M.a. Nichols

By 1929, Red Nichols had been active as a recording artist for nearly eight years. He had been making a name for himself as a leader since 1925, usually in the company of a superhuman trombonist by the name of Miff Mole. While some folks might focus upon the presence of Jimmy Dorsey, seasoned early jazz addicts will also cherish the opportunity to commune with the spirits of Miff Mole, Vic Berton and Arthur Schutt. The first three selections reveal what these men were able to accomplish under optimal conditions,( i.e. without vocals or violins). The band is wonderful, especially when Adrian Rollini introduces "Allah's Holiday" with the bass saxophone or takes a weird solo during "Roses of Picardy" using an ebonite tube full of holes with a clarinet mouthpiece stuck in the end of it…

Volume six in the complete recordings of trumpeter Red Nichols as reissued by the Classics Chronological Series consists of 25 Victor and Brunswick recordings dating from September 1930 through January 1931, and is especially recommended to those who enjoy Depression-era jazz and pop vocals, with the pop outweighing the jazz by a considerable margin. "On Revival Day," a topical novelty originally released in two parts on flipsides of a 78 rpm record, trombonist Jack Teagarden is backed by a vocal group billed as the Foursome. Forthwith, Nichols' ensemble is garnished at times with a couple of violins and is almost invariably dusted with sugary vocals by Scrappy Lambert, Dick Robertson, Eddie Thomas, Paul Small, and songwriter Harold Arlen…

The first 3 CDs here chronicle the 1927-31 hit-making prime of this superb cornetist, with Dorsey, Russell, Benny Goodman, Glenn Miller, Gene Krupa and Jack Teagarden among his ranks. And the fourth takes you to 1949, when Red had one of the best Dixieland bands in the land. Includes his hits Bugle Call Rag; Ida, Sweet As Apple Cider; Strike Up the Band; China Boy; Corrine Corrina; You Rascal, You; Fan It, and more!

Herbie Nichols is just slightly less off-kilter than Thelonious Monk, but they're in the same ballpark. Clearly, he can play a tune straight, but doesn't choose to. Each tune is full of odd pauses and note choices and rhythms that are a tiny bit off - intentionally. It's enough to make every composition interesting. It's cerebral bop, but not quite as extreme as a typical Monk tune. Max Roach on drums and either Al McKibbon or Teddy Kotick on bass provide the beat, but stay pretty much in the background. This is almost entirely Nichols' show.
The biggest surprise is "Lady Sings the Blues." Yes, that song. Nichols co- wrote it with Billie Holiday, and while it's Lady Day's version you remember, slow and soulful, Nichols' version has a life of its own. The melody is recognizable, but the pace is faster and the improvisation has a whole different, boppish feel…

Recorded a year after his last landmark Blue Note dates, this album finds Nichols performing in the familiar trio setting again - this time with Mingus drummer Dannie Richmond and bassist George Duvivier. These performances may be less animated than Nichols' earlier sides as a leader, but that's not to suggest the pianist's writing or playing had become pedestrian or predictable. The absence of the powerhouse drummers Art Blakey and Max Roach makes these ten tunes easier to appreciate upon first listen. Richmond's characteristic bombast and humor are kept in check here. With the drummer maintaining straight, subdued rhythms, Nichols' complex melodies and solos shine that much brighter - especially on such standout originals as the album's title track, "Beyond Recall," and "S'Crazy Pad."

The link between Phil Napoleon and Red Nichols does not stop at their meeting on this record under the auspices or a new CD edition. The present disc opens with recordings of Red Nichols (five sides in all) and presents him leading his own band, whether it be Red Nichols and His Orchestra or Red and his Big Ten, nine or ten musicians in all. Part of the space devoted to Phil Napoleon includes small formations - five to seven musicians. Phil and Red both were important musicians and both had to suffer from a relative critical exclusion reserved by some to white jazz musicians. Phil recorded a large number of sides between the twenties and the thirties, a time at which he knew considerable success…