Bob Powers

MARIETTA, OH, USA - One of the saddest parts of being a writer on music is the never-ending need to write obituaries, often of talent that should have achieved more while in residence on Planet Earth.

As I type, my stereo equipment is playing Charles Earland's spectacular CD from 1970, "Black Drops" (Original Jazz Classics). Earland was one of the masters of the organ, especially as it pertained to his chosen type of groove, a delicious melding of jazz and soul. While the life of this speciality didn't last long as a commercial entity, it continues to provide hours of pleasure to those who came to love Earland and his compatriots an unbelievable 33 years ago.

Earland died in 2001, which may be one reason that the record company decided to release this CD. "Black Drops" finds Earland playing magic on the electric organ, accompanied by a steady band that included Virgil Jones on trumpet, the excellent Jimmy Heath on tenor and soprano saxophones, Clayton Pruden on trombone, Maynard Parker on guitar and Jimmy Turner on drums.

The combination rocks throughout, with extra credit awarded to the opening track, the dynamic "Sing a Simple Song." You won't be able to hear this sizzling number without finding your right foot keeping time along with the musicians.

"Raindrops Keep Falling on My Head" takes up less that three minutes, but that's plenty enough to move into Earland's fetching groove. My favorite involves the solid rhythm achieved on "Don't Say Goodbye."

Remember The Name

Pianist John Bunch has achieved a nice career in music. He has done three previous albums, including the special "John Bunch Solo," on the reliable Arbors Jazz label.

Now Bunch may have reached his best with the dizzying new release from Arbors, "John Bunch: A Special Alliance."

Accompanied by Dave Greene on bass and Steve Brown behind the drum kit, Bunch performs a marvelous array of a baker's dozen full of sensational sounds. Bunch tackles some songs from hard jazz players, including "Funk in a Deep Freeze," written by Hank Mobley, and piano genius Bud Powell's delightful "So Sorry Please."

The always-welcome Billy Strayhorn classic "Lush Life" receives a terrific performance from Bunch, who's subtle but never without the requisite energy. He always seems to know the best tempo and how far to stray from the composer's melody lines.

Two of my personal choices are Bunch's treatment of Thelonious Monk's "Pannonica" and the immortal John Coltrane's classic, "Moment's Notice."

With 13 songs covered, Bunch makes a fine closer with Matt Dennis' old favorite, "Will You Still Be Mine?"

John Bunch, my hat's off for this impressive performance. And to the good folks at Arbors Jazz, let us suggest that you get Bunch back into the recording studio as soon as possible.

Cleanhead Rides Again

It's been more than four decades ago that Eddie "Cleanhead" Vinson went into a Chicago recording studio with the Cannonball Adderley Quintet. The results were fantastic, as you can easily hear in the Milestone Records release called "Cleanhead and Cannonball."

For sheer fun and musicians at top form, this album should provide entertainment for many spins. Eddie Vinson, who got the nickname Cleanhead because he kept his hair severely trimmed, was a busy worker back in those days (the album was recorded in September of 1961.

The album launches with a smashing version of Jimmy Reed's "Bright Lights, Big City," which is the perfect match for Vinson's strong voice. He also does a couple of his own compositions.

Adderley, who made a smashing break into the music business, achieved a tone on alto that was different than most players working in those times. Cannonball's tone was recognizable, even to those listeners who couldn't tell Frank Sinatra from Franklin Roosevelt. (The latter seldom got into a groove.)

Hooker's Fine Wine

Some folks never got into the blues, especially the "real" kind of blues that involved a black man playing a guitar and singing sad songs about lost loves. For those folks, my sympathies.

If you sat down to write at list of the best blues singers/players in 20th Century history, one name would have to be placed in the No. 1 spot. No doubt, it's John Lee Hooker.

In November 1962, John Lee Hooker was recorded live at the Sugar Hill club in San Francisco. The results are out again in a spectacular album from the Fantasy label, "Live at Sugar Hill, Vol. 2."

The CD contains 19 songs, ranging from the opener, "You Torture My Soul," to the finale, a sizzling version of "Five Long Years." Listening to this album gives you an idea of the greatness of the blues. You can determine that John Lee Hooker was one of the most important blues singers of his generation. And you may well want to start looking for other titles by Hooker and the legendary coterie of blues makers from the past.

Cal's Salute to Broadway

The late Cal Tjader won admirers around the globe by performing on his vibes in both the jazz and Latin rhythms. Tjader was only 57 when he died in 1982, removing one of the most popular players on an instrument not known for sounding sweet and sassy.

Thankfully, Fantasy Records in northern California has been releasing old Tjader material in new packages, with the sound cleaned up by remastering. It's a great idea, and many jazz listeners who may have been unaware of Tjader's important contributions now have the chance to add these CDs to their collection.

The latest from Fantasy is the 1960 album called "Cal Tjader Plays Harold Arlen & West Side Story." These tracks find Tjader mostly at his quiet mode, although some of the music from Bernstein's "West Side Story" allows Tjader to push up the tempo a bit.

If you admire the sound of the vibes, this album should please you.

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 oldbob@localnet.com.

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