Bob Powers

MARIETTA, OH, USA - The Fantasy Records group of prestigious record labels devoted to jazz contains some of the finest examples of the genre recorded over the past half-century. Sometimes the number of new releases becomes dizzying and as a result, new titles tend to pile high in my office while I struggle to listen to them all. It's a duty, but one filled with hours of listening pleasure. I'm not complaining, but sometimes feel sheepish because I don't always review titles on a timely basis.

Seeking attention as one of the most intriguing new albums is one featuring three excellent exponents of hard bop. The CD, simply titled "Ronnie Matthews, Roland Alexander, Freddie Hubbard" combines two albums, one from 1961 and the other released in 1963. Originally recorded in the famed Rudy Van Gelder studios in New Jersey, both albums sound as fresh as material done last week. Kirk Felton's remastering assures that the music comes across in warmth and clarity. Your ears will appreciate this material, no doubt.

Pianist Ronnie Matthews was just 28 when his session came out in 1963. It was his first release as a leader and he showed confidence and a mesmerizing ability to achieve great results not only from his own work, but as the leader of such renowned musicians as trumpet master Freddie Hubbard, whose distinctive sound gives the session authority and warmth. The baritone saxophone of Charles Davis sizzles with his sharp-edged entrances and his good humor. Providing wonderful rhythm are Eddie Kahn on bass and the noted Albert "Tootie" Heath behind the drum kit.

Four of the six tunes were written by Matthews, who showed great promise at this early part of his career. Davis provides an original called "1239-A" and the band salutes Duke Ellington with a superb rendition of "Prelude to a Kiss."

The second half of the CD contains a 1961 date from Roland Alexander, whose tenor saxophone provides solid leadership and a beautiful tone. Marcus Belgrave works his trumpet with skill and humor. Matthews provides piano tidbits that capture attention. Gene Taylor plays bass and Clarence "Scoby" Stroman rounds out the quintet on drums.

Four originals are augmented with two oldies, "Melancholy Baby" and "I'll Be Around."

If you hanker for great music from a special period in the history of bop, you should be a candidate for this excellent display of talent and energy.

The Wonder of Marian

A true phenomenon of the jazz world is Marian McPartland, whose music has been delighting fans of good music for decades. Now well into her 80s, McPartland continues to work a busy schedule and to please her huge fan base with her frequent and wonderful work on the piano.

One of her best albums in the past few years is "Live at Shanghai Jazz," recently released on the dependable Concord label. Working with her fantastic drummer, Joe Morello, and great bass player, Rufus Reid, McPartland performs in this live set with all the strength and vigor of someone half her years. The dozen songs gathered for this set recorded in 2001 at a club in Madison, N.J., aptly show the range and depth of Ms. McPartland's abilities as a pianist. There's not a hint of age showing as she plays with all the vigor and excitement of a pianist fresh on the jazz circuit.

McPartland is one of those rare performers who appeal to a broad segment of the population. The jazz fans love her work, while those who would claim to "hate" jazz find McPartland's style appealing and warm. She's especially warm on ballads, but bows to no one in her enthusiasm for America's only original music.

Taste is a special part of the soul of McPartland, as she aptly demonstrates in this excellent album. She starts matters with a Mary Lou Williams composition called "Scratchin' in the Gravel," then swings into a stunning version of the gorgeous ballad, "For All We Know," which gave me goose bumps.

The 12-song album winds up with a stunning version of the traditional tune called "Black Is the Color of My True Love's Hair."

Pull out all the adjectives. "Live at the Shanghai" shows that Marian McPartland continues to play a powerful role in today's jazz scene.

Harvey Reid Times Two

I don't mention folk music much in this column, which over the years has tended to concentrate on my first love of jazz. But whenever a new Harvey Reid album comes out, I'm early in line to sing its praises.

If you are not familiar with Harvey Reid, you don't have to be a folk junkie to find his work satisfying and invigorating. The man has a glorious voice, perfect for the songs he selects.

You can get a good idea of Reid's career by investing in a new double album that traces his work on 16 CDs, going back to his first in 1982. "Dreamer or Believer" (Woodpecker Records) contains 40 selections, a general selection of which has never been previously released.

Since folk music can be difficult to find outside of specialty stores, you can order the album directly from Woodpecker by phone (207-363-1886) or through e-mail at orders@woodpecker.com. The album is priced at $26.95, with $2 per order for shipping in the U.S. and Canada.

Join the Harvey Reid club. You'll be glad you did.

Hamp's Departure

You could hunt far and near, but you wouldn't come up with a personality like Lionel Hampton. The great innovator and band leader like no other died in late August at the age of 94.

One of my most indelible memories was the night I was hanging out at a radio station in Charleston, W.Va. It was the early '50s, I was fresh out of college and had fallen headlong into a mad love for jazz.

Lionel Hampton, then at the height of a career spanning 75 years, was booked to perform at Charleston's Municipal Auditorium. He arrived at the radio station for a brief interview with the jazz disc jockey Hugh McPherson. I made a habit of hanging out with Hugh, who was an expert on jazz and a friend to hundreds of musicians.

Hugh introduced me to Hamp, just as friendly as you would expect, and I ended up riding with Hampton in a limousine to the auditorium. He treated me like one of the guys. The concert that night was a typical Hampton show, bombastic and frenetic, a completely charged entertainment hullabaloo. That memory will last until my dying day.

Gary Giddins wrote a terrific article about Hampton in last week's Village Voice. Check it out at: http://www.villagevoice.com/issues/0239/giddins.php.

Sleep well, Hamp. You were one of the best.

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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