Terry Gibbs Dream Band
Vol. 7: The Lost Tapes, 1959
(Whaling City Sound)
Terry Gibbs, who recently turned 100, has had quite a musical life. One of the greatest jazz vibraphonists of all time, he was a bit of a child prodigy; a radio broadcast exists of him playing classical music in the 1930s when he was a young teenager. He gained fame as a key soloist with Woody Herman’s Second Herd in the late 1940s, worked with Benny Goodman, led his own groups for 70 years, headed the house bands on the television shows of Regis Philbin and Steve Allen, co-led an exciting quintet with clarinetist Buddy DeFranco, and recorded more than 50 albums as a leader.
During 1959-62, he led the Terry Gibbs Dream Band in Los Angeles which included some of the top jazz players on the West Coast. In the liner notes to his recently released Vol. 7, Gibbs tells the full story behind the unlikely big band. They made four albums that came out during the era while five others (including this new one) were released decades later. Vol. 7 (a series that includes reissues of two of the original four) consists of music that was recently discovered.
These live performances from three different occasions in 1959 are very well recorded (thanks to engineer Wally Heider) and consistently exciting. Most of the selections are taken uptempo and there are solos along the way from the likes of trumpeters Conte Candoli and Stu Williamson, trombonists Carl Fontana and Bob Burgess, altoists Joe Maini and Charlie Kennedy, tenor-saxophonists Bill Perkins and Bill Holman, pianists Lou Levy and Pete Jolly, and of course Gibbs. However it is the ensembles that are most stirring along with the enthusiasm and brilliance of the leader.
The 16-piece orchestra primarily performs swing era standards such as “Back Bay Shuffle,” “After You’ve Gone,” “I’m Getting Sentimental Over You,” “Softly As In A Morning Sunrise,” “Don’t Be That Way,” “Opus One,” “Cottontail,” and “Flying Home.” Many of the renditions are fairly brief, clocking in around three minutes apiece although, on six of the 18 numbers, Gibbs gave his sidemen an opportunity to stretch out a bit more (5-7 minutes).
This was a classic orchestra, one that fortunately is now possible to enjoy on nine albums. Vol. 7: The Lost Tapes, 1959 (available from www.whalingcitysound.com) is a major find and a reminder about just how inspiring Terry Gibbs always was as a vibraphonist and a bandleader. If only he could be coaxed out of retirement to bring his vibraphone out of storage and play for us one more time!
Jason Moran
From The Dancehall To The Battlefield
(Yes)
This is a most unusual tribute to James Reese Europe (1881-1919). A very significant contributor to African-American culture as a bandleader, arranger-composer, and fighter for civil rights, Europe organized the Clef Club (a society for African-Americans in the music business), led a large orchestra for a groundbreaking 1912 Carnegie Hall concert, and recorded eight fascinating recordings during 1913-14 which range from adaptations of classical themes to a ragged type of ragtime that included some group improvising. During World War I, he enlisted, fought in Europe as a second lieutenant, and led a highly influential band that toured France and helped to introduce jazz overseas. Back in the U.S. in 1919, his orchestra recorded 16 jazz-oriented numbers before his untimely death.
On From The Dancehall To The Battlefield, pianist Jason Moran does not make any attempt to do a strict recreation of Europe’s music except in short segments. He leads a ten-piece band comprised of trumpet, two trombones, clarinet, alto, tenor, tuba, electric bass, drums and his own piano. The music, which pays tribute to Europe’s work during World War I, is both respectful and quite adventurous. At times it sounds as if Moran was playing along in his modern style over vintage recordings, and on other occasions it sounds like a heavenly fantasy in which Europe shifts unpredictably between his pre-1920 style and the avant-garde.
There are stretches (particularly the first part of “Russian Rag” before it purposely disintegrates, sections of “Ballin’ The Jack” and “Darktown Strutters Ball,” and all of “That Moaning Trombone”) where the band sounds credibly like an early jazz-tinged orchestra. Also quite interesting are a funeral combination of “Flee As A Bird” and Albert Ayler’s “Ghosts,” an eccentric version of “St. Louis Blues” that never really gets to its main theme, and a drastically modernized revival of “Castle House Rag.” The concluding “For James,” one of three Moran originals, is a bit touching, especially when seen live.
If one comes to From The Dancehall To The Battlefield with no expectations of hearing James Reese Europe’s music played straight (and knowing that it includes some of Moran’s trademark utilization of repetition), there are plenty of worthy surprises to be enjoyed during this heartfelt and unique tribute. Hopefully this CDs release will lead some listeners to explore Europe’s original recordings. It is available from www.amazon.com.
Graham Dechter
Major Influence
(Capri)
A superb bop-oriented guitarist, Graham Dechter has been an important part of the jazz scene in Southern California ever since he joined the Clayton-Hamilton Jazz Orchestra when he was 19. Along the way he has worked with such notables as Regina Carter, Bill Charlap, Kurt Elling, Roberta Gambarini, Benny Green, Roy Hargrove, Jimmy Heath, Russell Malone, Wynton Marsalis, James Moody, Clark Terry, Phil Woods and many others.
Major Influence features a quartet for which it would not be inaccurate if it was called the Los Angeles Jazz Greats. Dechter is joined by pianist Tamir Hendelman, bassist John Clayton and drummer Jeff Hamilton. The same musicians had come together for Dechter’s first two albums as a leader: Right On Time and Takin’ It There.
The passionate guitarist is mostly in the lead although there are also fine solos from his three sidemen along the way. Of the eight songs, all but “Pure Imagination” are Dechter originals. “Orange Coals” (a blues with a bridge), the calypso-inspired “Reference,” and the atmospheric “Major Influence” lead off the album. The swinging “Moonithology” is based on the chord changes of “How High The Moon” and “Ornithology.” The second half of the set consists of the hard bop strut “Minor Influence,” a slow and tasteful “Pure Imagination” (which has a notable Hamilton drum solo using brushes), the rhythm changes of “Bent On Monk,” and a rapid minor blues (“Billy’s Dilemma”).
Straight ahead jazz fans should go out of their way to pick up Major Influence and enjoy the playing of Graham Dechter and his notable sidemen. It is available from www.caprirecords.com.
Diego Figueiredo
I Love Samba
(Arbors)
The best jazz artists make it all sound so easy and natural. Brazilian guitarist Diego Figueiredo is such a melodic and accessible player that, when listeners hear him play, they do not automatically think about the complexity of his chord voicings, the originality of his sound, or his ability to improvise new melodies. It just sounds like beautiful music.
On his latest recording, I Love Samba, Figueiredo is joined by bassist Nilson Matta, drummer Duduka de Fonseca and, on the opening number, flutist Itai Kriss. The guitarist contributed all 13 compositions which include delightful melodies performed at a variety of tempos including tributes to Manhattan, Ipanema, Baden Powell and Luiz Bonfa, and even a free improvisation, “Random.” Figueiredo’s sidemen play with great subtlety and add to the set’s color although this is very much the guitarist’s showcase.
Diego Figueiredo’s recordings do not need much analysis. They are quite appealing, creative, and make for enjoyable listening experiences. I Love Sambas (available from www.arborsrecords.com) is no exception.
Secret Six Jazz Band
Fireworks
(Self-Released)
One of the best regularly working bands in New Orleans, the Secret Six Jazz Band was formed a few years ago soon after the pandemic hit. Their personnel changes now and then. The advance copy of Fireworks that I received does not list the personnel at all but a little bit of research reveals that it has Zach Lange or Nathan Wolman on trumpet, Haruka Kikuchi or Nathan Wolman on trombone, Jory Woodis or Craig Flory on clarinet, banjoist Hunter Burgamy, bassist John Joyce, and Dene “Dizzy” Incirlioglu on washboard.
Their enjoyable recording includes such vintage songs as “Fireworks,” the Tommy Dorsey hit “Marie” (which features some group vocalizing), Paul Barbarin’s “Give It Up,” “London Cafe Stomp,” “The World Is Waiting For The Sunrise,” Roy Palmer’s rarely played “Trombone Glide,” and Joe Marsala’s “Don’t Let It Go” which serves as a perfect closer. Despite the inclusion of a few later numbers, the Secret Six Jazz Band sounds very much like a New Orleans band from 1928-29 that was transplanted to Chicago. There are occasional vocals by band members (as Eddie Condon would say, “they don’t hurt anyone”), plenty of hot solos, and uncrowded ensembles that generate the right amount of heat.
All New Orleans jazz fans should discover the Secret Six Jazz Band. Fireworks, arguably their finest recording, is available from www.secretsixjazzband.com.
Chet Baker
Late Night Jazz
(Hot Club Records/Elemental)
Chet Baker (1929-88) had the potential to have a charmed life. Very popular in the 1950s due to his warm middle-register trumpet solos and vulnerable-sounding romantic vocals, Baker seemed destined for at least a part-time career in the movies. But his addiction to heroin (along with some busts) short-circuited that possibility. He had an up-and-down life, particularly in the 1960s when he recorded some gems but also lost some of his teeth in a fight that eventually resulted in him being musically inactive for a few years. He made an unexpected comeback in the 1970s and spent most of his last decade living and playing in Europe. Despite his difficulties, Baker was actually playing very much at his prime (topping his work in the 1950s) during his better days in Europe before an accidental death cut short his life.
Baker passed away in Amsterdam on May 13, 1988. The previously unreleased music on the two-Lp set Late Night Jazz was recorded less than three months earlier, during Feb. 17-18. Baker is joined by guitarist Philip Catherine, pianist Egil Kapstad, and bassist Terje Venaas. Catherine was a favorite of the trumpeter’s and had recorded several memorable pianoless trio albums with Baker.
Late Night Jazz has Baker performing nine standards (three alternate takes are also included), a Norwegian folk song, and three originals by Kapstad, one of which is a catchy medium-tempo blues. Baker sings on a slower-than-usual version of “How High The Moon” but otherwise this is an instrumental set.
Due to the inclusion of the piano, the ensembles are fuller and a bit more conventional than on the earlier Catherine trio sets. Baker is in excellent form during a program of mostly relaxed music played at slower tempos although he takes some heated double-time runs along the way. Catherine displays his versatility, sometimes distorting his tone a little while always coming up with thoughtful statements. Kapstad proves to be equally skilled as an accompanist and a soloist while Venaas is solid in his support of the lead voices.
The well-recorded music on this attractive gatefold twofer, which includes a 12-page photo-filled booklet, is a must for Chet Baker fans. It is available from www.elemental-music.com and www.amazon.com.
George Kahn
Holiday Soiree
(Playing Records)
Veteran pianist-arranger-bandleader George Kahn recently released one of the first new holiday jazz CDs of this season. His wide-ranging set includes inventive versions of Yuletide favorites (including “White Christmas,” “Jingle Bells” and “Merry Christmas Baby”), a few originals (such as a jubilant “Boogie Woogie Christmas Baby”) and some surprises.
While Kahn plays piano and there are solos along the way from guitarist Grant Geissman, Robert Kyle (tenor, soprano and flute), and trumpeter Kris Bergh, the focus is on the consistently delightful singing of Courtney Lemmon, Gina Saputo and Crystal Starr. The vocalists have their individual features but it is when they interact with each other and sing together that the music is particularly memorable. Each of the singers has an attractive voice, they swing, and they blend together very well, operating as equals. Their version of “White Christmas,” which is very much in the 1950s Xmas jazz tradition, is one of the highpoints of this fun set.
While a couple of the pieces (“My Favorite Things” and a medley of “All Blues” and “Shake Your Body”) stretch the repertoire a bit, they are also filled with the spirit of the season. Holiday Soiree, which is available from www.jazzandbluesrevue.com, serves as an ideal soundtrack for a holiday-based party.
Klas Lindquist
Handle With Care
(Yellow Car Records)
Following up on the success of his nonet album Alternate Sources Of Energy, Swedish altoist Klas Lindquist is showcased in a quartet on Handle With Care. Considered one of Sweden’s top saxophonists, Lindquist’s playing is boppish, his tone at times recalls Phil Woods , and he is an excellent improviser.
On Handle With Care, Lindquist is joined by a top-notch rhythm section comprised of pianist Leo Lindberg, bassist Niklas Fernqvist, and drummer Daniel Fredriksson. They dig into ten standards (mostly well-known tunes other than “The Man With A Horn” and “Sweet Pumpkin”) and two of the leader’s originals including the warm ballad “Bernadette.”
While his playing on Handle With Care is very much in the jazz tradition, there are plenty of subtle surprises heard along the way along with fresh ideas. Lindquist’s playing is particularly rewarding on “My Old Flame,” “Tea For Two,” “Stardust,” and “The Days Of Wine And Roses” although he takes fine solos on each of the selections.
Klas Lindquist is well worth discovering by American jazz listeners. Handle With Care is available from www.klaslindquist.com.
Black Artist Group
For Peace And Liberty
(Wewantsounds)
The Black Artist Group (B.A.G.) was St. Louis’ equivalent of the Art Ensemble Of Chicago during 1968-72. Originally a large collective of musicians, dancers, actors and poets, due to a variety of circumstances including shrinking financial support, by 1972 it had become a quintet of avant-garde jazz musicians. The group traveled to Paris where it had strong success for a time before breaking up.
Relatively few recordings exist of the Black Artist Group other than a single album released on the group’s short-lived BAG label from 1973 and a few obscure dates in which the quintet is joined by additional personnel. The recent discovery of the music now released for the first time on For Peace And Liberty is a major event.
The Black Artist Group consisted of altoist Oliver Lake, trombonist Joseph Bowie, both Bakida E.J. Carroll and Floyd LeFlore on trumpets, and drummer Charles “Bobo” Shaw.” While the musicians also play other instruments (particularly percussion), it was essentially comprised of four horns and drums which is still an unusual instrumentation. Other than LeFlore, who returned to St. Louis a few months after this concert and primarily worked locally from then on, each of the then-young musicians would have important solo careers.
For Peace And Liberty, which is reasonably well recorded, is a live radio broadcast that, while divided on the CD into six parts, is 36 minutes of continuous music. It begins and ends with the group playing percussion, has plenty of free-form blowing, and holds one’s interest. Occasionally a melodic idea will pop up and be briefly explored before the group moves on. The music is ensemble-oriented with the musicians constantly reacting to each other’s spontaneous ideas.
For Peace And Liberty rewards repeated listenings and its excellent liner notes (which include statements from the surviving musicians and some of their relatives) add to the set’s value. It is available from www.wewantsounds.com and www.amazon.com.
Daydream
Duke & Strays Live
(Corner Store Jazz)
It is usually intriguing hearing musicians associated with the avant-garde exploring vintage jazz pieces. While pianist Steve Rudolph often performs swinging music, bassist Drew Gress and drummer Phil Haynes are best known for their contributions to some very adventurous sessions through the years.
However the trio’s interpretations of songs by Duke Ellington and/or Billy Strayhorn on this double-CD, while being a bit left of center, fit well into the tradition. Recorded at a live concert, the musicians stretch out on a dozen songs. They perform such ballads as “African Flower,” “Single Petal Of A Rose” and “Lotus Blossom,” and swinging renditions of “Perdido,” “U.M.M.G,” and “Rockin’ In Rhythm.” While paying respect to the melodies, they make no attempt to recreate Duke Ellington’s versions and the musicians toss in a few surprises. On the closing “Take The ‘A’ Train,” they begin at a slow-medium pace and then gradually and purposely speed up the tempo until it is quite rapid. At other times, they stretch the songs a bit, and the opening “African Flower” is given a rather exotic introduction before the theme emerges.
Daydream is well worth several listens, as is virtually all music associated with Duke Ellington and Billy Strayhorn. It is available from www.cornerstonejazz.com.
April Aloisio & Joanie Pallatto
April & Joanie Sing!
(Southport)
April Aloisio and Joanie Pallatto have both had strong solo careers. Aloisio has long had a love for Brazilian music while also developing into a stimulating jazz singer while Pallatto, who co-runs the Southport label with her husband pianist Bradley Parker-Sparrow, has always been open to a wide variety of styles and approaches. The two Chicago-based singers have guested on each other’s albums at times along with occasional sets by instrumentalists.
April & Joanie Sing is a compilation of some of their joint appearances through the years, dating from 1986-2024. The music ranges from the boppish “Live,” and “Have A Merry Christmas” to an Afro-Cuban transformation of “It Ain’t Necessarily So,” “Samba Do Soho,” some World Music, and some fairly free improvising.
The two singers are quite complementary and their colorful interplay with each other is the main reason to acquire this set. Each song on the CD also features an instrumentalist including guitarists Fareed Haque (heard on the two most recent pieces) and Tomas de Utrera, the late great violinist Johnny Frigo, singer-pianist Bob Dorough (Frank Foster’s “Simone” which has lyrics by Pallatto), trumpeter Brad Goode, and pianists King Fleming and Bradley Parker-Sparrow. Howard Levy also helps out on harmonica and piano, and Michael Franks’ “Antonio’s Song” includes a large string section.
April & Joanie Sing is a tribute to the two singers’ longtime friendship, their versatility, and their abilities to sound like themselves no matter what the style or setting. It is available from www.chicagosound.com.
Steve Davis
We See
(Smoke Sessions)
This all-star jazz date is predictably excellent. Whenever one gathers together a group of this caliber (with leader-trombonist Steve Davis, trumpeter Eddie Henderson, tenor-saxophonist Ralph Moore, pianist Renee Rosnes, bassist Essiet Essiet, and drummer Lewis Nash), the biggest surprise would be if the resulting music were not brilliant.
The all-star sextet performs six jazz standards plus Larry Willis’ “To Wisdom, The Prize.” With the exception of Moore’s feature on “Ask Me Now,” each selection gives the three horns and Rosnes (plus occasionally bassist Essiet) an opportunity to solo. Among the highpoints are “Milestones,” “We See” and lengthy versions of “Up Jumped Spring’ and “Star Eyes.” But in reality there are no slow moments on this set with all of the musicians playing up to their usual high level. Of particular note is that trumpeter Henderson, who was 83 at the time, sounds quite ageless and could pass for 50.
Those who love modern straight ahead jazz and hard bop will want to pick up this “predictably great” set which is available from www.smokesessionsrecords.com.