Friday, February 27, 2009

Warne Marsh & Kenny Drew Trio

I Got a Good One for You - 1980

another gift from Daniel

1 I Got a Good One for You
2 Sophisticated Lady
3 On Green Dolphin Street, No.2
4 Sippin' at Bells
5 Ev'ry Time We Say Goodbye
6 Little Willie Leaps
7 Easy to Love
8 Body and Soul
9 Ornithology
10 Star Eyes
11 Softly, As in a Morning Sunrise No. 2

Warne Marsh (tenor sax),
Kenny Drew (piano)
Bo Stief (bass),
Aage Tanggaard (drums)

Warne Marsh was one of the most pure, imaginative and creative improvisers jazz has ever known. This CD comprises tracks he recorded in Copenhagen on April 21 1980 with the Kenny Drew Trio for a Danish radio broadcast and is the first authorised release of this music. Marsh, the seasoned veteran of a thousand jam sessions, never had the least difficulty in coming to terms with a new challenge and the four musicians functioned together like a regular unit. Pianist Kenny Drew was an established member of the Danish community and had taken up residence in Copenhagen in 1962. Drummer Aage Tanggaard has frequently worked with pianist Duke Jordan and Bo Stief is one of Denmark’s best known bass players whose credits include working with Lockjaw Davis and Ben Webster – he is probably the only musician to have recorded with both Wild Bill Davison and Miles Davis.

Thursday, February 26, 2009


Chasin' the Bird  - 1977

01 - Shaw Nuff
02 - A Night In Tunisia
03 - Drifting On a Reed
04 - The Song Is You
05 - Oop Bop Sh'Bam
06 - 'Round Midnight
07 - Now's the Time
08 - Dizzy Atmosphere
09 - Chasin' the Bird

ape+cover (LP)
258 MB

In 1972, Med Flory and Buddy Clark formed a five-sax nonet (usually including a trumpeter) dedicated to playing the harmonized solos of Charlie Parker. Their recordings for Capitol, MPS, and Columbia (unlike their live performances) did not contain any individual saxophone solos and found the sax section playing note-for-note Bird improvisations (including the roller-coaster "Ko Ko") with impressive precision. Clark left the band in 1975, but Flory continued the group on a part-time basis for several decades, sometimes using the L.A. Voices. Among the top sidemen through the years have been Bill Perkins, Warne Marsh, Jay Migliori, Jack Nimitz, Lanny Morgan, trumpeter Conte Candoli, and trombonist Carl Fontana. Biography by Scott Yanow

For their fourth album, Supersax continued its practice of recreating recorded Charlie Parker solos harmonized for a full saxophone section. What was different this time around was that with one exception, all of the solos were taken from concerts rather than studio dates. The result is that the ensembles sound fresher (since Bird's live improvisations are generally not that well-known) and longer. Trumpeters Blue Mitchell and Conte Candoli, trombonist Frank Rosolino and pianist Lou Levy get solo space, and highlights include "Shaw Nuff," "Drifting on a Reed," "Dizzy Atmosphere" and a six-minute rendition of "Night In Tunisia."  Review by Scott Yanow


Sunday, February 22, 2009

Warne Marsh - Personal Statement - 1987

I've got a great present this morning from Daniel. I'd like to share it:

01. Introduction
02. Statement 1
03. Statement 2
04. Statement 3
05. Statement 4
06. Statement 5

It consists of about 30 minutes of Warne Marsh playing solo sax, sort of a group of etudes. The cover says is was recorded December 15, 1987 in Van Nuys California, which would be 3 days before he died.

The label is Polydor Jazz Library/Jazzbank. MTCJ-1050. Recorded Dec 15, 1987, Van Nuys CA. Produced by Toshiya Taenaka, produced for release by Yoichi Nakao for Jazzbank, Inc. Mastering Engineer Ken Shibusawa, Art Directin & Design Kazuyuki Sawa. Notes Toshiya Taenaka. Copyright 2002.


There have been many unaccompanied records of piano and guitar. Joe Pass, Bill Evans and Art Tatum have made wonderful solo albums. In the jazz world (even) Barre Phillips (bass), and Max Roach (drums) have released solo albums.However there have been very few unaccompanied trumpet and saxophone solo works. The modernist Anthony Braxton released an unaccompanied album in the late sixties, if I recall, and the well known Sonny Rollins made an unaccompanied album for Milestone. Marsh’s friend and colleague Lee Konitz had previously released a solo album on the Steeplechase label. So in that sense, this solo saxophone album by Warne Marsh can be considered comparatively unique.
Warne Marsh was born in 10/26/1972 (sic) in Los Angeles in California. His father was a photographer in the studios, and his mother a violinist for the live music that accompanied silent movies. At an early age he was a featured saxophonist in the Hollywood Canteen orchestra. He played tenor in an army band, became a student of Lennie Tristano while still in service, and was part of Tristano’s pioneering cool jazz group in New York after demobilization, along with altoist Lee Konitz, and guitarist Billy Bauer. Originally from the West Coast, he shuttled between the two cities. In his later years he returned to LA and had his own groups there, until he suffered a heart attack and died on 12/17/87, while playing at Donte’s jazz club. While he was never given prominence in jazz journalism like John Coltrane or Sonny Rollins, his place is assured as the number one tenor in the Tristano circle.

This album was edited by Marsh from 2 hours of tape just before his death. Taped on 12/15/87, it was his last recording in the true sense. It was delivered into the writer’s hands on the 16th.None of the selections are titled. All are Marsh’s Personal Statements. This solo album was part of an intended long term project which commenced in 1987, comprising quintet, quartet, piano less trio, bass duo etc. Unexpectedly, this became his last.

Thursday, February 19, 2009

...and the last Warne

Two Days in the Life of... - 1987

1 Initially K.C. Marsh 8:08
2 Geraldyne's Arrangement Marsh 6:45
3 All God's Chillun Got Rhythm Jurman, Kahn, Kaper 5:09
4 Blues Warne-Ing Eschete 4:10
5 Asterix Marsh 9:45
6 Jason's Judgement Marsh 5:35

Interplay IP-8602
217 MB
ape+cover (LP)

This was one of tenor saxophonist Warne Marsh's last records. Fortunately his musical talents were unimpaired and he sounds in prime form. A pianoless quartet (consisting of guitarist Ron Eschete, bassist Jim Hughart and drummer Sherman Ferguson) fits in with Marsh's music very well (Eschete has several excellent solos), mostly performing thinly-disguised standards. Other than the brief playing time (under 40 minutes) and the lack of liner notes, there are no viable criticisms of this LP, for Warne Marsh, just six months before his death, was still in top form and quite distinctive.
Review by Scott Yanow

Wednesday, February 18, 2009

Warne Marsh and Susan Chen

Warne Marsh and Susan Chen - 1986

01 - This Thing
02 - Summer Morning
03 - Summer Evening
04 - Pennies
05 - Always
06 - Marvelous Words
07 -The Thing You Are
08 - Strike Out
09 - Another You
10 - It's You
11 - Alright
12 - Skylark
13 - This Be Love
14 - Have You Met
15 - Again

Interplay  8601
ape + cover (LP)
155 MB

During the last few years of his life, tenor saxophonist Warne Marsh often teamed up with pianist Susan Chen, who was one of his students. This duet album has 13 generally brief sketches (three of which are under two minutes long) that are allegedly "originals," plus "Skylark." Certainly such songs as "This Thing," "Pennies," "Marvelous Words," "Another You" and "Have You Met" are rather thin disguises for their original sources and chord changes. Despite that odd habit (which was initiated by Lennie Tristano), the music is generally quite rewarding. Warne Marsh was in prime form during the last years of his life, and Susan Chen (who had studied with Tristano for four months) was starting to develop her own style; where has she been since Marsh's 1987 death? This somewhat obscure LP is worth searching for.
Review by Scott Yanow

Warne Marsh - Back Home

Back Home - 1986

1  Leave Me Tristano 5:16
2  See Me Now, If You Could Marsh 5:41
3  Two Not One Tristano 5:08
4  Big Leaps For Lester Marsh 4:57
5  Back Home Konitz, Marsh 8:04
6  Heads Up Marsh 5:31
7  Good Bait Dameron-Basie 8:11
8  Rhythmically Speaking Marsh 4:31

Criss Cross 023
ape+cover (LP)
224 MB

Recorded and originally released on vinyl in 1986 (a year and a half prior to Marsh's death).  Together with pianist Barry Harris, bassist David Williams, and drummer Albert "Tootie" Heath, the tenor master and Tristano disciple works through a set of tunes that, in true Tristano fashion, are built entirely upon the harmonic foundations of popular standards. The sole exception is  Tadd Dameron's "Good Bait." Mark Gardner's liner notes wrongly identify "I Got Rhythm" as the source for "Rhythmically Speaking"; the latter is actually derived, oddly enough, from "Little Willie Leaps." On four tracks Marsh is joined by fellow tenorist and Tristano student Jimmy Halperin, age 27 at the time of the recording -- over 30 years Marsh's junior. The two-tenor pairing recalls Marsh's '50s collaborations with Ted Brown. Marsh's peculiar linear logic and behind-the-beat phrasing are the aural equivalent of well-aged scotch, and his rapport with Barry Harris represents a felicitous union of straight bebop and one of its most enigmatic tributaries, the Tristano school.
Review by David R. Adler

Tuesday, February 17, 2009

Warne Marsh - Posthumous

Posthumous - 1985

1  Unheard Of                                  Marsh 5:35
2  Things Called Love                    Marsh 5:40
3  Inside Out                                     Marsh 7:21
4  Parisienne Thoroughfare      Powell 4:30
5  Emperor's Old Clothes               Chen 6:05
6  At First Blush                                Marsh 6:32
7  Beautiful Love Fades Out        Marsh 5:10
8  Turn Out the Night                     Marsh 2:42
9  My Romance                 Hart, Rodgers 6:35
10 Second Hand Romance           Marsh 6:58

ape+cover (LP)
209 MB

Strong mid-'80s material by tenor saxophonist Warne Marsh that for some reason was not issued until he died in 1987. It featured Marsh in a much looser, fiery style than usual, without the exacting, complex lines and lengthy constructions he usually employed. He was backed by three good but not great musicians in pianist Susan Chen, bassist George Mraz, and drummer Akira Tana.
Review by Ron Wynn

Sunday, February 15, 2009

Warne Marsh Meets Gary Foster

Warne Marsh Meets Gary Foster - 1982

01 - Ablution
02 - You Should See Me
03 - All About You
04 - Victory Ball
05 - Dee-Pending
06 - Joy Spring

Warne Marsh - ts
Gary Foster - as,
Alan Broadbent - p,
Potter Smith - b,
Peter Donald - dr

rec. Hollywood, Calif., oct. 12,14. 1982.
Toshiba EMI
ape+cover (LP)
233 MB

Saturday, February 14, 2009

Lennie Tristano Sextette / Buddy De Franco

Cool and Quiet - 1947

01 - Wow
02 - Crosscurrent
03 - Yesterdays
04 - Marionette
05 - Sax of a Kind
06 - Intuition
07 - Digression

B01 - The Boy Next Door
B02 - A Bird In Igor's Yard
B03 - This Time the Dream's On Me
B04 - Bud's Invention
B05 - Penthouse Serenade
B06 - Extrovert
B07 - Good for Nothin' Joe
B08 - Aishie

Lennie Tristano Sextette (1-7):
Lee Konitz-as,
Warne Marsh-ts,
Lennie Tristano-p,
Billy Bauer-g,
Arnold Fishkin-b,
Harold Granowsky/Denzil Best-dr

1949.March-May, NYC,

Buddy DeFranco Orchestra (B1-3):
Bernie Glow, Paul Cohen, James Pupa, Jack Eagle-tp,
Ollie Wilson, Earl Swope, Bart Varsalona-tb,
Buddy DeFranco-cl,
Lee Konitz, Frank Socolow-as,
Al Cohn, Jerry Sanfino-ts,
Serge Chaloff-bs,
Gene Dinovi-p,
Oscar Pettiford-b,
Irv Kluger-dr,

1949.Apr. NYC

Buddy DeFranco Sextet (B4-8):
Buddy DeFranco-cl,
Teddy Charles-vib,
Harvey Leonard-p,
Jimmy Rainy-g,
Bob Carter-b,
Max Roach-dr,
1949. Aug. NYC

ape+cover (LP)
192 MB

Lennie Tristano - Live at Birdland

Live At Birdland - 1949
+ solo piano - 1945

1 Remember Tristano 7:40
2 Pennies Tristano 5:45
3 Foolish Things Tristano 4:06
4 Indiana Tristano 5:42
5 I'm No Good Without You Tristano 4:19
6 Glad Am I Tristano 2:57
7 This Is Called Love Tristano 2:42
8 Blame Me Tristano 2:42
9 I Found My Baby Tristano 2:42

Lennie Tristano - Warne Marsh - Billy Bauer - Arnold Fishkin - Jeff Morton

Jazz Records
ape+cover (LP)
158 MB

The name Lennie Tristano was conspicuously absent from Ken Burns' monolithic jazz documentary. That's no small omission; Tristano's group, which included the saxophonists Warne Marsh and Lee Konitz (also ignored by Burns) was the first to record what later came to be known as free jazz -- music improvised without pre-ordained melodies, harmonies, or meter. Needless to say, that wasn't mentioned by Burns, either. Tristano did it in 1949, the year this record was recorded, with what is essentially the same band (Konitz is absent here, though he was a regular member of Tristano's group at the time). This record gives no direct evidence of the band's free jazz experiments -- although Tristano is given composer's credit on all cuts, the disc is comprised mostly of standard harmonic frameworks played without reference to theme. However, it does reflect the band's prevailing emphasis on unfettered linear improvisation. The quintet tracks here were recorded by the group's bassist, Arnold Fishkin, during performances at the old Birdland in New York. The solo piano cuts were recorded in Chicago, four years earlier. The sound's rough, but not unlistenable, especially given the historical implication of the music. Listening to this is like being a fly on the wall of the world's most famous jazz club, witnessing history in the making. It really can't be said that Tristano's piano style was cut from whole cloth -- there's too much of a Bud Powell influence -- but there have been few musicians on any instrument who played with more spontaneous melodic invention. Two others who did were Marsh and guitarist Billy Bauer, also present here; this band placed great importance of creating "in the moment," and listening to this music made over 50 years ago reminds listeners of the value in such an approach. Little jazz being made at the turn of the millennium rivals this set in terms of raw creativity. Popular misconceptions aside, this is an important document.
Review by Chris Kelsey

Friday, February 13, 2009

Warne Marsh - All Music

All Music - 1976

01 - I Have a Good One for You.ape
02 - Background Music.ape
03 - On Purpose.ape
04 - 317 East 32nd.ape
05 - Lunarcy.ape
06 - Easy Living.ape
07 - Subconscious-Lee.ape

ape+cover (LP)
246 MB

The mid-'70s were a prime time for tenor saxophonist Warne Marsh, and this 1976 studio session is one of his best dates from this portion of his career. Leading a quartet with pianist Lou Levy, bassist Fred Atwood, and drummer Jake Hanna, Marsh's sophisticated solo work shines no matter what the setting, be it his brisk bop vehicle "I Have a Good One for You," a warm rendition of a standard like "Easy Living," or Levy's slow, engaging blues "On Purpose." The leader also revisits familiar territory with a wild take of Lennie Tristano's "317 East 32nd" (itself based on the standard "Out of Nowhere") and also tackles frequent saxophone partner Lee Konitz's "Subconscious-Lee" (based on "What Is This Thing Called Love"). Recorded for the Nessa label, this excellent LP will be somewhat difficult to acquire. Review by Ken Dryden

Live at the Montmartre Club, Vol.3.

Jazz Exchange, Vol.3 - 1975


01 - Just Friends
02 - You Don't Know What Love Is
03 - Back Home
04 - Little Willie Leaps
05 - Old Folks
06 - Au Privave

ape+cover (LP)
267 MB

This is the third of three CDs recorded live at the Montmartre in Copenhagen, Denmark. Whenever tenor-saxophonist Warne Marsh and altoist Lee Konitz got together, fireworks resulted as the two complementary saxophonists always seemed to bring out the best in each other. This LP has six standards  (which finds Marsh and Konitz joined by guitarist Dave Cliff, bassist Peter Ind and drummer Al Levitt), the two horns are accompanied by pianist Ole Kock Hansen, bassist Niels Pedersen and drummer Svend Erik Norregard. Marsh and Konitz as usual get rid of the themes quickly and then engage in advanced chordal improvisation, showing what they learned from Lennie Tristano along with their growth since the late '40s. All three CDs in this series are well worth getting.
Review by Scott Yanow

Thursday, February 12, 2009

Live at the Montmartre Club - Vol.2.

Jazz Exchange, Vol.2 - 1975


01 - Kary's Trance
02 - Foolin' Myself
03 - Sound-Lee
04 - Two Voice Invention No.1. Allegro (Bach)
05 - Two Not One
06 - Darn That Dream
07 - 317 East 32nd Street
08 - Two Voice Invention No.13. Allegro tranquillo (Bach)

flac+cover (LP)
243 MB

In December 1975, tenor saxophonist Warne Marsh and altoist Lee Konitz went on a European tour. Their musical reunion showed that the magic that had existed between them a quarter-century before when they teamed up with their teacher Lennie Tristano was still very much present. Both saxophonists had grown through the years, and on this second of three sets, they are in consistently inventive form. Accompanied by a quiet English rhythm section (guitarist Dave Cliff, bassist Peter Ind and drummer Alan Levitt), the interplay between Marsh and Konitz, who had very complementary yet individual styles, is quite impressive, as are their individual solos on on four thinly disguised "originals," "Foolin' Myself," "Darn That Dream" and a couple of brief "Two-Part Inventions" by Bach. Well worth acquiring. 
Review  by Scott Yanow

Live at the Montmartre Club - vol.1.

Jazz Exchange Vol.1. - 1975


1 April       Tristano 9:38
2 Blues by Lester (Pound Cake) Young 7:44
3 Lennie-Bird   Tristano 8:28
4 You Stepped Out of a Dream Brown, Kahn 10:10
5 Kary's Trance       Konitz 4:04
6 Background Music Marsh 10:50

flac+cover (LP)
264 MB

The first of three releases that document a European tour undertaken by tenor saxophonist Warne Marsh and altoist Lee Konitz finds the Lennie Tristano alumni in prime form. Marsh and Konitz often thought alike musically, and this set certainly has its exciting moments. Joined by pianist Ole Kock Hansen, bassist Niels-Henning Orsted Pedersen and either Alex Riel or Svend Erik Norregard on drums, the two classic saxophonists explore "originals" based closely on common chord changes (including "April" and "Background Music"), plus "You Stepped Out of a Dream" and Lester Young's "Pound Cake." Highly recommended, as are the two following volumes.  
Review by Scott Yanow

Wednesday, February 11, 2009

Warne Marsh - Star Highs

Star Highs - 1982

1 Switchboard Joe Marsh 5:54
2 Star Highs Marsh 7:51
3 Hank's Tune Jones 5:39
4 Moose the Mooche parker 5:53
5 Victory Ball Tristano 4:55
6 Sometimes Marsh 9:52
7 One for the Band Marsh 6:25

Criss Cross
ape+cover (LP)
251 MB

Tenor saxophonist Warne Marsh and pianist Hank Jones had not performed together before they met up in the studio to make what would be the second release for the Criss Cross label. With bassist George Mraz and drummer Mel Lewis completing the quartet, plenty of sparks fly between the two lead soloists. Marsh plays with more fire than one would expect from the cool-toned tenor; the material (four lesser-known tunes by the leader, one by Jones, "Moose the Mooche," and "Victory Ball") is fresher than usual, and the album can be easily recommended to straight-ahead jazz collectors.
Review by Scott Yanow

The Mitchell-Marsh Big Two

Hot House /The Mitchell-Marsh Big Two - 1980

01 - Hot House
02 - Undertow
03 - Lover Man
04 - Tea for Two
05 - Gone with the Wind
06 - Ornithology
07 - It Could Happen to You
08 - Easy Living
09 - I'm Getting Sentimental Over You

181 MB

Warne Out

Warne Out - 1977

01 - Local 47. This Can't Be Love
02 - Liner Notes, You Stepped Out of a Dream
03 - Warne Out, It's You, or No One
04 - Lennie's Pennies
05 - Duet, All the Things You Are
06 - Ballad, I Should Care
07 - Warne Piece, Blues

Warne Marsh - ts,
Jim Hughart - b,
Nick Ceroli - dr

TRIO Records
ape+cover (LP)
185 MB

An album where wit and inventiveness are the theme, from the title to the leads.
Review by Ron Wynn

Monday, February 9, 2009

Warne Marsh - Ne Plus Ultra

Ne Plus Ultra - 1969

1 You Stepped Out of a Dream
2 Lennie's Pennies
3 317 East 32nd Street
4 Subconscious-Lee
5 Touch and Go

Revelation Records
ape+cover (LP)
246 MB

This was tenor saxophonist Warne Marsh's first recording as a leader since 1960. Teamed up with complementary altoist Gary Foster (who was most influenced by Marsh's former musical partner Lee Konitz), bassist Dave Parlato and drummer John Tirabasso, Marsh runs through some of his favorite chord changes, including "Lennie's Pennies," "Subconscious-Lee" and "You Stepped Out of a Dream." In addition, there is a fairly free group improvisation (the 15-minute "Touch and Go") A strong all-around LP released by the Revelation label.
Review by Scott Yanow

Sunday, February 8, 2009

Henry 'Red' Allen (RE-RIP)

World On A String - 1957

1  Love Is Just Around the Corner   
2  Let Me Miss You                
3  Ride, Red, Ride                
4  I Cover the Waterfront        
5  St. James Infirmary             
6  Algiers Bounce                  
7  Love Me or Leave Me             
8  I've Got the World on a String  
9  Sweet Lorraine  

RCA - Bluebird
282 MB
ape+cover (LP)

This LP is a true classic. Trumpeter Red Allen is heard at the peak of his creative powers with a remarkable octet also featuring trombonist J.C. Higginbotham, clarinetist Buster Bailey, and the great tenor Coleman Hawkins. "I Cover the Waterfront" has a wonderfully abstract statement from Allen, "Love Is Just Around the Corner" is joyous Dixieland, "Let Me Miss You, Baby" is a particularly strong blues (featuring Allen's vocal), and the simple blues line that serves as a melody on "Algiers Bounce" is quite catchy. The other seven selections from the classic veterans are also quite enjoyable. Although the music has its basis in Dixieland and swing, the solos of Allen and Hawkins in particular look ahead toward the future. There is nothing dated about these essential performances; highly recommended.   Review by Scott Yanow 

The Very Great Henry 'Red' Allen

...With Kid Ory's Creole Jazz Band 1959

01 - Peoria
02 - Basin Street Blues
03 - St. James Infirmary Blues
04 - Wolverine Blues
05 - Savoy Blues
06 - Tin Roof Blues
07 - That's a Plenty
08 - Aunt Hagar's Blues
09 - Panama Rag
10 - At the Jazz Band Ball

Henry Red Allen - tp,voc
Edward Kid Ory - tb,
Bob McCracken-cl,
Cedric Haywood-p,
Alton Redd-dr,
Squire Gersh-b

Rec.: 11.9.1959. Basle, Switzerland
ape+cover (LP)
285 mb

January marks what would be the 101th anniversary of the birth of trumpeter Henry “Red” Allen.
One of the more difficult things, no doubt, of being a trumpet player at the same time as Louis Armstrong is that no matter how good you might be, you might seemingly always be in a shadow. This could be why Red isn’t necessarily a household name, despite being a wonderful performer.
Red was always in good company, performing seemingly nonstop from the time he was eight until he passed away at age 59. Not only sharing the company of the likes of Fletcher Henderson, King Oliver, and Coleman Hawkins, he always managed to bring a wonderful, modern sound to whatever group he was playing with no matter what the era.
His big band solos often became transcribed and written into supplemental charts. He also had a distinct, earthy singing voice which he featured from time to time.

Saturday, February 7, 2009

Newport 1957. Teddy Wilson / Gerry Mulligan / Bill Evans

Newport 1957

A1 - Stompin' At the Savoy
A2 - Airmail Special
A3 - Basin Street Blues
A4 - I Got Rhythm
A5 - Sweet Georgia Brown (+ Mulligan)

B1 - Sweet Georgia Brown
B2 - My Funny Valentine
B3 - Utter Chaos
B4 - Dancing in the Dark
B5 - I Love You (Bill Evans)
B6 - It's Wonderful (Bill Evans)

ape+cover (LP)
267 MB

Although in 1957 some listeners considered swing and cool jazz to be at the extreme poles of the jazz world, this LP, recorded at that year's Newport Jazz Festival, shows just how similar the two idioms were. The Teddy Wilson Trio (with bassist Milt Hinton and drummer Specs Powell) plays lightly swinging versions of four swing era standards and welcomes baritonist Gerry Mulligan to sit in on a spirited rendition of "Sweet Georgia Brown," and then Jeru's quartet (with trombonist Bob Brookmeyer, bassist Joe Benjamin, and drummer Dave Bailey) plays cooly exciting versions of "My Funny Valentine" and "Utter Chaos"; one could easily imagine Wilson helping out on those two songs. Strangely enough, this LP reissue of the original set also contains three standards by the Don Elliott Quartet with pianist Bill Evans, but never lists the full personnel (mellophonist Elliott, bassist Ernie Furtado, and drummer Al Beldini) or acknowledges the music in the liner notes. Worth acquiring anyway.   Review  by Scott Yanow

Wednesday, February 4, 2009

Moe Koffman

One Moe Time - 1986

01 - One Moe Time
02 - The Magnificent Cat
03 - Caravan
04 - Re run
05 - Os Cafezais Sem Fim
06 - Fall
07 - My Heart Belongs to Daddy
08 - Paquito

Moe Koffman - fl,as, ss,
Ed Bickert - g,
Bernie Senesky - p,
Kieran Overs - b,
Terry Clarke - dr,

Duke Street Records
264 MB
ape+cover (LP)

Moe Koffman's fluke 1950s hit "Swinging Shepherd Blues" has often obscured the fact that he has long been a fine player. This LP from the Canadian Duke label features Koffman on flute, alto and soprano, along with co-star Ed Bickert on guitar, keyboardist Bernie Senensky, bassist Keiran Overs and drummer Terry Clarke. The music alternates between standards ("Caravan," "My Heart Belongs to Daddy") and originals, including "Paquito," which is dedicated to Paquito D'Rivera. Good (if unsurprising) straight-ahead music.    Reviewby Scott Yanow