Early Jazz

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Showing only albums and live's | Based on members ratings & JMA custom algorithm | 60 min. caching

THELONIOUS MONK Monk's Music Album Cover Monk's Music
THELONIOUS MONK
4.84 | 13 ratings
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THELONIOUS MONK Misterioso Album Cover Misterioso
THELONIOUS MONK
4.95 | 4 ratings
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STAN KENTON Adventures in Jazz Album Cover Adventures in Jazz
STAN KENTON
4.99 | 3 ratings
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FRANK SINATRA Come Dance With Me! (with Billy May And His Orchestra) Album Cover Come Dance With Me! (with Billy May And His Orchestra)
FRANK SINATRA
4.81 | 7 ratings
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FRANK SINATRA Watertown Album Cover Watertown
FRANK SINATRA
4.91 | 4 ratings
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CHARLIE PARKER Bird And Diz (aka The Genius Of Charlie Parker #4 aka Une Rencontre Historique) Album Cover Bird And Diz (aka The Genius Of Charlie Parker #4 aka Une Rencontre Historique)
CHARLIE PARKER
4.89 | 4 ratings
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BUDDY RICH Big Swing Face Album Cover Big Swing Face
BUDDY RICH
4.87 | 4 ratings
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LOUIS ARMSTRONG Louis Armstrong Plays W.C. Handy Album Cover Louis Armstrong Plays W.C. Handy
LOUIS ARMSTRONG
4.87 | 4 ratings
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JOE PASS Virtuoso Album Cover Virtuoso
JOE PASS
4.93 | 3 ratings
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THELONIOUS MONK Brilliant Corners Album Cover Brilliant Corners
THELONIOUS MONK
4.70 | 12 ratings
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THELONIOUS MONK Monk's Dream Album Cover Monk's Dream
THELONIOUS MONK
4.69 | 12 ratings
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CAB CALLOWAY Hi De Hi De Ho Album Cover Hi De Hi De Ho
CAB CALLOWAY
5.00 | 2 ratings
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early jazz Music Reviews

TAL COHEN Tal Cohen & Danielle Wertz : Intertwined

Album · 2017 · Vocal Jazz
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Carmel
The voice of an angel, supported by an able and crafty pianist is what you will get when listening to Intertwined, joined on tracks “Beautiful Love,” and “Autumn Leaves,” by saxophonist Jamie Oehlers, the trio, which is mostly a duo, have created a deliciously engaging offering.

Why is it special you ask? This answer is found in Wertz voice, she has a pure and crystalline tone, each word is given meaning. As a listener, I found myself constantly being entranced by her voice. Unlike many of her contemporaries there is truth in her voice, it’s not prattled with theatrics, or acrobatics, hers is a voice that just speaks through beauty, as if each word is like honey dripping from her lips. Many of the vocalists that are so long lasting in our minds, exhibit these same qualities, it is their ability to honestly convey the lyric that is so appealing. Though young in age, Wertz is matured in her delivery, rounded in her ideas, and savory in her lines.

Fine examples of this are exhibited on tunes like “Beautiful Love,” opened by saxophonist Jamie Oehlers, whose tone is refined and unaffected. Augmented by pianist Tal Cohen, the three work through the nuances of the tune, with hits and accents that embellish the lyric with interest. Wertz uses her voice as a vehicle that conveys the lyric, but also as a unified instrument contributing to the overall success of the track.

The title track “Intertwined,” is a wordless melody that Wertz works with the dynamics of her voice, just as a horn in a duo setting. She opens and closes her voice and uses swells to create useful texture changes, passages and solo lines with pianist Tal Cohen, which I might add are very effective. The two meld as a perfect instrument of song. Many times, with duo recordings, you find yourself noticing the spaces a bit too much. Cohen’s colorizations support and add interest and Wertz interacts with seamless resolve.

A bit father into the program we stop at “Manhattan in the Rain,” a moody reflective piece written by Duncan Lamont. Wertz’ delicate treatment is convincing, while Cohen creates a canvas of beautiful flowing lines, almost like a windy day with raining streams. You can hear the smile and joy in Wertz voice as the blossom of love, is in the air.

Overall, Intertwined is a delightful intertwining of what is best about young artists. Untarnished by the politics of music, what is brought forth is pure, innocent and simply beautiful. The promise of the moment, and being able to be free enough to live it, in the moment. This is a lasting work for a debut offering, and certainly it makes sense why Wertz was semi-finalists in the 2015 Thelonious Monk International Jazz Vocals Competition. She certainly has won me over.

LARRY NEWCOMB Larry Newcomb Quartet with Bucky Pizzarelli : Living Tribute

Album · 2017 · Swing
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kev rowland


Mostly an instrumental album, this captures the Larry Newcomb Quartet with Bucky Pizzarelli working through a series of numbers that vary in age from covers dating as far back as 1932 and brand-new originals. Each of the eleven songs are dedicated to individuals who have had an immensely positive impact on Larry, most particularly Dick Hall who passed away in June 2016. Larry is an incredibly thoughtful guitarist, never using a multitude of notes when just a few will do, concentrating instead on the tone he is getting out of his instrument, and fitting in with the music around him.

Although he has studied with many jazz masters, including Bucky Pizzarelli himself, he has also looked further afield so that Hank Marvin can be heard to have been an influence, as well as B.B. King. He is a complete master of his instrument, and the result is an album that is incredibly easy to listen to, with drummer Jimmy Madison, bassist Dmitri Kolesnik and pianist Eric Olsen all as one, creating a sound that the listener wants to dive into and immerse themselves with. Melodic, improvisational, and always in control, this is an album where the music is far more important than any individual player. A wonderful piece of work.

SHERRI ROBERTS Anybody’s Spring

Album · 2017 · Vocal Jazz
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Carmel
Can Spring be an eternal feeling, it can when its sung by vocalist Sherri Roberts. Her latest offering in a string of well-conceived albums is entitled Anbody’s Spring, and it does Spring eternal, with a bounce and a swing that will put an extra step in your day. Bouncy, full of lilt and firmly rooted in the jazz idiom, Roberts performs tunes that are a delightful foray of time-tested standards and Broadway classics.

A little background on Sherri’s discography. She has four recordings as a leader and her fifth, Anybody’s Spring, is accompanied by a bi-coastal ensemble, of Harvie S on bass, David Udolf on piano, Akira Tana on drums and Sheryl Bailey on guitar. Released in March of 2017 at the equinox, this newest recording is among a collection of standout recordings as follows: 2013’s Lovely Days, a duo session showcasing pianist Bliss Rodriguez and three collaborations with renowned bassist Harvie S: The Sky Could Send You (2006), Dreamsville (1998), Twilight World (1996).

So, let’s get into the blossom. The title track “Anybody’s Spring,” begins the journey, the nostalgic sound of Roberts voice has a certain authenticity that transports you to a time when jazz was aplenty. Her voice is unaffected and clean, delivering a ringing truth of the lyrics. Udolf and S create a mid-tempo, deep swinging feel, with Tana laying down a soft, yet effective swing that allows vocalist Roberts to float atop.

Continuing through the program, I found myself stopping at “They Say Its Spring,” Roberts shines on this tune in particular, her relaxed matter of fact vocal style fits nicely, like a pair of your best Sunday gloves, her voice sparkles and shimmers. The supportive ensemble is sensitive and not overpowering, while creating a solid solo section that is both engaging and finely tuned.

A ballad closes out the offering with “Spring Isn’t Everything,” a witty twist on the season, the lyric is brought to an effervescence with Roberts loveliness. Her voice is round and she laments Spring with purity and truly captures the merit of the lyric, written by Ralph Blane and Harry Warren, and made famous by Margaret Whiting who recorded the tune in February of 1947 with Frank DeVol and his Orchestra, Roberts gives this tune a proper reading with sincere reverence.

A delight from start to finish, Anybody’s Spring is an evergreen beauty, meant to be savored no matter the season. An album I intend to visit often myself.

DUKE ELLINGTON An Intimate Piano Session

Album · 2017 · Swing
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js
Although Duke Ellington has always been highly acclaimed for his composing, arranging and band leadership, you rarely hear much about his piano playing, possibly because there are not that many recordings available that highlight his skills at the keyboard. That unfortunate situation has been somewhat alleviated recently with this latest release of Ellington archival recordings called “An Intimate Piano Session”, which features Duke, mostly by himself on a grand piano, playing tunes that we don’t hear too often from him. Ellington was not a particularly flashy or technical player, but what he plays is often far more interesting than those who might have greater technical skills. In a recent interview, modern piano maverick Matthew Shipp pointed out that as a developing pianist he avoided the 70s triumvirate of Corea, Jarrett and Hancock, and instead focused on earlier players such as Ellington. No doubt Sun Ra’s path less traveled also revealed a strong Duke influence too.

Some of the best cuts on this CD come with the first four tracks. Here we hear the Ellington harmonic formula; ragtime, blues and stride piano mixed with mid-20th century concert hall music, particularly Debussy and Delius. This mix of blues and elegant impressionism became the predominate musical language of the 20th century, and for much of the current century as well. There are many more great cuts on here, particularly a very moving “Melancholia”, and “New World A-Comin”, which shows Duke at his most extravagant and technically flashy as he seems to be channeling piano virtuosos like Rachmaninoff and Chopin. There are couple cuts that feature vocalists Anita Moore and Tony Watkins. Of these two singers, Moore comes across better, as Watkin’s overly dramatic and operatic tenor sounds like period kitsch in today’s scene. This CD closes with a few cuts that feature Ellington on piano with organist Wild Bill Davis and a small rhythm section. Of these cuts, “The Lake” is sublime Latin exotica, but the rest are hardly essential.

There are a couple cuts on here that could have been left off, track 7 and 17 are unexplainable little song segments that serve very little purpose if any. The version of “Satin Doll” features Duke’s well known rap about finger snapping, possibly amusing if you never heard it before, but most long time Ellington fans have heard this routine a hundred times by now. Also, most of the tracks on “An Intimate Piano Session” are not polished performances, Duke stumbles here and there and attempts things he can’t quite pull off, but really good jazz isn’t necessarily about polish, Also, there is a noticeable tape slip on the second take of “Lotus Blossom”. Overall, this is a good CD that provides valuable insight into Ellington’s harmonic language on the piano, but with a little editing, it could be even better.

THE MICROSCOPIC SEPTET Been Up So Long It Looks Like Down to Me: The Micros Play the Blues

Album · 2017 · Swing
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js
The Microscopic Septet is one of those eclectic downtown NYC combos that got their start in the early 80s during the so-called ‘knitting factory scene’. The band disbanded in the late 80s, only to reappear a few decades later for today’s NYC scene that still leans toward eclectic influences and a quirky sense of humor. Microscopic has always favored a swing feel in their music, but not in a nostalgic or museum sense, instead, they often infuse their music with bits of the avant-garde, as well as polkas, tangos, cartoon music, punk rock and whatever else may be laying about. On their latest album, “Been Up So Long it Looks Like Down to Me”, the Septet leans heavily on their swing roots as they present eleven originals, plus two covers, that sound like they could have come from a swing dance club in the 40s. All the same, don’t confuse this album with that whole bothersome ’swing revival’ that came out of San Francisco in the post grunge mid 90s. Microscopic’s music is way more informed about what swing was, and can be in the future, than most of the heavy handed dull trend followers that made up the fortunately short lived ‘revival’.

The basic makeup of the Septet is a four piece saxophone section backed by a three piece rhythm section. Right off the bat this gives the band a sound similar to the Four Brothers, the famous spin off combo from Woody Herman’s big band. Other comparisons to the Microscopic sound could be found in the smaller combos led by Duke Ellington, Count Basie and Sun Ra. The fact that most of the members of the Septet are dedicated to this one band gives their horn section a nice cohesion and flow that is often missing from many modern ensembles whose players have to play in many bands just to pay the bills.

There are lots of great cuts on here. “Dark Blue” has a ‘talking’ bari solo that gets into some call and response with the other horns, “PJ in the 60s” opens with a fierce free solo before settling into some excellent Duke flavored riffs, “Migraine Blues’ features some hard driving Count Basie riffs topped by another wild bari solo, and “Quizzical’ has an interesting arrangement that seems to modulate through many keys in a sort of Don Ellis meets Ellington effect. If there is one song that doesn't seem to fit, it would be, "When its Getting Dark", a campy RnB number that sounds similar to the the theme from the old Batman TV show. I guess its only similarity to the other numbers is that, like the rest, it uses blues changes for its chord progression. The song does redeem itself towards the end when it builds up to four saxophones soloing frantically at the same time.

It seems lately that it has become somewhat hip for avant NYC bands to take another look at the possibilities in pre-bop jazz. The result has been some interesting ’hot’ music that gets away from the dry intellectual sound of modern post bop. If this re-examination of early jazz results in imaginative and swinging albums like “Been Up So Long…”, then it can only be a good thing.

early jazz movie reviews

JONI MITCHELL Shadows And Light

Movie · 1980 · Vocal Jazz
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Slartibartfast
Joni Mitchell meets The Pat Metheny Group.

What can I say? This was my real introduction into the music of Joni and what a place to start! She had really entered a new phase and the tracks offered span from Court And Spark up to Mingus (and of course, the song Shadows And Light, exclusive to the live album).

The concert was an outdoors affair at the Santa Barbara County Bowl. The liner notes say that "this concert catches Joni at the height of her artistic excellence." Having explored her albums after and before this era, I can wholeheartedly agree with that. Jaco Pastorius, who had a reputation at that point of being erratic in live situations, seems to be in a good mode. The camera work is good and the concert is now available on DVD with 5.1 Dolby Digital Audio all of which make for a show worthy of revisiting from time to time.

Artists with Early Jazz release(s)

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