Doc Cheatham Eminence

Theo Croker's third full-length album, the Dee Dee Bridgewater-produced Afro Physicist, is an ambitious, stylistically wide-ranging album that showcases the jazz trumpeter's soulful post-bop chops, sophisticated arranging skills, and adventurous compositional style. The grandson of the late jazz trumpeter Doc Cheatham and a graduate of Oberlin College, Croker is an accomplished musician with a deep musical reservoir to draw from. Working closely with Bridgewater, with whom he has been performing regularly since 2009, Croker delves into a sound heavily informed by '70s soul-jazz, but which touches upon groove-oriented Latin jazz ("It's Not You, It's Me [But You Didn't Help]"), gargantuan keyboard and electric guitar-heavy jazz-funk ("Realize"), and atmospheric, dream-inducing modal jazz ("Visions," with vibraphonist Stefon Harris)…

This time around, the Cheathams' guest is altoist/singer Eddie "Cleanhead" Vinson - a perfect choice, since his ability to play both blues and Kansas City swing/bop is similar to the style of the Sweet Baby Blues Band. Although the emphasis is on swinging blues, there are a few departures, including Jeannie Cheatham's wistful vocal on "Detour Ahead," and a hot instrumental "Homeward Bound." In addition to Vinson and Jeannie (a splendid pianist), soloists include the tenors of Jimmie Noone, Jr. (doubling on clarinet) and Dinky Morris, altoist Curtis Peagler, trumpeter Snooky Young and bass trombonist Jimmy Cheatham. Not to be overlooked are bassist Red Callender and drummer John "Ironman" Harris. But it is the heated and riffing ensembles, along with the pure joy this band generates, that make all of their Concord recordings easily recommended.

For their sixth Concord recording, there was a major change in the personnel of the Cheathams' Sweet Baby Blues Band. Jimmie Noone, Jr. had passed away, and his replacement was the popular tenor Rickey Woodard, who on this set also plays some effective alto and clarinet (the latter on "Buddy Bolden's Blues"). But Woodard is only one of a bunch of colorful soloists, which include pianist/singer Jeannie Cheatham, Jimmy Cheatham on bass trombone, altoist Curtis Peagler, Snooky Young and Nolan Smith on trumpets, baritonist Dinky Morris and guest Frank Wess on tenor and flute. With bassist Red Callender and drummer John "Ironman" Harris keeping the ensembles swinging and driving, this is a particularly memorable set..

Recorded between 1950 and 1958, this collection of performances focuses on the twilight years of the legendary jazz and blues singer who, along with Louis Armstrong, redefined the art of interpreting popular song in the first half of the twentieth century. Performance footage of Billie Holiday may admittedly be scant, but this issue compiles into a single release song cuts from some of Holiday's live filmed performances that are still extant.