C.& e European Legal Mater. Sup.2 Rel.4

Shoes - Boomerang (1982) {Elektra-Black Vinyl Expanded BV18190-2 rel 1990}
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© 1982, 1990 Elektra Records / Black Vinyl Records | BV18190-2 | Expanded
Rock / Power Pop

The third album on Elektra by the Shoes was an effort at self production, and sounds as good as any of their previous efforts. Seems "Boomerang" was Shoes as the Shoes understood themselves; melodic power-pop with buzzing guitars and rich harmonies. It's not the flawless masterstroke "Present Tense" or the fuzzed out speed ball of "Tongue Twister," it's still a darn good album. In fact, with the exception of "The Tube" and "Shake It Away," all the songs here are mini-masterpieces. "Summer Rain" rates as one of my fave Shoes songs, and "Mayday" and "What Love Means" are among the Shoes tunes that make me wonder why these guys never brokered a hit single. I'm also partial to the brooding "Tested Charms," a low key song about a flirt who is finding out her moment has passed.

Lee Konitz with Warne Marsh - Lee Konitz with Warne Marsh (1955) {Atlantic 8122-75356-2 rel 1998}
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© 1955, 1998 Atlantic | 8122-75356-2
Jazz / Cool Jazz / Saxophone

Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team. Even by the mid-'50s when they were not as influenced by Lennie Tristano as previously (particularly Konitz), their long melodic lines and unusual tones caused them to stand out from the crowd. On this LP reissue Konitz and Marsh co-lead a particularly strong group that also includes pianist Sal Mosca, guitarist Billy Bauer, bassist Oscar Pettiford and drummer Kenny Clarke. Their renditions of "originals" based on common chord changes along with versions of "Topsy," "There Will Never Be Another You" and "Donna Lee" are quite enjoyable and swing hard yet fall into the category of cool jazz. This set is worth searching for, as are all of the Konitz-Marsh collaborations.

Jimmy Heath - Triple Threat (1962) {Riverside OJCCD-1909-2 rel 1998}
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© 1962, 1998 Riverside / Fantasy | OJCCD-1909-2
Jazz / Hard Bop / Saxophone

Jimmy Heath has long been at least a triple threat as a musician (tenor, flute and soprano), arranger and composer. On this 1998 CD reissue, Heath sticks to tenor, performing "Make Someone Happy" and "The More I See You' while joined by pianist Cedar Walton and his two brothers, bassist Percy Heath and drummer Albert "Tootie" Heath. The other five numbers consist of four of his originals (best-known is "Gemini") plus a reworking of the ballad "Goodbye." For these selections, the quartet is augmented by young trumpeter Freddie Hubbard (who takes a few fiery solos) and Julius Watkins on French horn. The arrangements of Heath uplift the straightahead music and make each selection seem a bit special.

Gil Melle Quartet - Primitive Modern/Quadrama (1957) {Prestige OJCCD-1712-2 rel 1991}
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© 1957, 1991 Prestige / OJC / Fantasy | OJCCD-1712-2 (P-7040/PRLP-7097)
Jazz / Bop / Cool / Third Stream / Saxophone

I was refreshingly suprised the first time I heard this album. I had been bored with most of my music collection when I stumbled upon this "nugget of pure gold". What's even more exciting is when you find out more about the man himself. Gil Melle is a true original, still going strong. His art will surely last the test of time. I write this based on my somewhat worn vinyl copy of "Primitive Modern". I found it in a thrift store for 50 cents and have thanked the powers that be every day that I had such luck. As the quote above indicates, Gil Melle and his outfit were serious about rhythm and doing interesting things with rhythm. Listen, for instance, to "Ironworks."

Jaki Byard - Here's Jaki (1961) {Prestige–New Jazz OJCCD-1874-2 rel 1995}
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© 1961, 1995 Prestige-New Jazz Records / Fantasy | OJCCD-1874-2
Jazz / Post Bop / Piano

With 24-year-old, metro Detroit bassist Ron Carter and fellow Bostonian, veteran drummer Roy Haynes, pianist Byard has formed a partnership on this recording that effectively grasps modern jazz. This is no standard trio; they're a collective who romps through these seven selections with a surprise or more a minute. It's mainly due to Byard's refusal to sit still. Penning five of these not-so-easy pieces, Byard digs into a 5/4 modal calypso, rippling off minor incursions or stair-step delicate lines for the long jam "Cinco y Quatro."

Mongo Santamaria - Mongo Introduces La Lupe (1963) {Riverside–Milestone MCD-9210-2 rel 1993}
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© 1963, 1993 Riverside / Milestone / Fantasy | MCD-9210-2
Jazz / Latin Jazz / Afro-Cuban Jazz / Boogaloo

La Lupe was a popular singer in New York's Latin music scene of the 1960s. She is featured on five of the nine selections on this LP, showing lots of spirit along with an appealing voice. In addition, there are four strong instrumentals, and even the vocal pieces have spots for the instrumentalists. It is particularly interesting to hear the difference between the two trumpet players (Marty Sheller and Chocolate Armenteros), along with the fine reed solos from Pat Patrick (Sun Ra's baritonist, who was on vacation from the Arkestra at the time) and Bobby Capers, who alternate between various saxophones and flutes. An excellent set of stirring Afro-Cuban jazz.

Archie Shepp & Richard Davis - Body and Soul (1989) {Enja Records ‎ENJA CD 7007-2 rel 1991}
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© 1989, 1991 Enja Records | ‎ENJA CD 7007-2
Jazz / Post Bop / Modal Music / Contemporary Jazz / Saxophone / Bass

This duet date from 1990 demonstrates the deep blues feeling and technical mastery Archie Shepp has on the tenor saxophone. Comprised of four standards – "Things Ain't What They Used to Be," "Body and Soul," "Pannonica," and "'Round Midnight" – this set is one of Shepp's most enjoyable ever. The reasons are myriad, but it is in large part due to the fluid, loping bass of Richard Davis. Recorded in a club in front of a live audience, Shepp digs deep into his own history of influential tenor players and comes out not wanting, but on par with them, from Eddie "Lockjaw" Davis to Sonny Rollins to John Coltrane. His playing here is big, meaty, and warm, full of subtle emotions as well as bleating cries.

Gil Scott-Heron & Brian Jackson - It's Your World (1976) {Rumal-Gia TVT4370-2 rel 2000}
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© 1976, 2000 Rumal-Gia Records / Brouhaha / TVT Records | TVT 4370-2
Jazz / Funk / Spoken Word / Soul / Fusion

This Gil Scott-Heron double album, roughly two thirds of which was recorded live in Boston on July 2-4, 1976, makes the most of its Centennial-centric time frame. Between the American flag striped cover art and Heron's spoken word spiel on an 8-and-a-half minute poem/rant "Bicentennial Blues," the album loses little of its impact, regardless of how the years have mildewed once fresh political topics like Nixon, Agnew, and Watergate.

Bud Powell - The Genius of Bud Powell (1951) {Verve 827 901-2 rel 1988}
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© 1950-51, 1988 Verve / PolyGram | 827 901-2
Jazz / Bop / Piano

In 1951, Bud Powell was still at the height of his considerable powers. Included here are two sessions from that year: a trio with Ray Brown and Buddy Rich (three takes of "Tea for Two" and a super-fast "Hallelujah") and eight solo piano tunes from a different date. On "Tea for Two," Rich's drumming brings out the charming show-off in Powell, and on "Hallelujah," Powell plays with a hysterical clarity. "Oblivion" and "Hallucinations" are the most masterful of the eight solo cuts. Here Powell swings effortlessly and seems to be speaking his own, true language. The elegance of another era pervades the Gershwin-esque "Parisian Thoroughfare" and "Dusk in Sandi." And one can imagine a young Bill Evans listening to "A Nightingale Sang in Berkeley Square" and taking note of the rich, logical voicings coupled with a wonderful singing tone.

Art Farmer & Donald Byrd - 2 Trumpets (1956) {Prestige OJCCD-018-2 rel 1992}
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© 1956, 1992 Prestige Records / Fantasy | OJCCD-018-2
Jazz / Bop / Trumpet

Art and Donald are in fine form, and if there is any competition it serves only to increase the musical yield. Jackie Mclean adds just the right note of astringency and variety of tone. Barrie Harris provides solid foundations for the improvisations while Doug Watkins and Art Taylor maintain impeccable pace. An excellent bop session and two trumpets is just the right number when its Farmer and Byrd.