COVER -> POWERSSOUND
Concord Records is releasing a stack of CD's featuring some of the best of their impressive stable of regulars on this powerful label, created in 1973 by the late Carl Jefferson, a furniture mogul in California with an enduring love for jazz.
New releases over the past few weeks have included stellar material from the vaults. Scott Hamilton, who was still wet behind the ears when he joined Concord 22 years ago, can be heard on a mellow collection called "Ballad Essentials." The dozen tracks have been assembled from releases dating from 1977 to 1995. These all are from sessions in which Hamilton was leader.
Scott Hamilton's work on tenor saxophone is comparable to the melodic giants of the past, particularly such masters as the unforgettable Ben Webster or Coleman Hawkins. Few could believe that Hamilton, a star in his early 20s, could sound so much like a man with decades of experience in smoky night spots.
I can't remember ever hearing a sour note from Hamilton. In this new compilation, he shines in a variety of settings, performing with a great cast of fellow musicians, including John Bunch, Nat Pierce, Dave McKenna, Norman Simmons, Brian Lemon, and Gerry Wiggins. In "Body and Soul" Hamilton trades off with fellow tenors Spike Robinson and Ken Peplowski.
The songs cover some of the great ballads of the '30s and '40s. There's "Skylark," "Everything Happens to Me," "My Foolish Heart," and "That's All." Then there's a gorgeous version of "In a Sentimental Mood" and an earthy rendering of "'Round Midnight." You'll recall precious times when you hear "My Romance," and Hoagy Carmichael would have loved the Hamilton version of "Stardust." "I'll Be Around" sounds like a promise we all would want kept, and the final song seems appropriate for the listener who puts this CD on the turntable just before bedtime: "Tonight I Shall Sleep with a Smile on My Face."
Scott Hamilton, you are a doozy.
Jazz Live!
What happens when four modern jazz giants perform in front of an appreciative audience at the end of a clinic? Good stuff, that's what.The resulting album is a dinger called "The Hudson Project" (Stretch Records). The musicians are John Abercrombie on guitar, Weather Report veteran Peter Erskine at the drums, big band leader Bob Mintzer on tenor saxophone, and the great John Pattitucci on bass. They assembled at the Manhattan Center in New York City on Oct. 17, 1998. It must have been a magical evening.
There are eight originals, with each musician contributing two tunes. Stretch executives wisely kept their hands off the finished material, so that your ears pick up every bit of the great fun that must have filled the auditorium on this particular night.
The World's Magazine: g21.net
Event # 209: NEW POWER GENERATION
This Pull-down Menu will hyperjump you to all our great features. Try it!
JOIN THE G21 MAILING LIST. Get updates on new features. Take part in our Readership polls, shape the future of The World's Magazine. It's easy! E-mail The World's Magazine with the "Subject" line: SUBSCRIBE.
Want to know more about our community? The Info is here.
LAST WEEK's EDITION
For Deep Background visit the G21-Barnes & Noble Shop
OR get great books at the G21 BARNES & NOBLE SEARCH ENGINE
Discover the MOIA Discussion List
While there's no groundbreaking material presented, the album contains superb musicianship and a real sense of togetherness that's rare from a group that's not really part of a steady gig.
Another Giant Has Gone
Any jazz fan of long standing has watched the Grim Reaper take a terrible toll on the ranks of jazz over the past few years. So many of the gigantic talents from the '30s, '40s and even some from the '50s have left for another realm in which to practice their steady licks.One of the recent departures was that of the wondrous guitarist Charlie Byrd, who began his career in the '30s, where swing was king. Byrd, who made his home in the Washington, DC area for many years, achieved notoriety a couple of decades ago, when his work with Stan Getz reached far beyond regular jazz fans. "Jazz Samba" became a monster hit, and Byrd achieved his hour in the sun.
Byrd's last project was an album recorded in New York last September. In precarious health, Byrd died on Dec. 2 after a long battle with chronic respiratory problems. He was 74.
A story told by Jim Ohlschmidst in the excellent liner notes for "Charlie Byrd: For Louis" (Concord) showed how Byrd never rested on his laurels. The two men discussed Byrd's health problems. "Charlie listened patiently as I talked of his many accomplishments and accolades, of all the marvelous things he had to look back on. When I finished, he just looked at me and said, 'But I'm not used to looking back.'"
Byrd's playing on "For Louis (Armstrong)" sounds as good as ever. Even though he was literally months from death, he could assemble his talent and perform as the superb musician he'd been for so many years. This tribute to Satchmo is a gorgeous CD, Byrd's playing as inventive and thoughtful as during his best years.
The selections on the album are mostly well known as Armstrong classics, including "A Kiss to Build a Dream On" and "Hello Dolly." Then there's "Tin Roof Blues," "Soft Lights and Sweet Music," and a lovely finale, "What a Wonderful World."
Supporting Byrd are Robert Redd, piano, Dennis Irwin, bass and Chuck Redd, drums. Trumpet player Joe Wilder and saxophonist Steve Wilson share duties on a album which seems a fitting salute not only to Louis Armstrong, but to the magnificent Charlie Byrd.
