Bob Lark & His Alumni Big Band - Sweet Return

From time to time, a new Big Band album arrives that satisfies on two fronts: it brings about a new way of approaching the idiom, yet there is a pleasant air of familiarity to the proceedings.  One such album is the newly released "Sweet Return" (2014 Jazzed Media), by Trumpeter Bob Lark & His Alumni Band.

Lark is nationally and internationally renowned as a Jazz educator, performer, composer, and clinician.  A long-time head of Jazz Studies at DePaul University, his ensembles have been recognized as some of the premiere groups in the country, drawing acclaim from virtually all of the major Jazz publications in the United States.  In addition to his being a top-notch Jazz educator, his resume of artists with whom he has performed and/or recorded includes Phil Woods, Clark Terry, Bob Brookmeyer, Louie Bellson, Slide Hampton, Bobby Shew, Ira Sullivan, Jim McNeeley and Jeff Hamilton, among many others.

There is an old saying which, unfortunately, rings very true concerning education and the professional sectors: "those who can't do, teach".  Nothing could be further from the truth in the case of the esteemed Mr. Lark and company, which brings us to "Sweet Return".

From the opening of the Kenny Dorham classic, "Una Mas", to the close of "Just You, Just Me/Evidence", this is a recording that looks forward to the future of orchestrated Jazz, while fondly looking back on its storied past.  Throughout the entire album, it is obvious that each and every person on it, and all of the arrangers, has a deep appreciation for the history of the music.  It is remarkable to hear all of these new arrangements and, in the midst of them all, hear Gil Evans' arrangement of Leo Delibe's "The Maids Of Cadiz". To think that music written over half a century ago sounds every bit as modern as the rest of the album is a testament to the staying power of Evans' work, as well as the skilled writers that make up the rest of the album.

The band is made up of some of the best Jazz educators in the country, including Altoists Randy Hamm (Missouri State University; Springfield, Mo.) and Glenn Kostur (University Of New Mexico, Albequerque); Tenor Saxophonist Chris Madsen (University Of Illinois, Chicago); Trumpeters Brent Turney (University of Wisconsin, Stevens Point), Dan Jonas (California State University, Sacremento), and Kirk Garrison (Concordia University, Chicago); Trombonists Andy Baker (University Of Illinois, Chicago), Tim Coffman and Thomas Matta (DePaul University, Chicago); Pianist Mike Stryker (Western Illinois University; Macomb, Illinois) and Drummer Bob Rummage (DePaul University, Chicago).

"Sweet Return" is a perfect mixture of old classics, originals and some things that are often overlooked. 

Bass Trombonist Thomas Matta's take on "Bye, Bye Blackbird" is a perfect vehicle for the leader and Tenor man Scott Burns to stretch out and trade off.  "Take The 'A' Train" is probably the most ambitious chart of from the sessions, contributed by Saxophonist Andrew Janak.  This one bears repeated listening, as there is a LOT going on!

Lark's own original, "Rum Point", scored by Tenor Saxophonist Chris Madsen (a former student of Lark) is a relaxed Bossa, reminiscent of "Stella By Starlight", featuring the leader's Flugelhorn, along with Mike Stryker on Piano and Tim Coffman on Trombone.  Another Lark original, "A Narrow Path", borrows its chordal framework from John Coltrane's "Giant Steps", and featuring the composer on Trumpet, Tenor Saxophonist Chris Madsen and Trombonist Andy Baker.


A pleasant surprise was the inclusion of Paul McKee's arrangement of "Just You, Just Me/Evidence", combining the grand old standard and the head written over the changes by Thelonious Monk.  Solos by Lark on Trumpet, Scott Burns on Tenor and Glenn Kostur on Alto, top off a fantastic re-working of a great old tune by arranger McKee.

Hands down, the most beautiful track on the album is Jimmy Rowles' best known composition "The Peacocks" (originally recorded by Rowles and Stan Getz), as arranged by Chicago Bassist Matt Ulery.  The leader's Trumpet sings over the top of the ensemble, in a mournful, Miles-like wail that still remains all Lark.  Also, note the beautiful lead Alto work of Randy Hamm.  A hauntingly beautiful track.


For me, my personal favorite track of "Sweet Return" was Pianist Pete Benson's "The Last Time I Saw Paris".  The tune is normally done as a schmaltzy, medium tempo, devoid of Swing.  Benson's treatment delivers it as an out-and-out swinger, featuring himself on Piano and Lark on Trumpet, splitting a chorus.  Trombonist Tim Coffman and Alto Saxophonist Randy Hamm contribute some of the tastiest solos on the album within this track.  The highlight is the Saxophone soli.  The tune is A-A-B-A in form.  While the Saxes hold forth on the "A" sections, the chaotic bridge featuring the Brass in the midst of it give the track a bit of an unexpected turn before handing it back over to the Saxes.  A matter of personal opinion, I find this particular arrangement and performance to be reminiscent of the late 40's Claude Thornhill band.  Being a Thornhill fan, I find this track to be a welcome addition to the flow of the album.

In mentioning Thornhill, I find a parallel to his band and this album: the music sounds deceptively easy.  Though some of the music is difficult and intense (I HAVE played some of this music, myself!), the Lark band comes across as sounding effortless in its execution.  There is a very relaxed feel to this album, without losing the drive, intensity and excitement inherent to the Big Band sound.

This is an outstanding recording that deserves wider recognition.  The majority of this band is made up of not only great musicians but outstanding teachers.  With people like this setting quite an example of musicianship for young people to emulate, the future of Jazz Education is in great hands.  With players and arrangers like this, the future of the music is in equally great hands.

http://www.jazzedmedia.com/JM1068.cfm

1) Una Mas (Arranged By Darryl Wyatt)
2) Bye, Bye Blackbird (Arranged By Thomas Matta)
3) The Maids Of Cadiz (Arranged By Gil Evans)
4) Take The "A" Train (Arranged By Andrew Janak)
5) Rum Point (Arranged By Chris Madsen)
6) The Last Time I Saw Paris (Arranged By Pete Benson)
7) A Narrow Path (Arranged By Chris Madsen)
8) The Peacocks (Arranged By Matt Ulery)
9) Old School (Arranged By Andrew Janak)
10) Just You, Just Me/Evidence (Arranged By Paul McKee)

Leader, Trumpet & Flugelhorn - Bob Lark

Saxophones:

Lead Alto & Soprano - Randy Hamm
Alto - Glenn Kostur
Tenor - Scott Burns
Tenor - Chris Madsen
Baritone - Mark Hiebert


Trumpet & Flugelhorn:

Brent Turney (Lead)
Dan Jonas
Marques Carroll
Kirk Garrison

Trombones:

Andy Baker (Lead)
Tim Coffman
Craig Sunken 
Thomas Matta (Bass)

Drums - Bob Rummage
Bass - Joe Policastro
Piano - Mike Stryker (Tracks 1-3, 5 & 9)
Piano - Pete Benson (Tracks 4, 6-8 & 10)

Reviewed By Brent Vaughan

Hindsight Review: Stan Kenton - Cuban Fire!

"Cuban Fire!" is an album recorded by Stan Kenton and his orchestra in 1956. This has become one of the most influential Latin jazz large-ensemble recordings of all time; it was a first for the Kenton big band in terms of popularity, style, and overall album theme. The LP charted for 4 weeks in Billboard Magazine starting in the September 15, 1956 edition and topped out at #17. The concept of the original 1956 recording centers on the "Cuban Fire Suite" Kenton had commissioned from composer Johnny Richards. The 1991 CD re-issue is augmented with one extra track from the 1956 sessions and five cuts recorded four years later by the first of Kenton's mellophonium orchestras (1960). 

Background: 

Though Stan Kenton had recorded earlier hits such as "The Peanut Vendor" in 1947 with Latin percussionist Machito, as well as many other Latin flavored singles, the "Cuban Fire Suite" and LP stands as a watershed set of compositions for Johnny Richards' career and an outstanding commercial/artistic achievement for the Kenton orchestra. The Billboard Magazine sales tracking is outstanding considering what the project and CD set out to do, it was selling just under Pat Boone at one point! And a singular landmark in large ensemble Latin Jazz recordings. "The reason we made "Cuban Fire!" is interesting. We had recorded a lot of Afro-Cuban music, and a lot of the Latin guys around New York complained: 'it's wrong, you're not writing the music correctly'". Stan Kenton then asked composer Johnny Richards (long time staff arranger for Kenton) to write an authentic Latin "suite" that would abide by all the rules many Afro-Cuban musicians had complained about. 

Composing authentic Afro-Latin music for Stan Kenton: 

Of all the writers in the Kenton stable of names, Richards was the best suited for the task of creating such music for the Kenton orchestra. Richards was bilingual (Spanish/English) and was born in Toluca, Mexico as Juan Manuel Cascales; his parents were Spanish immigrants to Mexico. Richards was to hang around with the Cuban-(Hispanic) musicians of New York for months before starting the suite. This was a much more personal endeavor for Richards than it was for any of the possible Kenton writers. "Cuban Fire!" is completely authentic, the way it combines big-band jazz with genuine Latin-American rhythms. The recording is a musical triumph for both Kenton and Richards; it comes at a time when big bands and jazz were slowly eclipsed by the pop music of Elvis Presley and emerging Rock N' Roll. The success of the "Cuban Fire!" album can be gauged in part by the immediate ascent of Johnny Richards' star after its release; he was suddenly offered a contract by Bethlehem Records to record what would be the first of several recordings with his own groups. The entire CD recording (to include the later 1960s cuts) also does a great deal to dispel several myths about the Kenton orchestra; namely how the band swung, the diversity/quality of soloists, and how Kenton treated African-American musicians. 

Recording "Cuban Fire!": 

The original LP and recording sessions were completed on a highly compressed timeline. Before the first notes of "Recuerdos" and "Fuego Cubano" where recorded on May 22, 1956, Kenton and his orchestra had been on a two-month tour of Europe (set sail back from Cherbourg, France to New York on May 10) with only having looked at "El Congo Valiente" beforehand. The band had less than a week to prepare while in New York. While the great majority of the personnel for the LP was on tour, Richards had taken great care to meticulously rehearse the suite with the Latin percussionists who would be added for three days of recording. 

Though the listing for the liner notes contains six trumpets, only five are called for in Richards' scores. Due to the 'heavy lifting' the music required for the brass section, a rotation of trumpet players was utilized on the sessions. A discarded part of the suite entitled "Alma Pecadora" (Soul of a Sinner) with the heading "Cuban Fire Suite" had been rejected due to quality issues as compared to the other movements. "Tres Corazones" (three hearts) is recorded on May 24 as the last of the three days but never makes it on the "Cuban Fire!" LP pressing; it does appear on a later Kenton LP release for Capitol Records in 1965. (disputed as to this cut being a part of the suite). One is to assume there are eight movements in all composed by Richards as opposed to the six on the original LP.

Soloists from the "Cuban Fire Suite": 

Soloists are abundant on the original recording of the "Cuban Fire!" Suite; most interesting of them being the tenor saxophonist Lucky Thompson. The Thompson tenor solos on the second half of "Fuego Cubano" and the up tempo "Quien Sabe" are a new addition and contrast to the normal style and harmonic/melodic practices of known Kenton tenor sidemen such as Bill Perkins, Zoot Sims, or later Bill Trujillo. Along with the 'heavy-weight' addition of Thompson, jazz luminaries such as Carl Fontana, Lennie Niehaus, Sam Noto, and Mel Lewis are prominent in solo spots adding to the credibility and legendary status of the dates. Thompson and Bassist Curtis Counce on the "Cuban Fire!" sessions (and previous tour) serve as positive credits in the dispelling of myth about Kenton having racist tendencies towards the hiring of sidemen. 

Re-issued recordings: 

The first 'Mellophonium' sessions in September, 1960: The tracks on the "Cuban Fire!" CD numbered 8-12 are an interesting set of recordings from a time of change for the Kenton orchestra beginning in 1960. These, along with two other recorded tracks, were intended to comprise an entirely fresh Stan Kenton LP release for Capitol Records later that year from the newly formed Mellophonium orchestra. The Kenton Mellophonium band had recorded 'pop' tracks in March and July of that year for singers Nat King Cole and Ann Richards, these were not as nearly demanding as the entirely instrumental charts written for the September sessions. While the Mellophoniums helped to bridge the sonic gap in the middle range between trombones and trumpet, they were volatile in terms of tuning and reliability (even with the best players). Both Johnny Richards and long time Kenton staff composer Gene Roland are the primary writers and conductors for these later recording dates (Kenton himself writes "Midnight Tales" for the project). To this day Kenton's "Midnight Tales" never was re-issued on any subsequent Kenton recordings. Neither staff writer made musical accommodations when writing for the new instrument. The whole project was ditched after 11 frustrating hours of recording, only producing 26 minutes of usable music. 

Oddly, Johnny Richards' "Wagon" (On The Wagon) is one of the most interesting tracks on the 1991 re-issue and was originally issued on a Kenton compilation LP from the 1970s by Capitol Records years after the band had gone with Creative World Records (Kenton's own label), "Capitol Jazz Classics, Vol. 2, Stan Kenton and His Orchestra, Artistry in Jazz, rare and previously unissued compositions". Kenton was greatly criticized over the years for having bands that "did not swing" like the bands of Woody Herman, Count Basie, or Duke Ellington. This one track composed by Richards (one of only two swing, non-Afro Latin cuts from the CD) proves wrong any doubts about the Kenton band being able to compete against the aforementioned bands. The alto saxophone solo by Gabe Baltazar on "Wagon" is formidable and a real highlight of his tenure with Kenton; easily comparable to solos of earlier alto players with the band such as Lee Konitz, Lennie Niehaus, or Charlie Mariano. Ironically, the once maligned fledgling Mellophonium band (and poor tuning) is later praised for its "imposing testimony" on Richards' first scores for the group. 

In 1960 Kenton also has the instrumentation of the sax section changed to alto/tenor/tenor/bari/bari or bass saxophone, creating a much more robust lower end to the band. The sax section make-up would stay the same until the band disbanded after Kenton's passing in the late 1970s. (Mellophoniums were discarded by the middle 1960s). The trombone section is also transformed to have tuba anchoring the brass. The first Kenton Mellophonium band was a far more symphonic sounding group than earlier versions or periods of the Kenton orchestra. The initial September 1960 sessions function to work through the orchestration and sonic problems presented by such a wide variety and number of instruments being recorded live in the studio.

Track Listing: 

All songs written and composed by Johnny Richards (original LP) and all others except Gene Roland for track #10 and Stan Kenton for #12.

1) Fuego Cubano (Cuban Fire)
2) El Congo Valiente (Valiant Congo)
3) Recuerdos (Reminiscences)
4) Quien Sabe (Who Knows)
5) La Guera Baila (The Fair One Dances)
6) La Suerte de los Tontos (Fortune of Fools or Fools Luck)
7) Tres Corazones (Three Hearts)
8:  Malibu Moonlight (Sonatine)
9) El Panzon
10) Carnival (Carnival Square)
11) Wagon (original score entitled "On The Wagon")
12) Early Hours (Lady Luck)

• Tracks 1-6 comprised the original Capitol T-731, Cuban Fire! LP (1956)
• Track 7 is first issued on Capitol T-20244 (UK), Fabulous Alumni of Stan Kenton LP (1963)
• Track 8 & 9 are first issued on Creative World ST-1066, Kenton By Request Vol. 5 LP (1972)
• Track 10 is first issued on Creative World ST-1040, Kenton By Request Vol. 2 LP (1966)
• Track 11 is first issued on Capitol, M-11027, Capitol Jazz Classics Vol. 2: Stan Kenton LP (1972)
• Track 12 is first issued on Creative World ST-1069, Kenton By Request Vol. 6 LP (1990)

Recording Sessions: 

May 22–24, 1956 in New York City at the Riverside Plaza Hotel

Tracks 1-7 (in mono)
These were recorded in the three days of sessions in New York but "Tres Corazones" was not included as part of the suite on the original Cuban Fire! LP at the behest of Johnny Richards.
September 19–21, 1960 in Hollywood CA at Capitol Tower Studios
Tracks 8-12 (in stereo)
Gene Roland's "Ten Bars Ago" was recorded on Sept. 21 and has been re-issued on the 4 CD set Stan Kenton Retrospective - The Capitol Years (1992, Blue Note Records, ASN B000ULGNUU)
Stan Kenton's "Midnight Tales" was also recorded on Sept. 21 but has never been issued.

Personnel:
 
May 22–24, 1956

Piano, Conductor – Stan Kenton
Alto saxophone – Lennie Niehaus
Tenor saxophone – Bill Perkins, Lucky Thompson
Baritone saxophone – Bill Root
Trumpet – Al Mattaliano, Ed Leddy, Lee Katzman, Phil Gilbert, Sam Noto, Vinnie Tanno
Trombone – Bob Fitzpatrick, Carl Fontana, Don Kelly, Kent Larson
Tuba – Jim McAllister
Guitar – Ralph Blaze
Bass –  Curtis Counce
Drums – Mel Lewis
Timpani – George Gaber, Saul Gubin
Maracas – Mario Alvarez
Bongos – Willie Rodriguez
Claves – Roger Mozian
Timbales – George LagunaCongas – Tommy Lopez

September 19–21, 1960

Piano, Conductor – Stan Kenton
Conductors – Johnny Richards, Gene Roland
Alto saxophone – Gabe Baltazar
Tenor saxophone – San Donahue, Paul Renzi
Baritone saxophone – Marvin Holladay
Baritone saxophone, Bass saxophone– Wayne Dustan
Trumpet – Bud Brisbois, Dalton Smith, Sam Noto, Bob Rolfe, Steve Huffsteter, Johnny Audino (Audino first two days only, cuts 8-11)
Mellophonium – Dwight Carver, Joe Burnett, Bill Horan, Tom Wirtel - and Gene Roland (Roland solos only on Early Hours)
Trombone – Dick Hyde, Ray Sikora
Bass Trombone – Jim Amlotte, Bob Knight
Tuba – Albert Pollan
Bass – Pete Chivily
Drums – Art AntonBongos/congas – George Acevedo

Production

Producer for all tracks: Lee Gillette
Re-issue (CD) producer: Ted Daryl
Digital transfers (CD): Jay Ranellucci and Joe Brescio
CD design: Franko Caligiuri/Ink Well, Inc.
Liner notes: Ted Daryl (for CD re-issue)
Reception:

The Billboard Magazine sales tracking speaks for itself, the first Billboard Magazine review is supplied as a link and through that one can read the PDF versions of Billboard Magazine online. There are further positive reviews from Down Beat and other music periodicals during 1956. The LP was both an artistic achievement and a commercial success. This is unheard of for this type of music or jazz project in the current time and age we live; to compete head to head with pop music so successfully.

Recent reviews on 1991 CD re-issue:
  "This CD contains one of the classic Stan Kenton albums, a six-part suite composed and arranged by Johnny Richards. The Kenton orchestra was expanded to 27 pieces for these dates including six percussionists, two French horns and six trumpets. With such soloists as tenor-great Lucky Thompson (on "Fuego Cubano,") trombonist Carl Fontana, altoist Lennie Niehaus, Bill Perkins on tenor and trumpeters Sam Noto and Vinnie Tanno, and plenty of raging ensembles, this is one of Stan Kenton's more memorable concept albums of the 1950s".

Scott Yanow, Allmusic Guide
  "Composer-arranger Johnny Richards created the music for this concept album, recorded in 1956. It required a very large band for its execution, combining Stan Kenton's usual brass emphasis with five Latin percussionists led by Willie Rodriguez on bongos. The results are admirable: music filled with heat and energy and sudden sharp contrasts in moods and voices. There are excellent solo contributions from a band that included trumpeter Sam Noto, trombonist Carl Fontana, and saxophonists Lennie Niehaus, Lucky Thompson, and Bill Perkins, but the real stars are Richards and the collective ensemble, who bring extraordinary precision and energy to a highly demanding score. The results are among the finest moments of Kenton's career, not only for the authentic use of Latin rhythmic elements but also for Richards's success in integrating extended composition techniques with jazz improvisers. The CD also includes five pieces by Richards and Gene Roland recorded in 1960 by the "Mellophonium" version of Kenton's orchestra"

Stuart Broomer, Amazon.com

Reviewed By Jack Cooper

Hindsight Review: Tubby Hayes with Clark Terry - The New York Sessions

In the United States, there are a great many legendary figures in the history of Jazz.  Names like Armstrong, Ellington, Parker and Coltrane, are the types of musicians that are known worldwide.  Though Jazz is considered a truly American art form, there are many fine players, composers and arrangers of the genre, all over the world.

To say that Tubby Hayes is probably the most widely recognized Jazz musician from the UK is probably a vast understatement.  He was a child prodigy, excelling on Alto Saxophone first, switching over to the Tenor, for which he became famous.  If his abilities as a Tenor Saxophonist were not enough, he was a first-rate Flautist and even added playing Vibraphone to his musical arsenal.

Hayes has often been called “The British Charlie Parker”, for which the similarities are numerous.  Both were tremendous musicians with an incredible amount of technique.  Both were highly influential in their home countries.  Unfortunately, both shared a destructive nature, with drug and alcohol abuse, which cut their lives short.  Parker died at 34, Hayes at 38.  In both cases, the world was robbed of what likely would have been many more years of incredible music.  In both cases, however, there are a wealth of recordings that both men made, to document their incredible talents while here on Earth, which brings us to this particular recording.

Originally recorded on the Epic label in 1961, “Tubby The Tenor” 

is the result of a trip to New York City for a series of live performances, and to make this recording.  “Tubby The Tenor” has also been released under the name “Tubbs In New York”, 

on the UK Fontana label.  In 1990, Columbia released it on CD for the first time, as “The New York Sessions”.

With the CD release of “The New York Sessions”, it was my introduction to the music of Tubby Hayes.  I had heard a lot about him, but for whatever reason, I had never been able to land a recording of him on CD, vinyl…anything.  I was in for a big surprise!

Beginning with the opening track, “You For Me”, a medium up swinger, all the way through to the final track, the gorgeous “You’re My Everything”, the album is a tour de force for the leader, almost like a coming out party for American audiences, with the reed man playing only Tenor for the occasion.

The band is made up of a hard-driving rhythm section: Pianist Horace Parlan (known for his work with Charles Mingus), Bassist George Duvivier (Bud Powell, Shirley Scott, Eddie “Lockjaw” Davis and Benny Goodman) and Drummer Dave Bailey (Lou Donaldson, Lee Konitz, Kenny Dorham and Horace Silver).  Incidentally, Parlan and Bailey are still with us.  Duvivier died in 1985.

Also, Vibraphonist Eddie Costa (Tal Farlow, Coleman Hawkins, Phil Woods and Gil Evans) joins the group on three tunes.  This session happened to be one of the last of Costa’s career, as he was killed in a car accident in New York a little over six months after these recordings were made.

Last, but certainly not least, the great Trumpeter Clark Terry makes up the front line with Tubby’s Tenor on four of the selections, contributing a few of his own tunes for the session.  Terry is one of the few notable musicians that had the opportunity to play with both, the Duke Ellington and Count Basie bands.  His career is one of the longest lasting, if not THE longest lasting, of the upper echelon Trumpeters of his era.  His "Serenade To A Bus Seat" (1957.  Featuring Miles Davis' current rhythm section of Wynton Kelly (Piano), Paul Chambers (Bass) and Philly Joe Jones (Drums), with the explosive Tenor man, Johnny Griffin) is essential listening, yet his entire discography merits study, whether as a sideman or leader.  As a sideman, I call these sessions a great example of his abilities.

From the moment that the music starts, the listener realizes that they are hearing something very special.  Most of the selections range in the medium up to very fast tempo range.  Even at a slower tempo, Hayes has the ability to double, or even quadruple, the time, displaying a lightning fast technique, coupled with playing amazingly long lines, sometimes stretching over entire sections/bridges of the tunes.

Though the four tunes with Clark Terry are certainly highlights of the proceedings (listen to the exchanges between the horns on Terry’s “Opus Ocean, based on “Rhythm Changes”, with a bridge!  Whoowee!), it is clear that the Saxophonist is front and center, and with good reason.

Hayes even takes on a couple of fellow Tenor man Sonny Rollins’ tunes (a relaxed “Doxy”, and the blistering “Airegin”) and does justice to the spirit of the original composition without being a regurgitation of Rollins.  In both cases, Tubby is his own man, displaying immense depth that surely would have been given Newk’s approval!

My personal favorite recording of the proceedings is the little-played Gershwin Brothers’ “Soon”,

perhaps, the highlight of a monumental recording session that yielded an album that deserved wider recognition in America.  With a favorite named. the entire CD is some of the most exciting straight-ahead music recorded at the time.

Tubby Hayes, no doubt, would have been a huge name on the American Jazz scene…

…if only he had been born in the United States!

This album is highly recommended to those who enjoy up-tempo, hard-swinging, straight-ahead Jazz!

1. You For Me
2. Pint Of Bitter
3. Airegin 
4. Opus Ocean
5. Soon
6. Doxie
7. Soho Soul
8. The Simple Waltz
9. Half A Sawbuck
10. You're My Everything

Tubby Hayes: Tenor Saxophone
Clark Terry: Trumpet
Eddie Costa: Vibraphone
Horace Parlan: Piano
George Duvivier: Bass
Dave Bailey: Drums

Recorded in New York, N.Y.; October 3-4, 1961

Reviewed by Brent Vaughan
 

Hindsight Reviews

With “Jazz Happenings” being a new blog, I wanted to introduce a new concept to a blog covering Jazz: the “Hindsight Review”.

While not being born until the mid-1960's, the bulk of the most important Jazz albums ever recorded were recorded before my time. I am pre-dated by “Kind Of Blue”, “Giant Steps”, “Bird With Strings”, “Way Out West”, and MANY others. Though these classics are older than I am, it doesn't diminish the way that I enjoy them, much like they are enjoyed by many others who are even younger than I am.

In addition to discussing new releases, the idea is to talk about some albums that have been around awhile. Some will be a few years old, some nearly a century old, and everything in between. I hope to bring about awareness of some great music that may have escaped the notice of even the most ardent of Jazz fans. Let's face it: not everybody has heard every Jazz album ever released, right? To some of you, at times, you may benefit from hearing about a release that you want to check out.

The goal is to expose you, the listener, to some things that may be unfamiliar to you, whether you are too young to have heard them upon their original release or, through no fault of your own, the album discussed just “slipped through the cracks”, and you never heard it.

I also hope to add a different perspective to some of these recordings. As a Saxophonist/Composer/Arranger, I have had the benefit of hearing masters of their craft, play and write some music that has had a major impact on me. Most of the time, I learned by repeated listenings to an album, maybe a track, perhaps even a passage of a tune, all the while, many of these were known to the public before I was ever born. The world has changed a lot since many of the classics that I will discuss were released, even in the format by which I heard them the first time, the hundredth time, even the last time. It is with all of this in mind that I hope to share some thoughts on some great music, with the benefit of hindsight, as well as access to more information than generations before me ever enjoyed.

Generally speaking, while everybody has their favorite albums, Jazz fans are always looking for something new, but something new doesn't always mean “new release”. A lot of times it can mean “new to YOU”. It is with this in mind that I hope to share some music that deserves more public acclaim than has been accorded to many of these great performers.

Stay tuned for the first of what, hopefully, will be many “Hindsight Reviews”...

By Brent Vaughan

Jack Cooper - Mists: Charles Ives For Jazz Orchestra

In a day and time where it is difficult to hear music that is original, with a sense of adventure and possessing real substance, it is refreshing to hear Jack Cooper's “Mists: Charles Ives For Jazz Orchestra” (2014, Planet Arts).

In hearing the previous works of Cooper, you hear a man who is equally adept at writing in virtually any genre. Primarily a Saxophonist/Multi-Reed player, he is equally at home in the Classical field (writing Orchestral works, pieces for Wind Ensemble and Chamber Music) as he is in the realm of composing and arranging Jazz. He is a much-published composer and arranger, with over a hundred published works throughout his career.

“Mists...” is the second album that Cooper has dedicated to a single composer, preceded by “Jazz Reflections Of Cole Porter” (2003, Summit Records), by the Jazz Orchestra Of The Delta, featuring Trumpeter Marvin Stamm. (This album is also worth seeking out!)

It is easy to understand why the works of Cole Porter, Irving Berlin,Rodgers & Hart, Rodgers & Hammerstein, the Gershwins, and many others, are often given new treatments by virtually every arranger on the planet. These were popular tunes during their time that have stood the test of time.

What sets “Mists...” apart is the daunting task of adapting the music of Charles Ives. Ives was largely ignored during his own lifetime. He was a true original, yet his music, during his own lifetime, was not as accessible to the public as many of his contemporaries. His harmonic concepts and forays into atonality were quite startling to the public at the time they were written. His work, however, has seen a renaissance throughout the latter part of the 20thCentury and he has begun to receive his rightful place in the pantheon of great artists in the world of Classical Music.

Throughout the last hundred-plus years, many Classical works have been adapted to Jazz-oriented groups, large and small. With the release of “Mists...”, we hear why this adaptation of the music of Charles Ives makes so much sense: because Ives had a Jazz sensibility, based upon his truly unique harmonic concept, not to mention the influences of the European Classical influence, blues, spirituals, hymns, brass bands, Stephen Foster, transcendentalism, etc., all of which are the backbone of what Jazz is all about, that appeals to the ears of Jazz Musicians.

“Mists...” has been decades in the making. Born as a dissertation at the University Of Texas in 1997, “The Cage” was the first of Ives' works that Cooper adapted for Jazz Orchestra, followed by “The Last Reader” and “Tom Sails Away”.

With “Mists...”, you hear a wide array of influences, including Thad Jones, Bob Florence, Bob Brookmeyer, Manny Albam, Bill Holman, and Dee Barton, among others. The album comes across as a virtual history of the great tradition of Jazz Orchestration, dating back nearly a century. Most importantly,however, though it is the Music of Charles Ives, this is ultimately heard as pure Jack Cooper, putting his indelible stamp on some truly important music.

With a lineup of some of the premiere session players in New York,”Mists...” is a true concept album. From track to track, the album re-tells the story of a true giant of the rich history of American music in a new, exciting way.

“Mists: Charles Ives For Jazz Orchestra” is a true piece of 21stCentury Americana. It is the work of a giant of American music and played by some of the best American Musicians who are known world-wide for their performance excellence, as you will easily find evident on this recording.

On top of all of that, you will be treated to the musical vision of a man who truly believed in presenting this vital music to the whole world in an exciting, new and accessible way. Jazz and Classical fans alike should rejoice in the brilliance that Jack Cooper brings with the release of an album that should be given a lot of attention in America and beyond. This is the most exciting new release by a large ensemble in the field of Jazz of 2014, and will be a marvelous addition to any music collection and a real treat to discerning ears.

I can't rate this album high enough. Congrats to Mr. Cooper and his great Orchestra for a true masterpiece!

Here is the concept of the album, as discussed by Jack Cooper:

Here is the track, "Watchman!", as it was being recorded in New York:

Here is a link to the Planet Arts website, with sample recordings of "Mists", the title track, as well as "The Cage":

 http://www.planetarts.org/recording-samples.html

1) Mists

2) The Last Reader

3) The Children's Hour (Dedicated to Manny Albam)

4) Tom Sails Away

5) The Camp-Meeting

6) Watchman!

7) At The River

8) The Cage

Arranged and Conducted by Jack Cooper

Saxophones

Alto - Billy Drewes (lead)

Alto - Andrew Halchak

Tenor - Ivan Renta

Tenor - Peter Brainin

Baritone - Chris Karlic

Trumpets

Nick Marchionne (lead)

John Walsh

Jim Seeley

Scott Wendholt

Guest soloist - Terell Stafford

Trombones

John Mosca (lead)

Luis Bonilla

Rey David Alejandre

Frank Cohen (bass, all except #3)

Douglas Purviance (bass #3, #8)

Piano/Hammond B3 Organ - Randy Ingram

Guitar - Alex Wintz

Bass - Andy McKee

Drums and percussion - Vince Cherico

Reviewed by Brent Vaughan