Oops, Part 3

CD: Jeremy Steig, Featuring Denny Zeitlin

Jeremy Steig, Flute Fever (International Phonograph)

The Rifftides campaign for a reissue of the 1963 debut recording of flutist Jeremy Steig and pianist Denny Zeitlin got underway with this observation in a 2005 post:

On Sonny Rollins’s “Oleo,” each of them solos with ferocious thrust, chutzpah, swing and—one of the most challenging accomplishments in jazz—a feeling of delirious freedom within the discipline of a harmonic structure.

Fifty years after it appeared, Flute Fever remains one of the finest albums of the second half of the twentieth century, regardless of genre. At last, it is a CD, but Columbia ceded the honor to someone else. Kudos to Jonathan Horwich and International Phonograph. The reproduction of sound, packaging and artwork is flawless. This is a basic repertoire item.

CD: Ivo Perelman, Matthew Shipp

Ivo Perelman, Matthew Shipp, Whit Dickey, Gerald Cleaver, Enigma (Leo Records)

Perelman, a Brazilian living in New York, is a tenor saxophone virtuoso who does not allow standard jazz operating procedure to dictate his approach. In other words, he plays free jazz. His frequent partner is pianist Matthew Shipp, whom the critic Neil Tesser has identified as Perelman’s “blood brother.” The two record together so often —I count 12 albums in the past two years—that keeping up with them could be a sub-specialty. Enigma finds Perelman and Shipp with no bassist and two drummers, Whit Dickey and Gerald Cleaver. Listeners open to this music penetrate thickets of ideas, emotions and internal rhythms. Rewards for attention and patience are intensity, drama, humor and stretches of surprising lyricism.

Book: Terry Teachout On Ellington

Terry Teachout, Duke: A Life Of Duke Ellington (Gotham)

Teachout takes readers as close as it may be possible to come to Ellington’s thought processes about his music, about himself and about other people. A charming deflector of inquiry into his compositional techniques, his opinions and his motivations, Ellington was his own most closely guarded secret. Teachout applies his formidable research and narrative skills to parallel stories: Ellington’s relationships with family, friends, sidemen, managers and the music establishment; and how he developed himself into the originator of works whose mysteries defy musicological analysis. Passages describing recordings are all but guaranteed to send serious listeners to their music collections. Thus, hearing the evidence can make reading this remarkable biography a long and rewarding experience.