COVER -> POWERSSOUND
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The subtitle for this collection is, "20 tracks to make you jump in the night." Actually, the most drastic reaction I can imagine is that purchasers might pat their feet after being injected with some of the jazzy rhythms in this droll album.
The lineup of musicians is quite impressive, if you happen to remember the stars from the'30s,'40s and'50s. Artie Shaw's memorable theme, "Nightmare," is found within, along with a couple of cuts from the jazz king of the trumpet, the incomparable Louis Armstrong, who performs "The Skeleton in My Closet" with the Jimmy Dorsey Orchestra and another gem, "You've Got Me Voodoo'd." Pianist Fats Waller is present with "Dry Bones."
Jelly Roll Morton, who at one time claimed to have invented jazz, plays "Boogaboo. " Such famous blues singers as Ma Rainey and Bessie Smith are heard in rare cuts. Even the immortal Bing Crosby can be heard doing "The Headless Horseman."
"The Haunted House" presents nearly 64 minutes of entertainment. The cleaning up of the sound from these ancient recordings is practically perfect. Those who have followed the history of jazz should appreciate this collection, although knowledge of any kind of music is not required. Just sit down and listen. I can almost guarantee a smile on your face.
Quickies
New CDs have been gathering dust in my crowded office. Some albums have been victims of the infamous Powerssound filing system. To be truthful, no system would work when the perpetrator of that haphazard system devotes only a few minutes every month to keeping order. To be brutally frank, there's no semblance of order an office which threatens to engulf anyone who dares to enter.QUESTION: Why isn't Susannah McCorkle famous? She has a wonderfully husky voice, a surefooted acquaintance with the basics of rhythm and the ability to charm birds and other dumb members of the animal kingdom. Yet, McCorkle has spent the better part of two decades making albums, appearing in concert all across the U.S. and chunks of Europe. Still, she's relatively unknown. Tain't fair.
McCorkle's latest album, "Hearts and Minds" (Concord Records) contains a smart collection of songs both familiar and practically unknown. Each song receives the McCorkle treatment, which consists of singing with a full understanding of lyrics and a jazz artist's sense of melody and how much it can be played with.
The 15 songs include several charmers, including "It Could Happen to You" and "What Did I Forget?" My personal favorite is the Dave Frishberg classic, "Do You Miss New York?" I was sure that no one could surpass the version released years ago by Rosemary Clooney. McCorkle's take is different rather than better. But it's still a keeper.
ANTONIO & GUITAR -- Antonio Forcione is, according to his publicists, one of the most admired guitarists on the Continent. "Live!" (Naim Records) contains mostly music from previous albums. But there are three new instrumentals. Forcione is accomplished and if you like a performer who plays popular music with a bit of a classical touch, this one should please. Nic France joins in on percussion, with Rony Barrak on Middle Eastern Tabla. Recorded live at the Vortex in London, the album showcases a talented young man.
PRYSOCK YEARS -- As the album notes for this CD observe, "Arthur Prysock was one of those artists who, to a great degree, fell through the cracks of history." Prysock, whose career started in the mid-'40s, happened to have the misfortune of straddling two areas of show business. He had a certain success as a R&B singer, then began to work occasionally in jazz clubs. He thus became a minor figure in each field.
Talent was present in a giant serving. His big baritone and ability to sustain notes made him at ease with the rhythm and blues bands of those days. His careful reading of songs, extracting the meanings of words with the skill of a bullfighter, qualified him for big things as a jazzman. Unfortunately, he missed out in both areas. This new album, taken from later in his career, contains some excellent material. "The Best of Arthur Prysock: The Milestone Years" (Milestone Records) contains 14 tracks that demonstrate his versatility. My preferences include the stirring "Everything Must Change" and the perennial love song, "Teach Me Tonight." If you thought no one could sing "Rainy Night in Georgia" after Gladys Knight, just catch a few bars of Prysock's version.
HANK'S #1 -- In my personal list of favorites, one who's had a high ranking for many years is the dynamic master of the alto saxophone, the one, the only Hank Crawford. There's no pretense in the man, no need to demonstrate all the tricks he's discovered in a lengthy and satisfying career. Crawford's latest album is topping the jazz charts as you read this, proving one more time that eventually a great talent will achieve all that he deserves.
"The World of Hank Crawford" (Milestone Records) should please far more than the tight and relatively small legion of devoted jazz fans. Crawford plays music and I suspect he doesn't do much worrying about whether it's jazz or pop. Crawford believes in a strong dose of melody, with some special touches in improvisation as he sees necessary. Once you hear him, the chances are high that he'll get a high ranking on your list. There are nine tracks here, ranging from blowing pieces such as "Grab the World" and "Good Bait," along with better-known pearls, including "Star Eyes" and "Trust in Me."
Giving support are some excellent players, including Danny Mixon at the piano or organ; the talented Marcus Belgrave on trumpet and flugelhorn, and the veteran Ronnie Cuber on baritone sax. Melvin Sparks and Stanley Banks share guitar duties, while Kenny Washington keeps the beat moving on drums. This is a good album, for even those who say they don't like jazz because they don't understand it. Nothing to understand here, but be ready to be touched emotionally.
