Bob Powers

MARIETTA, OH, USA - It's never easy to follow a jazz musician's career unless you have an occupation such as mine, writing about jazz musicians and their latest achievements.

One of my all-time favorites on piano was Hampton Hawes. Although I hadn't heard from Hawes in recent years, I assumed he was sitting in a rocking chair in a home for worn-out jazz kings from the past. With the arrival the other day of a compilation album called "Northern Windows Plus" (Prestige Records), I learned that Hawes died in May of 1977 after a major stroke. That's 26 years ago, dear reader. For some reason, I hadn't thought of Hampton Hawes across those many years. More precisely, I had thought of this piano genius, but hadn't attempted to see what he had been doing lately.

Not much.

Hawes was one of those unlucky musicians who were admired throughout the jazz community, but who never made a major explosion on the jazz charts or through concert tours around the country. This according to the liner notes on this album combining the music from two albums, the 1973 "Playin' in the Yard" from 1973 and "Northern Windows," a big band disc from 1974.

If you never heard or read about Hampton Hawes, this is your chance to hear the magnificence that Hawes could produce in a seemingly easy manner. The music here isn't precisely jazz, since it pays a lot of attention to funk. And some ears may not be thrilled with the fact that Hawes played electric piano on many of the tracks from these two albums.

Hawes saw himself as an experimenter and for several years late in his life, he insisted on playing an electric piano. Sound has improved since the early Œ70s, but Hawes was able to make his technique good enough that the goofy sound emitted by an electric piano isn't as so-so as you might expect.

In the trio recordings that occupy much of the first half of this excellent release, Hawes receives wonderful support from Bob Cranshaw on bass and the stupendous Kenny Clarke, one of the best jazz drummers in my personal catalog of favorites.

Nine of the first 11 compositions are from the pen of Hawes. All are played well, save for the dinky sound of the piano. However, you will find it, as I did, possible to pay no attention to the piano, but to hear the ideas from the Hawes mind.

The music from the second album, played by a nine-piece band that sounds as fresh as this morning's oatmeal, will delight anyone who ever said of a jazz tune, "I think I like that music!"

The private life of Hampton Hawes was derailed several times or he might have reached stardom and applause to match his talents. But Hawes, a man who sometimes made terrible choices, seldom got a good break either. President John F. Kennedy brought one depressing period to an end when he pardoned Hawes in 1963 after serving five years for possession of heroin. According to the album notes, Hawes wrote an "extraordinary" autobiography called "Raise Up Off Me."

"Northern Windows Plus" should go on your shopping list.

Another Good One

Another excellent pianist who checked out of the world far too soon was the rhythmic jazz great Bobby Timmons, who died in 1974 at the age of 39. A new album encompasses two titles originally released in the mid-sixties. "Bobby Timmons ­ The Prestige Trio Sessions" (Prestige Records).

Timmons, another pianist who relied on funk for his personal brand of jazz, seems remarkably at ease in these dozen exercises. Working with bassist Sam Jones and drummer Ray Lucas, the first six tunes seem to fit Timmons to a T. And when he branches out with some standards, the pianist seems completely at home with the material.

Incidentally, drummer Albert "Tootie" Heath and bassist Keter Betts replace Jones and Lucas for the second half of the program. Good jobs come from all.

Jazz With Strings

When you think about your most esteemed alto saxophonist, I doubt if the name Jim Snidero would spring to mind. When I opened the package that contained Snidero's new release, that marked my first acquaintance with this tall and slender individual.

The album, entitled "Strings" (Milestone Records) shows off Snidero's many talents on the alto. While the music here doesn't break new ground, it demonstrates that pretty sounds are always welcome, particularly when performed with such finesse and talent.

Most of the material lacks any sense of ground breaking. But Snidero apparently achieved exactly what he desired: an album that entertains and will never cause friends and neighbors to yell, "Turned that awful music down!"

Mongo Once More

Long a leader in the world of Latin jazz, Mongo Santamaria died in January at the age of 80-plus years. His work in recording studios should be heard for decades to come. His work on the congas and bongos set the stage for a large retinue of Latin percussionists who have become some of the most likeable musicians to come up from the Latin nations.

Meanwhile, the delightful sounds that have been entertaining the world for decades should continue to charge up audiences everywhere. On this album, "Montreux Heat", originally released in 1980, Santamaria shows good form and the result (recorded at the Montreux Jazz Festival), everyone seems in rare form with the result that this should find favor with fans of the music no matter where they happen to live.

The album is remarkably without fault, although the version of "Watermelon Man" put the crowd that night into a joyous mood. Let's all tip the fedoras to the incomparable Mongo Santamaria.

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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