2011 August 07

The Miles Español Project

August 7, 2011 by Doug Ramsey

Blogging here has slowed in the past few days and may not pick up markedly for a few more. The Rifftides staff is on deadline for an historical essay to accompany Bob Belden’s Miles Español film project. The research has had to be deeper, wider and more intense than I imagined when I said yes to the assignment. No regrets, though. A few years ago, William Zinsser wrote an inspirational book called Writing to Learn. I thought I knew a thing or two about the subject at hand, but as I write this, … [Read more...]

David on Other Matters: Lilac Time
For an interesting interview with Junior, go here: http://www.jazzwax.com/2011/01/interview-junior-mance-part-1.html Note that to get to parts 2&3 you have to scroll back to the link...
Posted Apr 16, 2014
Todd on Compatible Quotes: Don Ellis
Yeah, the quote in the middle is a badass one. That kinda makes an elite audience and a level-up appreciation of the music as art.
Posted Apr 16, 2014
dick vartanian on Other Matters: Lilac Time
What a wonderful piano player. I had completely forgotten him. Somewhere in my collection I have an album of his from the fifties but I...
Posted Apr 16, 2014
Jodi Burnett on Other Matters: Lilac Time
Thank you for this post, Doug. It brought back so many good memories for so many reasons. My mom, Irene Kral was a huge lilac...
Posted Apr 16, 2014
Wayne Tucker on Other Matters: Lilac Time
Seeing the lilac title today immediately brought to mind my favorite Jimmy Rowles album. I believe "Lilac Time" (1994 on Kokopelli Records) combines Jimmy's incomparable...
Posted Apr 16, 2014

Monday Recommendation: The Girls In The Band

The slow acceptance of women as jazz artists is a microcosm of the larger struggle for equality of females in society. For decades, women jazz performers were largely relegated to ghettos

known as all-girl bands. Today, increasing numbers of gifted women jazz artists are accepted on an equal footing with men. The Girls In The Band, created with skill, sensitivity and documentary professionalism, is the story of the women who opened the way. There were, and are, many more of them than the handful who became household names. This moving film produced by Judy Chaikin should be experienced by anyone concerned with music—and with human progress. It is winning awards all over the place, and no wonder. It is not yet on DVD. To see a clip, and for information about screenings, go here.

CD Recommendation: The Keynote Box

The Keynote Jazz Collection 1941-1947 (Fresh Sound)

The Keynote records produced by Harry Lim trace jazz as it evolved from traditional through swing and bebop. The 11 CDs in the set begin in New Orleans with George Hartman’s trad band. By the time they end, the listener has spent time with a wide cross section of the decade’s best musicians, including Lester Young, Coleman Hawkins, Lennie Tristano, Red Rodney, Dinah Washington, Shorty Rogers, Sid Catlett, Dodo Marmarosa and dozens of others. Among the rarities: a 1945 Horace Henderson octet session and the Dave Lambert-Buddy Stewart bop vocalese recordings. The 124-page book with the discography and the story of Keynote is packed with photos. At last, we have all of the invaluable Keynote sides in a comprehensive, organized, beautifully produced box set. This is a major jazz event.

CD Recommendation: Cava Menzies/Nick Phillips

Cava Menzies/Nick Phillips, Moment To Moment (NPM)

Although Pianist Menzies and trumpeter Phillips make judicious embellishments in the ballads of this enchanting collection, their operating principle seems to be adoration of the melody. The tempos are slow, the harmonies rich, bassist Jeff Chambers and drummer Jaz Sawyer finely tuned to the leaders’ wave length. The quartet illuminates standards including “The Peacocks,” For All We Know,” “You Don’t Know What Love Is,” “Speak Low” and Kenny Barron’s “Phantoms.” Phillips’ C-minor musings on his composition “You” and Menzies’ touch and folkish harmonies on her “Mal’s Moon” are highlights, far from the only ones. By day, she’s a music teacher. He’s an executive at Concord Music. The quality of this collection makes it unlikely that it will be their last one.

CD Recommendation: Bill Kirchner

Bill Kirchner, Lifeline (Jazzheads)

In 2008, I initiated an occasional series called Medium But Well Done. It highlights the accomplishments of groups bigger than combos but smaller than big bands. Introducing it, I wrote, “Six to eleven pieces allow arrangers freedom that the conventions and sheer size of sixteen-piece bands tend to limit.” There is no better recent illustration of that proposition than this release by Bill Kirchner’s Nonet. His arrangements of pieces by composers including Wayne Shorter, Cole Porter, Denny Zeitlin and Kirchner himself show that a skilled writer using what some might consider a limited palette can achieve excitement, expansiveness and an impressive range of tonal colors. His adventurous three-part “Lifeline Suite” is an important contribution to the literature of mid-sized bands.

CD Recommendation: Anton Schwartz

Anton Schwartz, Flash Mob (AntonJazz)

The front-line blend of the leader’s tenor saxophone and Dominic Farinacci’s trumpet may recall Hank Mobley and Kenny Dorham, but if this is hard bop, its 21st century attitude is Schwartz’s own. His compositions have a distinctive quality that incorporates disparate harmonies and rhythms. “Pangur Ban” could be a down home Irish reel, if there is such a thing. “Swamp Thang” has overtones suggesting that the swamp in question is on Georgia or southern Florida tribal land. Thelonious Monk’s and Kenny Clarke’s “Epistrophy” and Dorham’s “La Mesha” are interesting for Schwartz’s special treatments, but his 10 originals hold their own in that distinguished company. He and Farinacci play beautifully throughout. Pianist Taylor Eigsti, bassist John Shiflett and drummer Lorca Hart are an impressive rhythm team.

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.

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