2010 March 24

Correspondence: Party For John Norris

March 24, 2010 by Doug Ramsey

From Toronto, guitarist and author Andrew Scott sends news of a memorial event in honor of the influential Canadian jazz publisher and record company owner John Norris, who died in late January. Sandi Norris, Ted O'Reilly, Jim Galloway, Don Thompson and I are organizing a Jazz Party in celebration of the wonderful life of John Welman Norris on Sunday April 18th from 3:00 until 8:00 at the Hart House Music Room (at the University of Toronto). A light lunch will be provided. In addition to the … [Read more...]

Spring In The South 40

March 24, 2010 by Doug Ramsey

Apricot blossoms and daffodils. All right, it isn't 40 acres, and we don't have a mule. We'll settle for this. … [Read more...]

Bill Is Back

March 24, 2010 by Doug Ramsey

An alert Rifftides reader, Andy Rothman, sent an alert that YouTube has reinstated the Finland videos that disappeared from our Bill Evans, Relaxed And Articulate posting of May 2008. To read the reconstituted piece and view the clips, go here. Many thanks from the staff to Mr. Rothman. … [Read more...]

Doug Ramsey on Ahmad Jamal At The Winningstad
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Terence Smith on Surviving In The Book Business: An Authors Fair
"Inklings" is a great name for a bookstore and for the supporters thereof. There's a place for the electronic store and book. But not to replace ink,...
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Terence Smith on Ahmad Jamal At The Winningstad
Wish I could have been there, but this article helps me participate a little. Like a million people, my first hearing of Ahmad Jamal was the...
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Don Conner on Surviving In The Book Business: An Authors Fair
I share your feelings about the plight of the book business in this country, knowing that the instrument I'm typing on has been a major...
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Mark Mohr on Surviving In The Book Business: An Authors Fair
Just read your post "Surviving in the Book Business: An Authors Fair" with great interest. Books and independent bookstores are near and dear to...
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CD: Bob Dorough

Bob Dorough, Eulalia (Merry Lane Records)

In addition to endearing vocal performances of several of his best songs, Dorough gives listeners what may come as a surprise to many; his ingenuity as an arranger. The deceptive simplicity of “Eulalia,” the album’s sole instrumental, is one of several instances of his melody lines and the tang of his voicings giving energy and richness to a mid-sized ensemble. Dorough plays piano. Other soloists include alto saxophonist Phil Woods, bassist Steve Gilmore and Dorough’s daughter Aralee, a symphony flutist. Woods is on fire in Dorough’s gospel anthem “A Few Days of Glory” and in the classic “I’ve Got Just About Everything.” When Dorough recorded Eulalia, he was 88. His musicianship and wit were ageless.

CD: Rudy Royston

Rudy Royston, 303 (Greenleaf Music)

In his debut as a leader the young drummer from Denver (area code 303) fronts a septet of his generation’s more adventurous players. The eclecticism of the music encompasses Radiohead’s “High and Dry,” the Mozart motet “Ave Verum Corpus,” a drum feature inspired by Elvin Jones, and homage to Denver trumpeter Ron Miles. Even in “Bownze,” the Jones tribute, Royston refrains from drum exhibitionism. Throughout, he melds his work with the septet, which includes two bassists—Yasushi Nakamura and Mimi Jones, the ingenious saxophonist Jon Irabagon, Australian trumpeter Nadja Noordhuis, pianist Sam Harris and guitarist Nir Felder. Royston’s impressive compositions and arrangements provide ensemble unity.

CD: Alan Broadbent

Alan Broadbent, Heart to Heart (Chilly Bin)

Broadbent’s first solo piano album, recorded in 1991, was a highlight of Concord’s Maybeck series. He has continued to perform with a trio and with Charlie Haden’s Quartet West, but to many he is known primarily as the arranger-conductor for Diana Krall, Natalie Cole, Michael Feinstein and Paul McCartney. Producer George Fendel thought it was time for Broadbent to again record alone on a superb piano before an appreciative audience, so he presented him in the solo series at Portland’s Classic Piano store. From Haden’s “Hello My Lovely” to a blazing conclusion with “Cherokee,” Broadbent reminds us of his formidable command of the instrument, his harmonic chops and the joy he takes and gives in making music.

CD: Frank Wess

Frank Wess, Magic 201 (IPO)

The final track of the great tenor saxophonist and flutist’s final album is a lovely performance of Sammy Cahn’s 1937 standard “If it’s the Last Thing I Do,” giving the CD added poignancy. Wess died in October, 2013, after decades as one of the most respected members of the jazz generation that came to prominence after World War Two. No tempo in the album is above a medium walk, but you don’t go to Frank Wess expecting speed. You expect profundity, and that’s what you get here. As in Magic 101, his colleagues are pianist Kenny Barron, guitarist Russell Malone, bassist Rufus Reid and drummer Winard Harper. Wess’s “Embraceable You” duet with Barron is perfection.

Book: Derrick Bang

Derrick Bang, Vince Guaraldi at the Piano (McFarland)

Bang’s 2012 book is less a full-fledged biography than a comprehensive survey of Guaraldi’s career loaded with anecdotes. The pianist was a committed jazz artist who became famous through indelible identification with a major phenomenon of popular culture. Millions know him through his music for the Peanuts television specials. Yet, dedication to his work as an improvising musician lasted until the end of his life in 1976. Bang traces Guaraldi’s progress from early sideman work with Conte Candoli and Cal Tjader through his hit, “Cast Your Fate to the Wind,” to the success of the Charlie Brown soundtracks. Extensive quotes from colleagues help capture the personality that allowed Guaraldi to be simultaneously endearing and uncompromising.

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.

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