Archives for September 13, 2013

Warren Wolf, Wolfgang (Mack Avenue)

In a succession of vibraphonists that began with Lionel Hampton and Red Norvo, Wolf has come into his own. His new album finds him with one rhythm section of veterans—pianist Benny Green, bassist Christian McBride and drummer Lewis Nash—and another of young musicians from his own quartet. He and the increasingly impressive pianist Aaron Diehl play duets on two pieces. With Wolf on marimba, the two defy categories in variations on the 19th century trumpet chops buster “The Carnival of Venice.” In “Wolfgang” and “Grand Central” (unrelated to the John Coltrane piece of that name) Wolf the composer writes straightforward melodic invention that is also a hallmark of his soloing. His improvisation on “Frankie and Johnny” is a bluesy joy.

David Friesen, Brilliant Heart (ITM Archives)

In this collection of chamber music improvised on original themes, bassist Friesen commemorates an adult son who died in 2009. His “Scotty” is an unaccompanied bass solo incisively intoned and infused with a deep sense of loss. In much of the rest of the album, the pleasure of discovery dominates as Friesen interacts with pianist Greg Goebel and drummer Charlie Doggett and, on some tracks, guitarist Larry Koonse. The piano trio piece “Purple Painting,” at once blissful and energetic, gets its title from the work by Scotty Friesen that serves as the CD cover. “Sailing” is a bracing counterpoint encounter among Friesen, Goebel and Koonse, “Painting The Blues” a heart felt meditation on the younger Friesen’s artistry.

Lester Young, Boston 1950 (Uptown)

If it has been too long since you’ve listened to Lester Young, say a couple of weeks, this collection of club performances could be just what you need. The tracks are from radio broadcasts when Young’s quintet was appearing at Boston’s Hi-Hat in the spring of 1950. He may not have been the Lester of the late 1930s Count Basie band, but the exuberance and ingenuity of his playing counter claims that after WWII he was a burnt-out case. Young was always capable of playing a phrase that could astonish the listener. Here, he does it frequently. His colleagues include Connie Kay on drums and two rising young pianists, Kenny Drew and Horace Silver.

Anita O’Day Live In Tokyo ’63 (Kayo Stereophonic)

The singer equals the heights she reached in her 1958 triumph at the Newport Jazz Festival. In this television broadcast there is no audience cheering her on, as at Newport, but O’Day shows that she needs no crowd to generate energy and enthusiasm. She has the backing of her pianist and musical director Bob Corwin and a superb big band of Japanese musicians led by Takao Ishizuka playing Buddy Bregman arrangments. Among the 15 songs, she reprises two of her Newport hits, “Sweet Georgia Brown” and “Tea for Two.” On the latter she jams with three horn players in a riotous exchange of high-speed phrases. This remarkable DVD preserves O’Day’s musicianship, impeccable timing, stage presence and charisma.

Gary Burton, Learning To Listen (Berklee Press)

At the outset of his autobiography, as he turns 70 Burton makes it official again (the first time was in 1994): he’s gay. The vibraphonist then delivers an entertaining, informative and well-written account of his career, returning occasionally but not obsessively to his gayness. He is even-handed about the difficulties and rewards of working with Stan Getz, full of admiration for Duke Ellington, generous but clear-eyed in discussing colleagues including Chick Corea and Pat Metheny. An invaluable chapter discusses the conscious and unconscious processes of making improvised music. Burton’s superb new quartet CD Guided Tour, with guitarist Julian Lage, bassist Scott Colley and drummer Antonio Sanchez, is a fine companion to the book.