Warne Marsh & Kenny Drew In Copenhagen (Storyville). Recorded in 1980, Marsh–a tenor sax master of subtlety and liquid imagination–plays in a quartet with Drew, one of the brightest graduates of Bud Powell’s college of bebop piano knowledge. Marsh has a few “oops” moments in note choices, but hearing him think his way out of them is part of the fun. This CD has one of Marsh’s most stimulating explorations of “Star Eyes,” a song that inspired him for decades.
The Vanguard Jazz Orchestra, Monday Night Live At The Village
Vanguard (Planet Arts). In a continuum that started with Thad Jones-Mel Lewis and ran through the Mel Lewis Jazz Orchestra, the VJO carries on a solid tradition of elevated musicianship, unfettered swinging and good, clean fun. Imperishable arrangements by Jones, Bob Brookmeyer and Jim McNeely provide extended opportunities for the band’s galaxy of soloists. Among the players are Dick Oatts, Terell Stafford, Scott Wendholt, John Mosca, Rich Perry, Ralph Lalama, Gary Smulyan and McNeely.
Reptet, Chicken Or Beef? (Monktail). The method in their madness 
is sometimes concealed in over-the-top shenanigans, but there’s plenty of artistry, discipline and technique in this second CD by the Seattle sextet. They meld a wild combination of musical ingredients into tight arrangements that in some of their more structured moments recall the combo writing of Rod Levitt, in others jump bands of the early forties and, in many, nothing but Reptet.
Gloria Cheng, Piano Music of Salonen, Stucky, and Lutoslawski (Telarc). Cheng specializes in music of twentieth and twenty-first
century composers. Her brilliant playing of Witold Lutoslawski’s 1934 sonata discloses his early inspiration in the impressionistic lyricism of Ravel and Debussy, a revelation to me. Steven Stucky’s and Esa-Pekka Salonen’s pieces–written in recent years–in turn show their debts to Lutoslawski. Cheng soars through these demanding compositions with touch, articulation and dynamics that may overcome any resistance you have to contemporary “classical” music. The deftness and feeling she brings to the “Chorale” section of Salonen’s Three Preludes reminded me of something. I dug out The Gary McFarland Orchestra with Special Guest Bill Evans from 1963 and listened to “Night Images.” Sure enought, the moods, if not the styles, of Salonen’s and McFarland’s pieces complement one another perfectly. It’s all music, folks.
For previous entries in this Recent Listening series, go here and here.
The nonagenarian pianist presented de Barros with every biographer’s hope, unrestricted access to his subject’s personal papers and nearly unrestricted access to her private thoughts. He made the most of it, turning exhaustive research and hundreds of hours of interviews into a true story with the sweep of a novel. From the early discovery of McPartland’s musical gift through her wartime service, her ecstatic and stormy marriage to Jimmy McPartland, her growth as a pianist, her deep affair with Joe Morello, and the radio show that made her a national figure, she has had a fascinating life. It makes a splendid read.
Mulligan’s Concert Jazz Band had three fewer musicians than most big jazz outfits. Its size permitted precision, flexibility and subtlety, yet the band had the power of sprung steel. In this concert from a half century ago, the CJB is as fresh as yesterday. Arrangements by Mulligan, Bob Brookmeyer, Al Cohn and Johnny Mandel set standards to which big band writers still aspire. Bassist Buddy Clark and drummer Mel Lewis inspired Mulligan, Brookmeyer, Conte Candoli, Gene Quill and Zoot Sims to some of the best soloing of their careers. This beautifully produced issue of the complete concert is a basic repertoire item.
Many thanks for the tip on the McFarland/Evans CD. I’m always on the look out for fine examples of McFarland’s work. And I’m always up for the VJO too