Blast From the Past

Concord's Jazzapalooza 2011

They’re having a veritable jazzapalooza over at Concord Music Group, and we’re all invited. I try, but I can’t keep up with the amazing rush of quality reissues from the label that’s fast becoming the go-to source for thoughtful, well-put-together archival reissues.

In March 2011, Concord released four reissues; at the time I managed to review my favorite of the bunch, Sextet from Cal Tjader and Stan Getz. But another title from that bunch is equally amazing: Art Blakey’s Jazz Messengers’ Ugetsu, recorded live at Birdland in June 1963.

When originally released, that record offered up six tracks of incendiary, as-it-happened jazz. The reissue adds four more tracks — nearly twenty more minutes of music – from the same performance. For that alone it’s worth adding to one’s collection. But even in its original form, the show itself is pretty amazing. You don’t need to be a jazz aficionado (good, because I’m not) to know by listening that the drummer was the leader of this six-piece outfit. Blakey is way out front in the swinging mix — crystal-clear as always, thanks to the redoubtable work of producer Orrin Keepnews – and that’s how it should be.

The other two March reissues are of no less historical import. Thelonious Monk’s 1957 release Monk’s Music features a septet that includes Blakey as well as tenor saxophonists John Coltrane and Coleman Hawkins. The brief opening “Abide With Me” sounds like nothing else on the album, but it’s a stunning piece of grace and beauty. After that, things get way into the swing. The compact brass section (Coltrane and Hawkins plus Ray Copeland on trumpet and Gigi Gryce on alto sax) blows in a big way, while Blakey and bassist Wilbur Ware hold down the rhythm. Everybody takes solos, of course — this is jazz — but it’s clearly Monk’s show. Occasional shouted cues only add to the excitement. Long tracks (two on the original album run around eleven minutes each) never fail to hold interest. Three bonus tracks add twenty-plus minutes of music that’s every bit the equal of the core tracks. Of those bonuses, in addition to a pair of alternate takes, there’s a thirteen-plus minute “Blues for Tomorrow” cut around the same time but not featuring Monk at all. It’s still cool.

The energy is of a decidedly different sort on Ella and Oscar, featuring Ella Fitzgerald on vocals and Oscar Peterson on piano (plus bassist Ray Brown on a few tracks. Peterson’s deft and expressive playing is delightful on its own; having the effortlessly perfect voice of Ella Fitzgerald makes it even better. Unlike the other discs mentioned, this one has four bonus tracks, none of which has seen previous release. On “Mean to Me” Peterson mines a ragtime/barrelhouse style, but that’s merely one of many tricks in his musical bag. The album is a veritable sampler of the range of both of these important artists. Norman Granz’s production is worthy of mention: turn it up on a decent stereo and close your eyes: Ella and Oscar are there with you.

But here's what I mean about not being able to keep up: if those four March reissues weren't enough, a mere ninety days later Concord Music Group added six more reissued jazz titles to their already vast catalog. Each features the original album (in 24-bit remastering) with the original artwork and liner notes. But each is appended with contemporary liner notes that help place the recordings in their proper historical and musical context. Lots of cool photos are included in the booklets, and all but one features at least one bonus track.

I’ve already covered the Cannonball Adderley / Bill Evans set Know What I Mean? in a separate review of its own. Another album featuring Evans is part of this latest crop of reissues. Bill Evans Trio’s 1961 album Explorations is one of the handful of studio recordings – the last, in fact — made by Evans’ first trio, the outfit featuring the transcendent work of drummer Paul Motian and Scott LaFaro. Rather than featuring original compositions, Explorations centers on giving the Trio’s reading of standards and works of their contemporaries, including Miles Davis’ “Nardis,” a personal favorite of Evans’. Four bonus tracks — two previously unreleased – up the ante.

A relatively modern recording, the 1986 album Easy Living from Ella Fitzgerald and acoustic guitarist Joe Pass also gets the Concord reissue treatment. A spare, intimate affair, Easy Living juxtaposes Pass’ gentle, precise fretwork with Ella’s expressive vocal. With nothing left to prove, both musicians are relaxed here. Still, with Fitzgerald’s intentionally varied volume, this is not background music; though it’s not a high-energy session, neither is it easily ignored. Perhaps more for fans of this particular style of laid-back (if expert) vocal jazz, Easy Living does include a pair of alternate-take bonus tracks.

The 1959 album Thelonious Alone in San Francisco is exactly as the title describes. Thelonoius Monk is seated at a piano in S.F.’s Fugazi Hall, where he runs through a set made up mostly of his own compositions. For anyone who’s ever been told that Monk’s not accessible, one listen to “Blue Monk” should set them straight. (It’s a safe bet that composer Mel Leven heard “Blue Monk” prior to writing the music for his 1961 “Cruella DeVil” from the Disney film 101 Dalmations.) Not all of the tracks are mellifluous: like many of the selections, “Ruby, My Dear” features some intentionally dissonant work from the master. But those dissonant runs are more often than not couched within melodious context; the overall effect is challenging, but worth the effort to follow. Monk can clearly be heard muttering to himself throughout the session; it’s an endearing quirk that only adds to the immediacy of the work.

Ornette Coleman’s Something Else!!!! from 1958 is a blowing, high energy session. Trumpeter Don Cherry is among Coleman’s cohorts on this nine-track reissue (with no bonus tracks, presumably because none exist). This is Coleman’s first-ever album, but clearly sounds like the work of a well-established artist. Though classified as free jazz, Something Else!!!! sounds less jarring to the ears now than it likely would have fifty-plus years ago. But the energy of a young, hungry artist comes through.

Awhile back Concord reissued a 1958 album called (Chet Baker Sings) It Could Happen to You. At that point unfamiliar with Chet Baker’s work, I approached it as primarily the work of a vocalist. Simply put, it wasn’t for me. I didn’t enjoy his (from my point of view) effeminate vocal styling, so I passed on reviewing it. Luckily for me, when Chet Baker in New York landed on my desk, I checked it out. Released the same year as It Could Happen to You, this album couldn’t be more different. In fact it swings, in places. Thanks in no small part to the ace drumming of Philly Joe Jones, the album – six longish tracks plus a bonus on this reissue – is a winner. In New York is arguably at its best when Baker is joined (on half the tracks) by tenor saxophonist Johnny Griffin; the high point of these is “Hotel 49.” Paul Chambers’ sawing bass solo is jaw-dropping. On the remaining tracks, romantic mood jazz is more the order of business.

Jazz enthusiasts will want most or all of these Concord reissues for the stellar remastering, bonus tracks, and new liner notes. Those new to jazz would do well to choose any of them (based on one’s openness to a particular style of jazz) and explore from there. A newbie could do far worse than be schooled in modern jazz by keeping up with Concord.

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