Doug Ramsey on Jazz and other matters...
It occurred to me as I was writing the review above that I have linked to Tony Fruscella’s “I’ll Be Seeing You,” but never actually put it on Rifftides. Let’s remedy that.
Fruscella, trumpet; Bill Triglia, piano; Bill Anthony, bass; Will Bradley, Jr., drums.
Ron Miles: Quiver (enja yellow bird)
Miles’s playing on “There Ain’t No Sweet Man Worth the Salt of My Tears” draws 21st century Denver and 1928 Chicago close. Some of his flurries of wildness on this album are as daring as the work of any modern trumpeter, but the Bix Beiderbecke lyricism in Miles’s soul extends into everything he plays. With just Bill Frisell’s guitar and Brian Blade’s drums, Miles may seem to be operating lean. No, there is richness in their harmonic inventiveness and rhythmic compatibility. The nine pieces are not officially a suite, but unity of conception runs through the performances. This is a satisfying album.
Heather Masse And Dick Hyman: Lock My Heart (Red House)
With The Wailin’ Jennys and the Wayfaring Strangers and appearances on radio’s Prairie Home Companion, Heather Masse has attracted a following among folk and bluegrass fans. This album of duets with master pianist Dick Hyman discloses the jazz foundation that has long been evident in her singing. Their treatments of Strayhorn’s “A Flower is a Lovesome Thing” and Buddy Johnson’s “Since I Fell For You” are ballad perfection. In their delightful “I’m Gonna Lock My Heart and Throw Away the Key,” she manages to combine Billie Holiday and Marilyn Monroe. Hyman’s accompaniments and solos are reminders that this 86-year-old wonder is one of the most interesting pianists alive.
Miles Davis Quintet Live In Europe 1969: The Bootleg Series Vol. 2 (Columbia/Legacy)
This three-CD, one-DVD set finds the trumpeter fomenting even more dramatic change than usual. The first volume in the so-called bootleg series of Davis concert recordings found his primarily acoustic 1967 quintet already tending toward electronic music and rock. Saxophonist Wayne Shorter remains from that band. Here, the transition intensifies. Electric pianist Chick Corea, bassist Dave Holland and drummer Jack DeJohnette accelerate the shift Davis initiated with In A Silent Way. The repertoire is redolent of Davis’s Bitches Brew period. We hear the headiness, excitement and—sometimes—the aimlessness of newfound freedom. The DVD’s superb sound and picture bring the band alive.
Bill Frisell, The Disfarmer Project (La Huit)
Belgian filmmaker Guillame Dero captures the eclectic guitarist Frisell, violinist Carrie Rodriguez, guitarist Greg Leisz and bassist Viktor Krauss in a live performance set to portraits by the 1950s Arkansas photographer Mike Disfarmer. Some of the music was on a 2009 CD mentioned in this Rifftides post. Hearing it in new versions with Disfarmer’s eccentric and vaguely disturbing photos looming over the band is an adventure. Watching interaction and reaction among the quartet increases the fascination. Frisell salts his original compositions with songs by Hank Williams, Arthur Crudup and Cliff Friend.
Paul de Barros, Shall We Play That One Together? The Life and Art of Jazz Piano Legend Marian McPartland (St. Martin’s Press)
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.
Gerry Mulligan and the Concert Jazz Band, Santa Monica 1960 (Fresh Sound)
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.
Boy, I would have sworn that was Chet Baker for sure—same “take your time,” thoughtful quality to his improvisation, together with the breathy attack. Never even heard of this guy before!
Even “worse” here: It happened in late 1986 when I had no idea who the man was, and how he sounded. One of my docents hinted me to Tony, and that I should listen to him. I bought the LP, went home and put it on the turntable.
Shock! Never thought of Chet, but of a saxophone at first. I realized that it was pure Bird, delivered by a trumpet. Some of Tony’s lines remind me strongly of Charlie Parker’s moving 1946-rendition of “Lover Man”. Tony really came very close to Charlie’s alto sound, didn’t he?
Tony Fruscella was a tragic figure; his “I’ll Be Seeing You” tells us his story in music: “It’s beauty, just beauty.” (Feel free to go to my blog. The playlist (click on it opposite the photo of Red Mitchell) with “I’ll Be Seeing You” is still up; it’s sung by Mitchell, who wrote congenial lyrics to the unique trumpet solo.)
Thanks, Doug, for the posting of this beautiful solo, and to Bruno Leicht for introducing to the world, the lyrics that Red Mitchell wrote to the solo. I have been wondering about their existence ever since they were mentioned by Ira Gitler in the notes to the 80s LP reissue of the date.