Phil Markowitz

Chet Baker - Live at Nick's (1978) {Criss Cross Jazz, Criss 1027CD rel 1989}
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© 1978, 1989 Criss Cross Jazz | Criss 1027 CD
Jazz / Cool / West Coast Jazz / Trumpet

Recorded for Dutch radio, this is one of Chet Baker best live recordings. Live At Nick's is a very fine set, extermely well modulated, one of mere handful of albums from the last two decades of Chet's career that have to be considered essential.

Count Basie was undoubtedly one of the most influential bandleaders in jazz history. It seems only logical then that saxophonist Bob Mintzer (who has dedicated most of his career to big-band music) would sooner or later record a tribute to the great father of swing. Joined by many of the top New York City-based jazz players including Pete Yellin on reeds, Scott Wendholt on trumpet, Phil Markowitz on piano, Dennis Irwin on bass, and John Riley on drums, Mintzer and group create a touching homage to the Count. We hear five tunes commonly associated with Basie on this disc. Among them are smart versions of "Cute," "April in Paris," and "Shiny Stockings." In addition, we are treated to three compositions by Mintzer himself, each reflecting the Basie style in one way or another. As a modernist, Mintzer adds a contemporary flair to otherwise classic swing charts such as "Lil' Darling" and "One O'Clock Jump," but it's the spirit of the music, not the harmonic vocabulary, that really matters here. For Basie, the key ingredient was always swing. Thankfully, Mintzer's music and ensemble live up to that great Basie reputation by swinging these charts just right.

This big-band date by Bob Mintzer from the early '90s utilizes some of the Big Apple's top available musicians of the era, including trumpeters Marvin Stamm and Randy Brecker, saxophonists Scott Robinson and Roger Rosenberg (both of whom double on clarinet), and pianist Phil Markowitz. Mintzer has moved freely between contemporary and mainstream jazz depending on the record date and personnel, but on this DMP release he incorporates a bit from each style.

For this recording by Bob Mintzer's big band, the tenor saxophonist and his 17-piece ensemble perform ten numbers with an Afro-Cuban beat provided by percussionist Louis Bauzo. Although Mintzer's group does not really have its own distinctive musical personality, it is full of talented players. Best-known among the sidemen are tenor saxophonist Bob Malach, altoist Pete Yellin, trumpeter Mike Mossman, trombonist Dave Taylor and pianist Phil Markowitz.

Rathbun has always displayed a "Miles Davis Second Great Quintet" influence, but Numbers and Letters sounds much more his own voice, beginning with the stealthy "Bad Call," a high energy tune that sounds like musical subterfuge, a bit P.O.d, with a prickly piano solo and turbulent bass/drums backdrop, with tenor saxophonist Rathbun zeroing in on his target like an attack drone…

In 1962 Benny Goodman had a historic visit to the Soviet Union, touring with a big band full of young all-stars. After the orchestra returned to the U.S., tenor saxophonist Al Cohn (who had not made the trip but did write some of Goodman's charts) put together an album (also released by Colpix) using many of the sidemen and paying tribute to the event. Strangely enough none of the six numbers are Cohn originals and he does not play on the record although he arranged all of the music. Of the six songs, "Mission to Moscow," "Let's Dance" and "Russian Lullaby" were part of Goodman's repertoire. Altoist Phil Woods effectively doubles on clarinet and other soloists include tenor saxophonist Zoot Sims, trumpeter Marky Markowitz and trombonist Willie Dennis. An interesting set of modern swing.

One of the numerous Chet Baker recordings that appeared for the first time following his mysterious death in 1988, this release was taped the day after his long unavailable Broken Wing (last available on Inner City). Primarily a set of standards, the quartet (with pianist Phil Markowitz, bassist Jean-Luis Rasinfosse, and drummer Jeff Brillinger) starts with "Two a Day," a brisk but brief original blues by the leader. Baker is at his lyrical best as a trumpeter on the foot patting take of "If I Should Lose You," while his hushed vocals prove effective during an otherwise rather long "This Is Always." Markowitz is an especially sensitive accompanist through this studio session. With well over 40 dates as a leader by Chet Baker recorded between 1970 and the end of his life (with more to appear for the first time, no doubt), this release may not be an early priority for the typical fan of cool jazz, but serious jazz collectors will want to acquire it.