have.  Maybe not as a bandleader, but definitely as a sideman.

• Jazz is a Kick – A great small group date, with fantastic performances by Charlie Persip and Paul Chambers (on different tunes, plus other amazing musicians).  This version of “You’re My Everything” is lovely; “Air Conditioned” is burning…
• And Friends – And what friends!  Stan Getz, Herbie Hancock, Ron Carter, Gary Burton, Elvin Jones.  “Jive Hoot” is killer, and “Skylark” is gorgeous.
• Small Band, Live at Sandy’s Jazz Revival – I listened to this one about 4 times before moving on.  This is truly magical.  Michael Moore knocks me out.
• Live at the Village Vanguard – with Mel Lewis and the Jazz Orchestra.  Really great.  Clark Terry takes some wonderful solos, and a great duo with Brookmeyer.  Dick Oatts sounds amazing – actually, I never played with him, but I have played several gigs with his brother Jim. A great record with incredible writing.

Ok, so that does it for now.  On to Clifford Brown…

Best, R.