Bob Powers

MARIETTA, OH, USA - When vibraphone master Terry Gibbs stumbled across 24 tapes in his closet last year, the world would benefit from the resulting CD, "Dreamband: One More Time" (Contemporary Records) It's the sixth album featuring one of the monster groups of 1959.

The album spotlights the wonderful work on vibes by a man whose ability to create excitement in front of a big band is well nigh incredible. Other masters of the vibes may elicit prettier sounds. Soloists may have a bit more spunk in other bands. But in putting the whole package together, Gibbs and aggregation create some sensational sounds that equal just about any big band you'll ever hear.

The sound work to bring these tapes up to snuff has been exceptional. The tapes were recorded in March and November of 1959. Don't worry about the quality of tapes cut so long, long ago. These doozies have been cleaned up and tinkered with to the point that each track sounds as fresh as today.

Terry Gibbs has been one of my favorites on the vibes for umpteen years. The man of small stature and large mallets stays in the background through many of the 14 tunes. There are a number of originals, including "The Fuzz," "The Subtle Sermon," and "Slittin' Sam (The Shaychet Man)."

The oldies include several ballads, including: "Smoke Gets in Your Eyes" and "I Remember You."

The band sounds relaxed on the ballads, full-blown and sizzling on the up-tempo material, with exception solo work by trumpeter Conte Candoli, Bill Perkins and Bill Holman on saxophones, and you can't forget Bob Enevoldsen on trombone.

"Dreamband: One More Time" should entertain every big band fan, no matter the era. Gibbs has been asked many times when he would form another Dreamband. His answer, "Never!" Let us praise him for taking these tapes to Contemporary Records.

The under-appreciated Irene Kral comes aboard to sing lush arrangements of "Moonlight in Vermont," and Lover, Come Back to Me." The CD ends with a rousing version of the Count Basie perennial, "Jumpin' at the Woodside."

If your hair (assuming you have some) has ever stood on end as you grooved before a 17-piece band, you owe it to yourself to dash down to the local record emporium for a copy of this fabulous treat.

Country Treat

Quick now, tell me how many jazz writers on the Web also write about country music? I don't know of a single writer who stretches his toes to do a bit of jazz, a bite of country, and pop. How about Spanish rhythms? And then there's pop. Yep, this column covers damned near all kinds of music, with the exception of classical. There's a limit to my stretch.

Speaking of country, Kevin Fowler has a new album that contains the real thing. This is country, with a twang and boundless sincerity. The songs tell stories; the music is simple and involving.

Fowler had regional hit with the self-released "Bell, Bait & Ammo," which sold 30,000 copies, mostly in Texas, back in 2000. The new album is the first release on Fowler's Tin Roof Records. He's hoping that this one gets past the borders of his home state.

This time around, Fowler has collected an outstanding collection of songs, with musical support added by friends such as Willie Nelson, David Lee Garza, and players from George Strait's Ace in the Hole band.

Says Fowler of his music, "We're just a bunch of everyday Joes making music for regular folks." He says the new album is "a lot closer to the albums Merle Haggard, Waylon Jennings, and Billy Joe Shaver used to make than what's coming out of Nashville at the moment."

My favorite? That's easy, it's "She Ain't Bad but She Ain't You." If you remember the good ole days when country was country, Kevin Fowler wants you to listen to his album. Me, too.

Fowler's album will be in stores August 7, 2002.

Good Stuff from New Orleans

My apologies to the friendly folks at Basin Street Records, whose most recent releases got covered in the mess that I call my office. Sorry, guys!

If you like Louisiana jazz with a solid beat, the album for you is "Jon Cleary and the Absolute Monster Gentlemen" (Basin Street Records). Leader Cleary is one of those all-around musicians who plays piano, Wurlitzer, B-3, Clavinet, dobro and mandolin. The result is never less than entertaining. Cleary has a somewhat foggy voice and blends right in to the rhythms of this superb band. Cleary wrote eight of the 11 songs.

The material has that old New Orleans feel, with a particularly forthright electric bass, played by Jeff "Jellybean" Alexander. The one and only Bonnie Raitt appears as lead singer on one track, "Just Kissed My Baby." She does background vocals on "Been and Gone."

Jon Cleary has all the stuff to make a national breakout. It would be great if this delightful album made him famous.

Kater's Piano Pleases

Peter Kater has been around for a while, but the smash album has eluded the proficient pianist. His new album, "Inner Works" (Source Records) could well be the one that turns Kater into a household name.

Kater has done plenty of work worthy of more recognition. His records have sold more than a million copies. He has written scores for more than 70 film and TV shows. He's also worked on both on and off Broadway productions.

This isn't for jazz fans, but it could please those looking for good music performed skillfully. It would prove enticing for anyone who likes his or her music turned to the enticing mark on your stereo dial.

Bob Powers always is interested in hearing from record distributors who deal in jazz, rock, folk, and anything that's good. For instructions on getting your album reviewed, contact him at rpow123@charter.net.

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