Horn 1997

Eric Alexander can play the tenor saxophone. Armed with a love for the masters and the ability to take their sonic images into his own realm, he is reaching the goal of attaining a personal sound. His tone, ideas, and embellishments are straight-ahead and swinging…

If I could pick a musical premiere out of the past that I could have attended, I would probably choose one of those evenings when Mozart and Haydn took the two viola parts in the first performances of Mozart's string quintets. It's something to wonder at, anyway. The string quintets are not only Mozart's greatest chamber music, they are among the most profoundly inspired pieces of music by anyone for any instruments. Three of them can be found on this budget priced set, superbly performed, along with the Horn Quintet, and the Quintet for Piano and Winds, which inspired Beethoven to compose a not quite as successful sequel. Greatness, folks, pure and simple.

J.J. Johnson finds himself at the helm of a dream band here - a full brass orchestra with French horns, euphoniums, tubas, and a harp - and gets to exploit its possibilities wherever they might lead. The results are beyond category, where the veteran trombonist's writing has a feathery richness, urbanity, and a depth charge in the bass reminiscent of, but not really indebted to, Gil Evans. There is plenty of straight-ahead jazz grooving but also several episodes of formal, almost classical writing, as in the suitably joyous "If I Hit the Lottery," and rigorous combinations of both, like the angular tribute to Béla Bartók, "Canonn for Bela." The generous Johnson doesn't even appear on a piece he commissioned from Robin Eubanks called "Cross Currents" - Eubanks performs the sputtering trombone solo - nor on Slide Hampton's blazing "Comfort Zone"…

Johan Helmich Roman was only 17 when he was accepted into the musicians of the Swedish royal chapel, but it was to be in England that he received much of his subsequent musical education. He returned to Sweden when he was 27 and was immediately appointed Deputy Master at the royal chapel, and six years became the Chief Master. During his early years of composition we can date very little, but from the 1720's his works are well documented, several cantatas being written for the royal court, with a particularly fine Feste Musicale coming from 1725.

The circumstances surrounding the composition and first performance of the Suite in B flat major, Op 4, were to prove enormously significant for Strauss’s career. Von Bülow decided to give the premiere of the new work in Munich in the winter of 1884 during an orchestral tour. Furthermore, since the players had already familiarized themselves with the music in Meiningen that autumn, he thought it would be appropriate if the composer himself conducted this performance according to his own interpretation.

Tough and Tender was the first new studio for Piazza and the Mighty Flyers since 1992's Alphabet Blues. The kickoff track, "Power of the Blues," announces their triumphant return with a clarion call from Rod that "we've got the power of the blues." Piazza's harmonica is locked in sync with guitarist Rick "L.A. Holmes" Holmstrom's on the intro before Holmstrom whips off a slashing solo in the middle that recalls the phrasing of both T-Bone Walker and Pee Wee Crayton. Rod's solo on this opener is also textbook playing, full of taste, control and the deepest of tones. The title track is a new Piazza classic that illustrates the empathy between every player in the band with Honey Piazza's boogie-woogie piano soloing making an apt foil for Rod's chromatic harp work.

For Carly Simon, Film Noir is a way to explore traditional pop classics. Using smoky saloon songs like "Ev'rytime We Say Goodbye" as a blueprint, Simon and producer Jimmy Webb create a seductive, intimate atmosphere. Simon's vocals aren't naturally suited to this material, but she acquits herself well, and the two duets – one with Webb and one with John Travolta ("Two Sleepy People") – are charming additions to an ingratiating album.

Ike Quebec was something like Ben Webster in his ability to play lush ballads or to scream like a smokestack when the band was cooking. After working for Roy Eldridge and Frankie Newton, Quebec became Cab Calloway's star tenor man in 1944, making everyone sit up and take notice when he wailed over Cab's band in a wonderfully raspy tone utilizing the instrument's extremities for maximum effect. Each of Quebec's sessions as a leader produced staggeringly potent records. J.C. Heard is the drummer on all 20 tracks - check him out on "Indiana" - and for bassists you have Milt Hinton, Grachan Moncur II, or Oscar Pettiford. While Roger Ramirez was an excellent pianist, it is a gas hearing Johnny Guarnieri on the Savoy session. Guest horn players are Buck Clayton, Keg Johnson, Jonah Jones, and Tyree Glenn. Guitarist Tiny Grimes is present on three of these dates…