Bob Powers

MARIETTA, OH, USA - This corner of the jazz world has not been avoiding a review of Henry Butler's new album, "The Game Has Just Begun" (Basin Street Records). The CD and accompanying publicity material somehow got shifted to the "done" side of my music stacks. I hadn't written a review, but had listened to the disc and found it an odd combination of jazz and blues with a generous dollop of pop added for extra flavor.

While I don't recommend my filing methods to a person seeking neatness and quick availability in his or her office, it often (not always) works for me. But onward to Henry Butler, a fine singer and pianist extraordinaire.

The album deserved a more efficient notice from this dusty corner of the jazz empire. I'm just an aging, skinny and enthusiastic devotee of all things jazz. Excuse me for occasionally missing a CD release date. I'm working on it, damnit!

Henry Butler first greeted life in New Orleans. He wanted to be close to his mother. (OK, I know. Bad and old joke) Butler started singing at the Louisiana School for the Blind. He later studied classical piano at Southern University in Baton Rouge, completing his master's degree at Michigan State. Butler later studied with Sir Roland Hanna, George Duke, Cannonball Adderley and Harold Mabern.

Butler did his inaugural album in 1986. He lived in New York for three years, and then was hired as an Assistant Professor of Music at Eastern Illinois University. In other words, the man knows what he's doing.

"The Game Has Just Begun" shows Butler in just about all his incarnations. The album includes low-down-dirty blues, some pleasant and rhythmic sojourns into jazz, and he keeps his large voice front and center most all the time. This album would not necessarily appeal to a jazz enthusiast who demands a solemn face while putting down some choice licks. With Butler, what you get is enthusiasm that will eventually infect just about all who listen to this worthwhile album.

Basin Street Records' boss man Mark Samuels has found a musician who obviously loves the music he plays, infecting the listener with a desire for more, more, more.

Stan Kenton Rides Again

Thank God for today's modern recording techniques. They make it possible to take a 40-year-old tape cut at a concert and, with the engineering magic applied, the tape comes out sounding like something recorded last week. This isn't a new procedure, but it still makes me smile. For instance, "new" albums have just come out from Stan Kenton and Duke Ellington, both on the reliable Pablo label.

The Kenton session, "Stompin' at Newport," was recorded in July of 1957 at the famous jazz festival in Rhode Island. This album contains many of the tunes that became Kenton standards. I saw Kenton's band several times during that period and even rode on the band bus from the old Coney Island into downtown Cincinnati one special Sunday afternoon.

During that period, (prior to the mellophonium craze) Kenton carried five trumpets, five trombones (one bass trombone), the wonderful Lennie Niehaus on alto sax, the magnificent Bill Perkins on tenor sax, with Wayne Dunstan. There were two baritone saxophones, bass and drums. I wouldn't have been surprised if people living in Cincinnati could hear Kenton blasting away in the amusement park roughly 15 miles down the Ohio River.

The program, clocked at 53 minutes, included what then were Kenton favorites: "Artistry in Rhythm," "Stompin' at the Savoy," "Intermission Riff," "Peanut Vendor," and "The Big Chase."

While Kenton's was never considered a "real jazz" band, he made one helluva impression on 24-year-old minds such as Yours Truly. This disc gives those who missed those special times an idea of what the shouting was about.

Duke Ellington, however, gained a huge following with a brand of jazz that he created and that continues to have a wide following up to the present day. Edward Kennedy Ellington has been gone from Earth a long time, but listening to his recordings continues to be a special pleasure.

"Duke Ellington at the Alhambra" contains many of the Duke's most popular arrangements, ranging from "Take the 'A' Train," a medley consisting of "Black and Tan Fantasy" "Creole Love Call," and "The Mooche."

Recorded in October 1958 at the Alhambra Theater in Paris, the concert shows a band working at top levels. Several of the sidemen are names remembered today, including Johnny Hodges, Harry Carney, Paul Gonsalves, Jimmy Hamilton, Russell Procope, the wonderful trumpet sounds of Clark Terry and Cat Anderson, and many more.

For some reason, Ellington's brief comments while introducing soloists or jiving with the audience, sound tired and bored. The music, however, sounds fantastic.

Milt in Rare Form

It's hard to believe that some three years have come and gone since Milt Jackson started playing his vibes for that celestial booking that lasts forever. Just out from Pablo Records is Volume 2 of "Centerpiece: at the Kosei Nekin." These recordings come from 1976, when Jackson was in the second year of what would become a seven-year sabbatical from the Modern Jazz Quartet. The concert was a two-day event in Tokyo in March that year.

The accompanying musicians are some important names in the history of jazz. Teddy Edwards deserves wider acclaim for his abilities on tenor saxophone. Cedar Walton contributes mightily on the piano and the magnificent Ray Brown, who died just a few weeks ago, is the usual steady hand on bass. Jackson seems especially at home with the drum work of the outstanding Billy Higgins. That's choice.

The program on Volume Two includes old favorites and some lesser-known compositions. The mix includes the title tune, "Holy Land," Little Girl Blue" and "Someday My Princes Will Come."

Milt Jackson certainly will go down in history at the greatest vibes player of the Twentieth Century. Isn't it wonderful that we can continue to listen to his work?

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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