Hughart

Tom Waits - Used Songs 1973-1980 (2001) {Elektra–Rhino 8122-78351-2}
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© 1973-80, 2001 Asylum / Elektra / Rhino / Warner | 8122-78351-2
Rock / Blues / Blues Rock / Singer-Songwriter

Rhino's fine 16-track collection Used Songs (1973-1980) chronicles Tom Waits' first seven albums, all recorded for Asylum Records. This contains pretty much all his staples from the '70s – "Heartattack and Vine," "Burma Shave," "Ol' 55," "Jersey Girl," "(Looking For) The Heart of Saturday Night," and "Tom Traubert's Blues" among them – sequenced not chronologically, but sequenced for maximum impact. Given the sheer amount of music Waits made for Asylum, it shouldn't be surprising that there are some fan favorites missing, but there are no complaints with what is here, and this provides a near-perfect encapsulation of his pre-Island years, especially for those only familiar with the Island recordings.

Joe Pass - The Complete Pacific Jazz Quartet Sessions (2001) {5CD Box Set, Mosaic MD5-207 rec 1963-1964}
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© 1963-64, 2001 Pacific Jazz / EMI-Capitol / Mosaic Records | MD5-207
Jazz / Cool / Hard Bop / Guitar

Guitarist Joe Pass was known for his forthright, straight-ahead style, gorgeous tone, and melodic concepts. This magnificent five-CD set collects his entire output in 1963 and 1964 as a leader, with additional sessions in which Pass plays in a trio led by Les McCann. Most of the tracks feature a quartet (the five exceptions adding the saxophone or flute of Bill Perkins), with the guitarist virtually always a key voice.

For his third album, Nighthawks at the Diner, Tom Waits set up a nightclub in the studio, invited an audience, and cut a 70-minute, two-LP set of new songs. It's an appropriate format for compositions that deal even more graphically and, for the first time, humorously with Waits' late-night world of bars and diners…

This unusual CD features the great Betty Carter performing live with the great Carmen McRae, both having fun as they share the spotlight. Betty's voice is higher and sweeter than Carmen's lower, stronger, and more assertive voice, but together they sound like extensions of each other, almost alteregos, as they interact, engage in delightful patter, and joke and obviously mug with the audience. This is a CD for which one yearns for a video, since these two megastars of jazz are so in sync that it's sometimes difficult to tell which one is singing in these unusually long tracks. ~ Amazon Customer's Review

During the last few years of his life, guitarist Joe Pass enjoyed having reunions with the same musicians who played with him 25 years earlier for the classic For Django recording: rhythm guitarist John Pisano, bassist Jim Hughart and drummer Colin Bailey. This 1989 recording could almost be called For Django 2, for it is the same vein as the original. Pass takes his remake of "For Django" unaccompanied and performs four of Django's tunes, along with five standards from the 1930s and three originals. Pisano, who was instrumental in organizing the session and the repertoire, sticks to acoustic guitar, while Pass alternates between acoustic and electric. Although Joe Pass' main influence was Charlie Christian and he really does not sound like Reinhardt, he manages to evoke the spirit of Django while swinging in his own fashion. It is particularly nice hearing such tunes as "Belleville," the haunting "Tears" and "For Django" in newer versions.

There is plenty of diversity on this prime Dave Frishberg set. Four songs (including vocal versions of "Truckin'" and "&The Underdog") match Frishberg's piano with trombonist Bob Brookmeyer, tenor saxophonist Al Cohn, bassist Jim Hughart, and drummer Nick Ceroli. Frishberg takes "That Old Feeling," "You're a Lucky Guy" (which he sings), and "Cheerful Little Earful" as piano solos, and there are also three wonderful duets with Cohn. Only two of the ten songs were written by Frishberg, so the emphasis is on his talents as a pianist and singer rather than as a lyricist. Recommended.