Review: Jazz Re-issues from Sonny Rollins, Clifford Brown, Max Roach, Red Garland, Art Tatum and Ben Webster

Label: Essential Jazz Classics

Released: June 2, 2009

The mid to late 50s was a near perfect time for jazz. As post-bop and cool jazz emerged from Charlie Parker's bebop shake-up, the genre's top artists were refining the sound. In a few short years, jazz would be set on its ear again by Ornette Coleman, John Coltrane and Charles Mingus among others who once again pushed the very definitions of the genre, but this period in the 50s produced some astoundingly good music even if, and perhaps because, it was perfecting the current state of jazz rather than running off to totally new horizons. Essential Jazz Classics has recently released a set of CDs that collects some of that period's best albums along with some interesting bonus material.

The Clifford Brown/Sonny Rollins/Max Roach Quintet's Complete Studio Recordings collects two classics, Clifford Brown and Max Roach at Basin Street and Sonny Rollins Plus Four. As good as Rollins is, he's simply overshadowed by Brown and Roach here as they bring much needed punch that makes these albums real standouts.

Ratings
Satriani: 10/10
Zappa: 6/10
Dylan: 7/10
Aretha: 9/10
Overall: 9/10

Art Tatum and Ben Webster's The Album features the lone studio collaboration between these two giants (and Tatum's last session before his death). The mastering doesn't do much to clean up this recording, but, while that's a shame, the bonus material featuring Tatum playing many of the same songs as a soloist more than makes up for it. The man was just a monster on the piano and it's nothing short of incredible to hear that fully exposed in this way.

Ratings
Satriani: 10/10
Zappa: 7/10
Dylan: 7/10
Aretha: 9/10
Overall: 8/10

The best known of the re-issues is Sonny Rollins' Saxophone Colossus. This Rollins classic is a great example of his smooth playing, but at times is upstaged by Max Roach's drumming. Roach is just a monster on the drums and that really makes this one a must hear album. This re-issue also includes Work Time, not considered one of Rollins' very best albums, but it certainly doesn't miss by much.

Ratings
Satriani: 10/10
Zappa: 6/10
Dylan: 8/10
Aretha: 7/10
Overall: 7/10

Perhaps the most interesting of these re-issues is Red Garland's The 1956 Trio, which features the A Garland in Red album with selections from Groovy and Red Garland's Piano. Of the four albums, I was least familiar with Garland's playing and that may be what made this album really stand out. He gets so much out of the piano and is equally dynamic on slow tunes as he is on the more upbeat material. Add some monster bass parts from Paul Chambers and it's clear why this album is worth re-issuing, particularly for those unfamiliar with Garland's work.

Ratings
Satriani: 10/10
Zappa: 6/10
Dylan: 8/10
Aretha: 9/10
Overall: 9/10

All in all, this is a fine set of re-issues, particularly for younger or more cursory jazz fans who haven't heard these great albums. All include liner notes with a lot of information that add a little education to these great listens.

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Review: John Scofield - Piety Street

Label: Emarcy

Released: March 31, 2009

Over the years, John Scofield has worked with a who's who of jazz and fusion artists. He has established himself as one of the top names in jazz guitar and is almost as well known outside of jazz circles as he is within. He's one of those artists who finds himself in the unique position of being able to try whatever he wants. While that position many times finds artists releasing ego-driven nonsense, Scofield chooses instead to make an album that is an interesting experiment, showcasing the music far more than the formidable players who made it.

Piety Street find the jazz guitarist and his band making bluesy renditions of gospel songs. More than a few times, it fails to break with the conventionality of straightforward blues, sucking much of the gospel elements he supposedly wanted to capture out of the music. However, Scofield and company more often find a place where jazz, blues and gospel sing in unison. Once or twice, it's downright amazing as on "It's a Big Army," a Scofield original that sounds like a rediscovered old-time gospel gem, but generally the album is fairly understated, illustrating the band's total trust in the music itself.

Piety Street is certainly not Scofield's best work, but it is an interesting change-up. Rather than either sticking to the tried-and-true or running off on some silly ego trip, he chooses to explore some of the music he loves even if it isn't the genre for which he's best known. He assembled a top-notch band to navigate this musical adventure with him and the result is, a few weak spots aside, a very interesting listen.

Ratings
Satriani: 10/10
Zappa: 8/10
Dylan: 7/10
Aretha: 7/10
Overall: 7/10

If you're curious about my rating categories, read the description.

Review: Trio of Doom

Label: Legacy Recordings

Released: September 30, 2008

The term "supergroup" may be popular music's greatest misnomer. Sure, supergroups are typically made up of musicians who have done some super things, but more often than not, the meeting of their superness is just not all that, well, super. So, as legendary as the meeting of Jaco Pastorius, John McLaughlin and Tony Williams may have become over the years, there's always room for skepticism.

Trio of Doom, as Pastorius called the two-time meeting of these three great musicians, is not the typical supergroup though. They formed to play a live set at the 1979 Havana Jam festival in Cuba, so it wasn't a commercial endeavor. However, they brought such great stuff to that stage that they reconvened in New York a week later and put the songs down in the studio. For whatever reason, those tapes (both from the live ad studio sets) sat around until Trio of Doom was released on CD last year. Now, they arrive in the format they were intended for in 1979.

The songs here may not be among any of the artists' top work (though likely not too far off either), but the performance is what makes this greater than the songs themselves. Pastorius brings the fierce intensity that made him such a dominant force on an instrument often kept in the background. McLaughlin's otherworldly playing is as good as perhaps it ever was. But, it is Williams' drumming that forms the common ground between these two planes and a lesser talent would let the whole set fall to pieces. The studio tracks are no more refined, expressing fusion in its truest sense with all the power and agility of a rock power trio.

So often, supergroups lose focus and power in the virtuosity of their component players, making music that limps and struggles and ultimately fizzles. Trio of Doom, on the other hand, burned brightly, intensely and quickly for a few weeks in 1979. Years later, we finally know what a supergroup really should be.

Last year, music fans received a gift that had been withheld from them for nearly 30 years with the release of Trio of Doom on CD. This year, Legacy Recordings makes that gift even sweeter with this beautiful 180 gram vinyl issue.

Ratings
Satriani: 10/10
Zappa: 8/10
Dylan: 6/10
Aretha: 9/10
Overall: 8/10

If you're curious about my rating categories, read the description.

Found in the Shuffle: Eric Dolphy - Gazzelloni

Song: Gazzelloni
Artist: Eric Dolphy
Album: Out to Lunch

It is a testiment to both the Beastie Boys' greatness and my stupidity (not to mention my short-term memory loss) that when this song began, I thought it was one of the Beastie's instrumental tracks. Eric Dolphy was an incredible musician, and if you think flute is lame, just listen to what he does on this song.

Review: Charles Mingus - Mingus Ah Um (Legacy Vinyl Re-Issue)

Label: Sony Legacy

Released: September 16, 2008 (originally released in 1959)

"Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity."
 - Charles Mingus

These aren't just words from Charles Mingus. He didn't always manage to make things simple, but one of the many amazing things about Mingus Ah Um is that he took this incredibly challenging jazz, in perhaps its creative heyday, and made it as easy as pop music. That's not to say that he dummied it down. He didn't. He did exactly what he said, made the the complicated awesomely simple. What that means is that it's as easy as a pop record, but the ride is as fascinating and wild as Mingus' later more "difficult" albums. Pop stars of the day, like Sinatra or Nat King Cole, were pleasant, easy to digest artists while guys like Ornette Coleman and John Coltrane were pushing the limits of music as it was known at the time. Mingus Ah Um doesn't split the difference between those two schools, but rather fully accomplishes the goals of both, something that may not have happened again in popular music until Revolver and Sgt. Pepper almost a decade later. It set a standard for pop music to explore, to be avant-garde, and rock music in particular owes a tremendous debt to that spirit.

As great as Mingus Ah Um is, I've only ever heard it on CD until now. Legacy Recordings has re-issued this classic on 180 gram vinyl and it's like hearing the album for the first time. Its already abundant warmth is warmer and the sound more natural. If you own the CD, this is the perfect time to pick up the vinyl and really hear it the way it was meant to be heard.

Ratings
Satriani: 10/10
Zappa: 10/10
Dylan: 10/10
Aretha: 10/10
Overall: 10/10

If you're curious about my rating categories, read the description.

Review: The Drift - Ceiling Sky

Label: Temporary Residence Limited

Released: November 6th, 2007

You shouldn't need this CD. After all, you should already have all of the Drift's albums and you should definitely have them on vinyl. However, if you've missed either boat, the kind folks at Temporary Residence feel bad for you and have released this collection of The Drift's non-CD tracks.

For those not familiar with the Drift, their music is a near perfect mix of ambient rock and free jazz, the former giving the latter a huge landscape on which to expand. This isn't some esoteric experiment, although lovers of art as experimentation can find plenty to painstakingly uncover here. The Drift can just as easily be taken passively. If music is a story, the Drift is the setting. That leaves the plot to the listener who can be as active or passive as they'd like in that role.

If this is your first taste of the Drift, you'd be best off checking out Noumena or their fantastic new Memory Drawings LP (with vinyl bonus tracks not on this CD) first, but you'll soon see that these tracks are every bit as essential.

Ratings
Satriani: 10/10
Zappa: 8/10
Dylan: 8/10
Aretha: 8/10
Overall: 8/10

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Review: Mars Hill - Fate Chance Luck Dance

Label: Sandbar Music

Released: May 2006

According to Mars Hill's Myspace page, they are "one of the most original and finest bands of the 21st century" and they are "genre-defying." The former is beyond a stretch. No offense, but they aren't even close. The latter, however, is pretty accurate.

The list of genres touched significantly by Mars Hill is longer than most bands' list of even their most remote influences. Over the course of the album, they hit jazz (of the good and bad variety), hip-hop, Spanish, cabaret, reggae, dance, soul and, of course, rock. Among those who try to bring in disparate influences, few bands can take a list that long and maintain their own sound throughout. Careful arrangements manage to make this album homogeneous, but the actual songwriting and performance lack life as if the experiment couldn't quite be brought to full fruition. To be fair though, the lounge angle is a part of their shtick and adding more personality to the songs may have compromised that.

Their talent as players is generally pretty evident, particularly in the rhythm section that really drives the album to the extent that it is driven. The vocals range from laid-back, spoken style, reminiscent of Damon Albarn's work in Gorillaz, to well-cadenced hip-hop to an ethereal female soprano usually appearing in a backup role. Keys, guitar and horns act more as accents. The production doesn't keep the elements separate, but also fails to fill out the sound. They're really not far off target; they just fall a little short of what could have been.

There are thousands of cover bands out there that can morph their sound into any genre on command, but there are not nearly so many that can incorporate all of those genres into a single sound. While Mars Hill doesn't quite nail everything, they do come pretty close, so close in fact that they may be poised for an outstanding follow-up to this good, but not great, album. It's not essential, but it's worth a listen if you're looking for a band that's going in a new direction and doing an admirable if imperfect job rather than making a shambles of it.

Rating: 6/10

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