by Scott Yanow,
BRANFORD MARSALIS
Veteran tenor and soprano saxophonist Branford Marsalis recently recorded Belonging, his interpretation of a Keith Jarrett/Jan Garbarek album from the 1970s. Surprisingly during his performance at Blue Note LA with his quartet (pianist Joey Calderazzo, bassist Eric Revis and drummer Justin Faulkner), despite it being billed as “The Belonging Tour,” he did not play songs from that project. Instead Marsalis put on a well-rounded show that found him exploring several styles in his own voice.
The first number (“The Mighty Sword”) was an uptempo romp with a theme reminiscent of Ornette Coleman that found Marsalis taking a fiery solo on soprano. He followed it up with a mildly funky number (“’Long As You Know You’re Living”) on which he created an intense improvisation on tenor before the pianist turned it into a ragged groove. A ballad by the Calderazzo had extensive soprano and piano solos and then came a real surprise, the 1920s obscurity “There Ain’t No Sweet Man That’s Worth The Salt Of My Tears.” Like Sonny Rollins, Marsalis enjoys taking forgotten tunes and swinging them hard as he did on this Paul Whiteman hit on tenor. Other selections included an exotic and melodic “The Ruby And The Pearl,” John Coltrane’s “26-2 (Trane’s take on “Confirmation”), and an adventurous high-energy avant-garde exploration (“Nilaste”).
` Throughout the night, Marsalis showed that he is still very much in his playing prime, Calderazzo created many rewarding statements, and Revis and Faulkner were passionate and intuitive in their support of the lead voices. There is definitely an advantage in having a regularly working group as opposed to appearing with all-star bands. The four musicians were closely attuned to each other’s playing and the result was a night of music that was inventive, surprising, and enjoyable while keeping one guessing.
BOB CROSBY
Bob Crosby (1913-93) had an odd life. The younger brother of Bing Crosby, he chose to become a singer even though he only had an average voice and there was no way that he could ever compete with his brother. Early on he gained experience singing with the orchestras of Anson Weeks and the Dorsey Brothers (1934-35) and developed a friendly stage manner and a genial personality. In 1935 when the members of the Ben Pollack Orchestra jumped ship due to Pollack’s focus on making his girlfriend into a singing star (despite her lack of talent), they were looking for a leader to front their orchestra. Their first choice, trombonist Jack Teagarden, would have been perfect except that he had signed a five-year contract with Paul Whiteman. They next turned to Bob Crosby who looked good on stage and had a magical last name. Understanding his limited role (with altoist Gil Rodin actually being the big band’s musical director), the arrangement worked out surprisingly well.
At first the Bob Crosby Orchestra’s recordings featured its leader’s vocals but, starting on Mar. 19, 1936 with “Christopher Columbus,” its instrumentals gave the band its own identity as a Dixieland-oriented orchestra. The sessions by the Bob Cats, an octet of all-stars taken out of the big band, began on Nov. 13, 1937 and were quite exciting, helping lead the way to the hot jazz revival of the 1940s. During 1936-42 such soloists as trumpeters/cornetists Yank Lawson, Billy Butterfield, and Muggsy Spanier, trombonist Warren Smith, clarinetists Matty Matlock and Irving Fazola, tenor-saxophonist Eddie Miller (who was also a very good clarinetist), and pianists Joe Sullivan, Bob Zurke and Jess Stacy, playing arrangements often supplied by their bassist Bob Haggart and Matty Matlock, and driven by drummer Ray Bauduc, made the Bob Crosby Orchestra into one of the top bands in the land.
The six-CD limited-edition Mosaic box set Classic Decca Recordings Of Bob Crosby & His Orchestra/Bob Cats (1936-1942) contains all but four of the band’s instrumentals (the easy-listening titles “Reminiscing Time,” “Speak Easy,” “Flamingo,” and “You’re A Darlin’ Devil”) and all of the Bobcats’ recordings other than the ones containing vocals by Crosby or Marion Mann. It is ironic that all of the band’s hits were numbers in which their leader was not present. Although there are occasional vocals from others (including two by Connie Boswell), Bob Crosby only sings on three out of the 144 selections included on the Mosaic release.
This massive set, which has eight previously unreleased alternate takes, contains all of the great numbers including “Gin Mill Blues,” “Little Rock Getaway,” “South Rampart Street Parade,” “March Of The Bob Cats,” “The Big Noise From Winnetka,” “I’m Free” (which was soon renamed “What’s New”), “Honky Tonk Train Blues,” “Spain,” and the underrated but memorable “Chain Gang” plus many heated Dixieland tunes. In fact, by eliminating the dance band numbers, this package features one explosive performance after another.
Bob Crosby’s Classic Decca Recordings (available from www.mosaicrecords.com) is certainly one of the top reissues of 2025.
BILL EVANS
Being a Bill Evans completist can be a full-time job. In his 22 years (1958-80) as a leader of trios, Evans made more than 100 albums, not counting the dozen or so posthumous releases produced by Zev Feldman and the many bootlegs. 45 years after his death, there is still a steady flow of “new” releases by the pianist. Considering that his style did not change that drastically once it was formed other than growing in depth and power within itself, it is remarkable how many releases there are, and that virtually all are rewarding.
Maturing during a period when Bud Powell was the dominant influence on young jazz pianists, Evans developed his own chord voicings, and gave much more freedom to his sidemen (particularly his bassists) than other pianists who led trios. By the early 1960s, he and McCoy Tyner were the major new influences on up-and-coming jazz pianists and Evans’ impact on the way that the piano is played has continued to grow since his passing.
A co-partner in his groundbreaking trio of 1959-61 was Scott LaFaro, a bassist who, in addition to his impressive technique and inventive solos, had a much larger role than most bassists in this setting. LaFaro, who often emphasized his upper register, supplied countermelodies and musical commentary behind Evans as opposed to just keeping time. Drummer Paul Motian, whose subtle playing was often felt as much as heard, was also perfect for this group. If it were not for LaFaro’s tragic death in a car accident on July 6, 1961 when he was just 25, this trio would have lasted much longer.
While the Bill Evans Trio’s extensive live recordings at the Village Vanguard of June 25, 1961 have been justly celebrated, the group also recorded two earlier studio albums: Portraits In Jazz (Dec. 28, 1959) and Explorations (Feb. 2, 1961). The recently released three-CD set Haunted Heart: The Legendary Riverside Studio Recordings (Craft 2682108) greatly expands upon the latter sessions.
Portraits In Jazz originally consisted of nine songs including such Evans favorites as “Come Rain Or Come Shine,” “Autumn Leaves,” “Spring Is Here,” and “Blue In Green.” On this new release, it doubles in size due to the inclusion of nine alternate takes, five of which are being released for the first time. Explorations had eight songs including “Israel,” “Beautiful Love,” and “Nardis.” In this package there are no less than 16 new alternate takes from that project, 11 had never been out before plus a scalar Evans piece called “Walking Up” that was not included on the album and that the pianist otherwise never got around to recording. In listening to these alternates, one not only hears the pianist searching for a satisfying approach to each number but listeners are treated to 85 minutes of “new” Bill Evans to savor. An extra bonus is the 20-page booklet which has excellent and extensive liner notes by Eugene Holley Jr.
Needless to say, Bill Evans completists will have to get Haunted Heart, available from www.craftrecordings.com.
RAHSAAN ROLAND KIRK
Imagine being able to play three saxophones at once (not just harmonizing but improvising different lines), introducing the stritch (a straight alto) and the manzello (a relative of the saxello) to jazz, mastering not only the tenor and the other saxophones but flute and clarinet, being able to play 20 minute one-breath solos via circular breathing, being bop-based yet able to perform creatively in virtually any style from New Orleans jazz to free, utilizing other instruments (whistles, gongs, and even a music box) for colorful effects, and doing all of this despite being blind. Imagine Rahsaan Roland Kirk, one of the most dazzling musicians of the 20th century.
Two recent Zev Feldman productions are comprised of previously unreleased live performances from the remarkable musician. Vibrations In the Village – Live At The Village Gate (Resonance HCD-2081) is from Nov. 26-27, 1963 and serves as an excellent introduction to his musical magic. The opener, a lengthy uptempo blues called “Jump Up And Down – Fast,” has Kirk functioning as a horn section during the ensembles and taking a very impressive stritch solo along with spots on manzello and tenor. It also features pianist Horace Parlan in top form. On Charles Mingus’ “Ecclusiastics,” Kirk sings a little and explores a few different tempos. “All The Things You Are” has Rahsaan making the case to be considered one of the top tenor-saxophonists of the time, sticking to the one horn and playing his heart out. “Laura” is a flute feature, the straight ahead “Kirk’s Delight” has Rahsaan sounding a bit like Sonny Rollins on tenor and wailing on the manzello, he plays a bit of oboe (an instrument he soon discarded) on “Oboe Blues,” and romps though the cooking “Blues Minor At the Gate.” “Falling In Love With Love” and “Three For The Festival” have a young Jane Getz sitting in on piano and sounding quite confident and inventive. In addition, bassist Henry Grimes and drummer Sonny Brown are heard throughout with Melvin Rhyne (normally an organist) playing piano on three numbers.
The two-CD set Seek & Listen: Live At The Penthouse (Resonance HCD-2080) has performances from Sept. 8 and 15, 1967 that were broadcast from Seattle’s Penthouse. Kirk is joined by pianist Rahn Burton, bassist Steve Novosel, and drummer Jimmy Hopps. After a warm version of “Alfie,” Rahsaan performs “Mingus-Griff Song” which is actually “Confirmation.” He takes manzello and tenor solos at a fast tempo, and then trades between the two instruments with only a second to switch horns, displaying two different musical personalities. A four-song medley is highlighted by Kirk’s flute playing (and brief singing) on “I Got It Bad” and his tenor on “Satin Doll” where his solo could easily pass for Paul Gonsalves. A second medley is quite entertaining with Kirk pulling out all the stops (and all of his instruments) on wild versions of “Blues For C&T,” “Happy Days Are Here Again,” and “Down By The Riverside.” The second CD is a bit more conventional but also has some highpoints. “Ode To Billie Jean” is given a funky soul jazz treatment worthy of Eddie Harris, the blues “Funk Underneath” has Kirk playing the nose flute (!), and he takes a vocal inspired by Ray Charles on “Making Love After Hours”
While the two Rahsaan Roland Kirk sets have booklets filled with interesting interviews and stories, unfortunately some of the pieces are repeated on both sets. That reservation aside, Seek & Listen is well worth picking up while Vibrations In The Village is a must. Both are available from www.resonancerecords.org.
JOHNNY HARTMAN
The classic ballad singer Johnny Hartman (1923-83) is today best known for his classic album from 1963 with John Coltrane, the two Impulse records that followed, and his later work. Some may recall his two earlier albums for Bethlehem and one for Royal Roost from 1956-58 or his contributions to Bethlehem’s massive Porgy and Bess production.
The Last Balladeer (Fresh Sound FSR-1168), a superb three-CD set from Fresh Sound, has everything else (73 songs in all) that is known to exist that features Johnny Hartman. Dating from 1947-61 (and mostly from 1947-53), it has all of his singles, his recordings with the big bands of Earl Hines and Dizzy Gillespie, and his live dates including some performances that had never before been released. Along the way, Hartman is featured with large orchestras and combos with appearances by pianist Erroll Garner, the Perez Prado Orchestra, violinist Stuff Smith, and pianist Andrew Hill (four songs from a live date in 1961). The singer is mostly heard on ballads along with occasional medium-tempo pieces. Some performances find him exploring pop material or leaning towards r&b as the record labels tried to get a hit record out of him. While they failed to get him a huge audience, Hartman’s artistry was well known to many of his fellow musicians.
The lengthy and very informative liner notes by Gregg Akkerman (author of The Last Balladeer: The Johnny Hartman Story) cannot be topped. This project (available from www.freshsoundrecords.com and www.amazon.com) which was compiled by Will Friedwald and produced by Jordi Pujol, is a perfect tribute to the singer and is highly recommended to anyone who loves Johnny Hartman’s warm baritone.
I just recently wrote my 1,000 set of liner notes. Every recording deserves informative liner notes and every jazz musician needs a well-written press biography along with press releases that announce important events. I write all of these and more at reasonable rates. Please contact me at 661-678-3542 or at scottyanowjazz@yahoo.com for further information about my services. My latest book, Jazz Through The Eyes Of A Jazz Journalist (My Jazz Memoirs) is available at www.amazon.com.
I have a new book that is available from amazon.com. Life Through The Eyes Of A Jazz Journalist. It is subtitled My Jazz Memoirs and is my 12th book and first in a few years. I discuss in an often-humorous fashion my early days and discovery of jazz, my period as the jazz editor of Record Review, the story behind my involvement with the All Music Guide, and I reminisce about some of my adventures as an amateur musician. Included are vintage interviews with Freddie Hubbard, Chick Corea, and Maynard Ferguson, encounters with Clint Eastwood, summaries of the Monterey and Playboy Jazz Festivals (including a full-length review of the 1985 Playboy Festival), memories of other events (such as the IAJE Conventions), and brief snapshots of many memorable club and concert performances. There is also background information about my other books, evaluations of the jazz critics who inspired me early on, and my thoughts on jazz criticism which includes advice to up-and-coming jazz journalists. Rounding out the book is a chapter on how the jazz writing business has changed over the past 50 years, and appendixes that include the jazz greats of the past, 86 jazz giants of today, 21 young performers to look for in the future, jazz books and DVDs that everyone should own, and a dozen enjoyable Hollywood jazz films.
Life Through The Eyes Of A Jazz Journalist, a paperback book, sells for $26 through Amazon.com Signed copies (which will take 2-3 weeks) are also available for $30 (which includes free postage) by sending the money via Pay Pal to scottyanowjazz@yahoo.com and by sending your mailing address to that E-mail.