Tommy Flanagan Positive Intensity

Tommy Flanagan - The Tokyo Recital (1975) {Pablo Japan VICJ-60869 rel 2001, Paper Sleeve}
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© 1975, 2001 Pablo Records / Victor Japan | VICJ-60869 | 20bitK2
Jazz / Hard Bop / Piano

When this set was recorded, pianist Tommy Flanagan had spent so much time as Ella Fitzgerald's accompanist (the past seven years, plus two before that) that many jazz followers had forgotten how strong a soloist he was. In a trio with bassist Keter Betts and drummer Bobby Durham on this straight CD reissue of a former LP, Flanagan is heard in superior form. He interprets a full set of Duke Ellington and Billy Strayhorn-associated songs. Highlights include "U.M.M.G. (Upper Manhattan Medical Group)," "Main Stem," "Chelsea Bridge," and a particularly memorable rendition of "The Intimacy of the Blues." Highly recommended.

Although Tommy Flanagan tended to refer to two-piano dates as a gimmick, that's hardly the case during this superb 1983 concert in Germany with Hank Jones. The two pianists have the kind of feel for one another's playing that avoids the crash of egos and instead inspires the give and take necessary for each performance to reach its full potential. Immediately, the two veterans captivate their audience with a stunning aggressive improvisation upon Charlie Parker's "Relaxin' at Camarillo," then immediately quiet them with a soft, lyrical interpretation of the gorgeous ballad "In a Sentimental Mood." They're clearly having a lot of fun during their upbeat waltz through the popular ballad "Someday My Prince Will Come." The rest of the concert is every bit as fulfilling, with an inspired treatment of "Rockin' in Rhythm" getting the nod as the highlight of a memorable evening.

Pianist Tommy Flanagan and bassist George Mraz do not really stick to the plot of the title, playing a few bop standards that are neither blues nor ballads (such as "Scrapple from the Apple," "Star Eyes" and "How High the Moon"), in addition to some blues and ballads (most notably Tom McIntosh's haunting "With Malice Toward None"). The intimate and mostly lightly swinging music is fine, but one does miss the momentum that would have been provided by a drummer.

Piano duets have the potential danger of getting overcrowded and a bit incoherent, but neither happens on this rather delightful set. Hank Jones and Tommy Flanagan, two of the four great jazz pianists (along with Barry Harris and Roland Hanna) to emerge from Detroit in the '40s and '50s, have similar styles and their mutual respect is obvious. Their renditions of seven superior bop standards (including "Jordu," "Confirmation" and Thad Jones' "A Child Is Born") are tasteful, consistently swinging and inventive within the tradition.

Ella Fitzgerald, 42 years after her recording debut, showed on this late concert recording that she still had the magic. Backed by pianist Tommy Flanagan, bassist Keter Betts, and drummer Bobby Durham, she sounds pretty strong at times, mostly singing veteran ballads but also getting hot on "Billie's Bounce."