Bob Powers

MARIETTA, OH, USA - With nearly four months remaining in the year 2003, I've already made up my mind on the Powerssound Record of the Year. The choice came easy after I listened a couple of times to Barry Harris' delightful new CD, "Live in New York".

Harris has a following, but in his mid-70s he remains something of an unknown quantity to all but those devoted jazz fans who make it a policy to pay attention to the new music from their elders.

In this sparkling album from Reservoir Music, Barry Harris, a superb pianist who has played an important role in the creation of some of jazzdom's most scintillating music, demonstrates emphatically that he's not ready for the expected small apartment in a housing project catering to seniors.

There's not a damned thing old about Barry Harris and, if you doubt that statement, just stick a copy of "Live in New York" on your CD audio equipment. Case proven and dismissed.

All right, you want more of a description of the music contained within. And a few words why Harris deserves such an accolade. First, the album contains six tunes, consisting of tried-but-true evergreens such as Tadd Dameron's "Casbah" and Thelonious Monk's wonderful "Round Midnight." Leroy Williams, drummer and co-producer for the set, contributes a memorable "Two-Step".

Harris serves up two of his own compositions, "Monking Around" (for Thelonious) and "To Dizzy With Love," a thank-you to the giant, Dizzy Gillespie. If you like to laugh and find that's an element not often found with jazz performers, then you should fall in love with Harris for his tongue-in-cheek "7-4-3," in which he asks the audience at a New York City night spot to give him three numbers, which he then uses to write a new chart. The chuckles may burst into guffaws.

Harris, perhaps the jazz pianist with the lightest tough in the business, shows that being in his mid-70s doesn't tell him that he should retire to the family farm and spend his evenings in front of the fire. Retirement would apparently be far from his thoughts. He performs with practiced skill, tingling those jazz chords with the ease of a recent conservatory graduate.

"Live in New York" demonstrates that jazz remains an innovative art and new licks are not necessarily limited to those kids fresh from lessons at the piano while the master offers suggestions. Barry Harris, who seldom has received the respect long ago earned, has lots of piano to play and let's hope that his health will prosper while he collects some of the acclaim that's long overdue.

Along for the ride are Charles Davis, deserving of applause for his years of contributions to the art of the tenor saxophone, guitarist Roni Ben-Hur, bassist Paul West and the aforementioned Williams.

Hot Rhythms

Ever hear of a presumably new group called O'2L? Me, neither, until I received a copy of their self-titled album, released on the Peak label. I'm not certain how to label the group (actually, it's mostly two musicians, Jane Mangini and Al Pitrelli). All the songs were written by Jane. A bunch of other performers join in on some tracks. I guess you could call it "modern music," if there is such a thing.

If you insist on putting a label on O'2L, I suppose it could be called sorta jazz. There's a bit of classical around the edges, and the rhythms might make you think of some of the African drummers. But not really.

Art Tatum!

In listing the best jazz pianists of the 20th century, one name demands to be placed near the top of the list. Art Tatum shows why he deserves such recognition in a new release from Pablo called "The Best of Art Tatum: The Complete Pablo Group Masterpieces."

Tatum was born in Toledo, Ohio in 1909 and died of Uremia in 1956 at the age of 47. Most of his all-too-short life he was nearly blind. But his touch on the piano captured hearts and souls around the world. He was simply a genius on his chosen instrument. The world may never see again anyone quite like Tatum.

The supporting musicians on this wonderful album include some of the best ever to stand in a recording studio. The list includes Louis Bellson, Benny Carter, Red Callendar, Buddy DeFranco, Roy Eldridge, Lionel Hampton, Jo Jones, Barney Kessel, Buddy Rich, and Ben Webster. The dozen tracks include such jazz classics as "Perdido" and "Deep Night," along with pop winners including "Memories of You" and "Just One of Those Things."

If you've never heard Art Tatum before, you are in for a spectacular treat. If you are an old fan of Tatum, you'll head down to the local music emporium the next chance you get.

Goodies From Arbors

Arbors Records is as close as you can get if you want guaranteed good music played by crusty old veterans who know all the tricks. Two recent releases from the good folks down in Clearwater, Fla. will demonstrate why the Arbors insignia translates into excellent classic jazz.

I confess I never heard of Walt Levinsky until this CD arrived at my door a few weeks ago. "As He Wanted to Be Remembered" captures a concert led by the clarinet and alto sax player at a local high school in River Dale, N.J. in 1996, three years prior to Levinsky's death.

The tunes chosen for that special night include some great oldies, including "Limehouse Blues," the Benny Goodman dazzler, "A Smooth One" and a long medley of tunes made famous by Duke Ellington. Levinsky played with care and respect for the material. His clarinet work was particularly well integrated with the band. It's an album you are bound to enjoy if you like big band classics from the glory days.

Another special new release from the Arbors collection is "The King of Jazz Featuring Kenny Davern: Live in Concert, 1974."

Back then, Davern played both alto sax and clarinet. Today he has scrapped the alto and this album gives you a rare opportunity to hear what Davern could do with the difficult alto. The eight-piece band featured was assembled for that concert in Sweden.

The 14 tracks range from perennials such as "Back Home in Indiana"and "Sweet Georgia Brown," to lesser known pieces such as "Oh Sister! Ain't That Hot" and "Dear Old Southland."

It's an excellent album, especially if you appreciate the older material.

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