Tag Archives: bill kopp

THE BLURT JAZZ DESK, ep. 11: SEVEN RECENT JAZZ RELEASES

For our latest installment, Prof. Kopp takes a look at titles from MPS, Modern Harmonic, Varese Sarabande, and North Texas Jazz. Go HERE for previous installments of the Jazz Desk. (Pictured above: Barney Kessel.)

BY BILL KOPP

  

Monty Alexander – Here Comes the Sun (MPS)

Jamaican pianist Alexander has a bright, flowing and lyrical approach to his instrument. Originally released in 1971, Here Comes the Sun was Alexander’s sixth album. Working with three other musicians (bass, drums and percussion), the pianist is at the center of the arrangements on all seven of the album’s tracks. His style often sounds like it’s the result of overdubs; his left hand plays rhythm, as expected, but his right hand is so busy that it sounds like two hands in and of itself. But yet the approach never feels busy. There’s a lively and exuberant to Alexander’s playing that can leave the listener nearly breathless. He and his sidemen sound as if they’re having the time of their lives here; the opening cut “Montevideo” is quite uptempo, but Here Comes the Sun explores a variety of textures; you’re not likely to mistake any one of these tunes for another; such is the level of originality on display here. Be warned, however, that the titular Beatles classic is transformed beyond recognition. MPS does its by now expected top-flight job of repackaging and reissuing another timeless classic from nearly a half century ago.

Richie “Dick” Garcia – A Message from Garcia (Modern Harmonic)

Though he doesn’t receive prominent billing on this 1956 album from jazz guitarist Dick Garcia, pianist Bill Evans is all over this album. Garcia is out front, but it’s Evans’ crystalline and meditative piano that holds things together. The band explores a variety of tempos and textures, but at its heart, A Message From Garcia is fairly consistent in its musical approach: the guitarist plays single-note melodic runs while the band provides subtle support. Garcia does engage in the occasional musical dialogue with Evans on cuts like “Ev’ry Night About This Time,” but there’s little doubt whose show this is. When he does take the spotlight, Bill Evans sounds as if he’s enjoying himself. The Modern Harmonic reissue of this relative rarity features top-notch sleeve reproduction and colored vinyl.

Barney Kessel – Live at the Jazz Mill 1954, Vol. 2 (Modern Harmonic)

Acclaimed jazz guitarist Barney Kessel only began his career as a band leader around 1953. By that time he had made quite a name for himself thanks to his work on recordings featuring Billie Holiday, Benny Carter and others. And he’d continue to provide supple six-string support to some of the biggest names in jazz and pop, including Sonny Rollins, Sam Cooke and Chet Baker. Those who don’t know better could easily mistake Live at the Jazz Mill 1954, Vol. 2 for a reissue of a record from years past. In fact it’s not: a young fan taped Kessel (backed by the Jazz Millers), and the tapes were only recently discovered. This second volume (the first was released a couple of years ago) features surprisingly good audio quality. And everything about the package – the cover art, the jacket’s liner notes – is note-perfect.

Volker Kriegel – Spectrum (MPS)

I first – and quite belatedly – discovered the work of Volker Kriegel via a 2014 archival release from the now more-or-less defunct SWR/Jazzhaus label. The German guitarist worked in a number of musical idioms including soul jazz and jazz-rock fusion. This 1971 album – Kriegel’s second – is (in places) much closer to rock than anything else I’ve heard from him. With a nasty fuzztone, percussion that may remind some of Low Spark of High Heeled Boys-era Traffic and a kinetic bottom end (featuring acoustic and electric bass as well as cello), Spectrum is a scorcher. John Taylor plays what’s noted as “electra-piano.” The rest of us would know it as a Hohner Pianet or maybe (but probably not) a Fender Rhodes. The opening track “Zoom” finds Kriegel doubling his fuzztone leads on sitar, and it’s not even a little gimmicky. Two years later Kriegel would form a band named after this LP. A tasty treat for those who dig the most accessibly tuneful end of jazz rock, Spectrum is adventurous, too: “More About D” is almost Zappaesque in its weirdness, albeit still rooted in jazz traditions. The album is newly reissued from MPS and is enthusiastically recommended.

Herbie Mann – It’s a Funky Thing: The Very Best of Herbie Mann (Varese Sarabande)

One could say that Herbie Mann was the Rodney Dangerfield of jazz: he got no respect. Part of that was his own doing; he resolutely refused to be boxed in with regard to what is and is not jazz. His work is wonderfully accessible and irresistibly catchy. It’s also, on occasion, a bit schlocky, and some of his work has a distinct air of bandwagon jumping (or at least musical dilettantism) about it. How else to explain disco outings like “Hijack,” a big hit in the disco era? But for listeners who can put all that baggage aside and simply dig, Herbie Mann’s music is supremely diggable. Truth be known, he was at the forefront of the world music movement, though few will afford him the credit he deserves for it. And anybody hip enough to hire Larry Coryell and Sonny Sharrock is okay by me. This collection – annotated by my pal, the esteemed author and esteemed music journalist Pat Thomas – is a lot of fun. The tracks here are featured in their single edits, most making their first appearance on digital media of any kind.

Jay Saunders – Nice!: Jay Saunders Best of the Two (North Texas Jazz)

The University of North Texas has a storied and vibrant Division of Jazz Studies, one that goes back some 70 years. And its North Texas Jazz label has released a sizable catalog of music, featuring instructors, students and alumni. Trumpeter and band leader Jay Saunders recently retired from his position at UNT, where he taught classes and directed bands. This new 2CD collection is subtitled Best of the Two, as in the Two O’Clock Lab. It draws from six earlier releases by the ever-shifting ensemble. The big-band music is a nice mix of standards, ambitious pieces and jazz readings of pop tunes; it’s classic and modern all at once, deliberately all over the map in a way that shows the timeless nature of jazz when it’s done right. “I 8 Da Whole Half Thing” sounds like Lalo Schifrin-style 1970s movie music, and that’s meant in the best possible way.

Various Artists – Jazz for Hi-Fi Lovers (Modern Harmonic)

This time capsule in the form of a colored vinyl LP is a true delight. Originally released in 1958 on the Dawn label, Jazz for Hi-Fi Lovers is a various artists collection presented in wonderful hi-fi (read: monaural). Zoot Sims is among the biggest names featured here, and he’s performing Thelonious Monk’s “Bye Ya.” Paul Quinichette provides the opening cut, the aptly named “Start Here.” Paulette Girard’s original liner notes are presented intact, and they too are a kind of trip back in time: they include three lengthy paragraphs under the heading “about the sound and the equipment,” full of info to satisfy the keen high fidelity enthusiast in your mid-century modern household. The cover art is a gas, too. Come for the packaging, and stay for the music.

 

THE BLURT JAZZ DESK: 6 New Releases

For our latest installment, Prof. Kopp takes a look at titles from Motéma Music, Mack Avenue, Hot Club, Intuition, One Note and Challenge. [Go HERE for previous installments of the Jazz Desk.]

BY BILL KOPP

Gerald Clayton – Tributary Tales (Motéma Music)

Clayton (album cover pictured above) has an impressive family pedigree in music, but his own career deserves serious attention. As Musical director of the Monterey Jazz Festival, Clayton rubs elbows with some of the biggest names in jazz. But the pianist’s work holds up – and quite often towers above – that of many of his contemporaries. Tributary Tales is his fourth album as bandleader, and his first for hip label Motéma. Folding in influences from well outside jazz, on Tributary Tales Clayton creates modern jazz for the 21st century. Walking a fine line between ear candy and abstract, Clayton manages to have it both ways: he is music is adventurous and accessible at once. (Music is here.)

Kevin Eubanks – East West Time Line (Mack Avenue)

Eubanks’ 15-year tenure as Music Director of the house band for the Tonight Show with Jay Leno was a two-edged sword: one one hand, it raised the guitarist’s profile unusually high in the mainstream world for a jazz musician, and afforded him untold opportunities to interact with his musical peers (and lesser musicians) in front of a large and varied audience. But it also gave him at least a bit of a whiff of commercialism, a quality that is often fatal in the rarefied and somewhat insular world of jazz. On East West Time Line, Eubanks embraces that reality, crafting an album divided into two pieces (which can be thought of as A- and B- sides, he readily acknowledges). The first is a set of tasty original tracks cut in New York City; listen for Dave Holland on bass. The second is a set of standards (covers, favorites, whatever) recorded in California. Both build upon his Wes Montgomery influences, and both extend beyond those into something that’s – happily, as he’s earned it – Eubanks’ own bag. (Music is here.)

Hot Club of San Francisco – John Paul George & Django (Hot Club)

Prewar jazz manouche is not this reviewer’s favored substyle in the genre; too often its modern-day exponents betray a lack of imagination; despite opportunities for improvisation, in the hands of far too many current artists relies on rote licks. Against that backdrop, John Paul George & Django stands out like the brightest star. Not only is the basic concept a solid one – it builds upon the old saw that a great song is a great song no matter how it’s recast – but Hot Club reinvent the music of the Beatles in clever ways. If the goal of a jazz reading of someone else’s song is to make it one’s own, to take it where it hasn’t already gone, then this album is an unqualified success. Some of the songs are nearly unrecognizable – Abbey Road‘s “Because,” for example – but that’s fine. Hot Club is both true to the inner light (so to speak) of the originals while embossing the songs with their own brand of originality. Bravo. And bonus points for both the decision to release on vinyl and for commissioning some very clever cover art. (Music is here.)

Günter Baby Sommer – Le Piccole Cose (Intuition)

In the right circumstances, jazz can indeed rock. And it needn’t be fusion to do so. Case in point is Sommer’s latest album. The 73-year-old German drummer swings as he leads a quartet through seven songs that evoke the uptempo, boundary-pushing yet traditional vibe of Art Blakey and His Jazz Messengers. There’s a very playful mindset at work here, as evidenced by the off vocalisms which Sommer employs throughout “Inside Outside Shout”: the tune has as much in common with late 1960s Frank Zappa (Lumpy Gravy and Uncle Meat era) as it does with more conventional jazz traditions. Even the subtler tracks (the aptly-titled “Mellow Mood,” for example) have an adventurous spirit that rewards close listening. The band’s makeup (drums, alto sax and clarinet, trumpet and flugelhorn, bass) is just unusual enough to be interesting on its own; the music takes things to another level. (Music is here.)

Melvin Sparks – Live at Nectar’s (One Note Records)

This one’s not so much jazz as it is soul/r&b/boogaloo. Modern-day fans of bands like The New Mastersounds, Soulive and other current purveyors of the timeless style owe it to themselves to seek out this tasty live date featuring veteran rhythm guitarist Sparks with a stellar band. The guitarist cedes the soloing to his band mates, but he shows can be done within the context of so-called “rhythm” guitar playing. Live at Nectar’s is greasy, sweaty, emotion-filled, high octane instrumental music of the highest order. And the recording also represents one of the last performances by Sparks before his untimely death at age 64 in 2011. (Speaking of New Mastersounds, Eddie Roberts produced and mixed the sessions for release.) (Music is here.)

Trichotomy – Known-Unknown (Challenge Records)

The disc’s cover art may suggest that Known-Unknown is going to be a collection of outré progressive jazz, full of atonalities and skronk. Alas, no: Trichotomy is a relatively straightforward piano/bass/drums trio, albeit one that incorporates electronics into its sonic palette. At least that’s what the back cover tells us. In practice, electronics are far from the defining characteristic of this album. It’s a fine collection of impressionistic and evocative jazz instrumentals, but the trio’s use of electronics is fairly subdued; were one not to read otherwise, one might come away form a listen to Known-Unknown thinking it’s a wholly acoustic album. And while there’s not a thing in the world wrong with that – especially when it’s done as well as it is here – the electronics angle is more than a bit oversold. (Listen to the band live here.)

 

THE BLURT JAZZ DESK: 7 Recent Archival Releases

Darin Mercer

For our latest installment, Prof. Kopp takes a look at titles from Omnivore Recordings, Real Gone Music, TCB Music, Resonance Records and Concord Bicycle Music. [Go HERE for previous installments of the Jazz Desk.]

BY BILL KOPP

Bobby Darin & Johnny Mercer – Two of a Kind (Omnivore Recordings)

Founded in 2010, Omnivore Recordings is a boutique label that quickly became renowned for its thoughtful and carefully-curated reissues and archival releases; the release schedule of the Grammy-winning label reflects the impeccable taste of its head, industry veteran Cheryl Pawelski. But this project is something of a left-turn, even for the reliably eclectic Omnivore. A 1961 collaboration between one of music’s top vocalists (Darin) and one of its finest songwriters (Mercer), Two of a Kind is a swingin’ big-band affair. The two men are clearly having the time of their lives as they trade vocal lines, backed by an explosive band conducted by the inimitable Billy May. The set list is dizzyingly varied, featuring originals (“Two of a Kind”), show tunes and jazz classics. In its character, Two of a Kind is not far removed from the camaraderie of Bob Hope/Bing Crosby projects, but with a couple of helluva-lot-better singers. Get yourself a bottle of rye, some sweet vermouth; mix up some Manhattans, and sit back and enjoy this seemingly effortless musical summit.

Babs Ellington

Alice Babs & Duke Ellington – Serenade to Sweden (Real Gone Music)

Edward Kennedy “Duke” Ellington wasn’t just one of the 20th century’s most important composers and bandleaders; he was one of the era’s most prolific artists. His big-band work is the best-known part of his catalog, but it represents a mere fraction of his prodigious output. This 1966 album finds Ellington conducting an orchestra while Alice Babs – Sweden’s most popular singer of that era – plays the part of siren. Her ability to tackle the highest notes without betraying the slightest trace of effort is a hallmark of her work, and her deliciously clear vocal enunciation is beguiling. Some of the tunes focus on a smaller instrumental ensemble, while others make full use of the big orchestra. But the focus is always squarely on Babs’ superbly nimble (but never showy) vocals. Until this, its first-ever CD-era reissue, Serenade to Sweden was among the rarest and hard-to-find items in the catalog of either artist; Real Gone Music’s reissue features flawless remastering from Aaron Kannowski, and informative liner notes form jazz authority Scott Yanow.

Rollins Silver

Sonny Rollins Trio & Horace Silver Quartet – Zurich 1959 (TCB Music)

The latest entry in TCB’s “Swiss Radio Days” Jazz Series, Zurich 1959 highlights one set each from Rollins’ trio (with Henry Grimes on bass, and drummer Pete La Roca) and pianist Silver’s quintet (Blue Mitchell on trumpet, tenor saxophonist Junior Cook, bassist Gene Taylor and the inimitable Louis Hayes on drums), recorded at Radio Studio Zurich on March 5, 1959. The sound is superb – those postwar Europeans demonstrated a keen skill at recording jazz – and it should go without saying that both bands perform beautifully. Rollins’ group turns in lovely, uptempo readings of standard including “I Remember You,” and Rollins’ original tune, “Oleo.” Silver’s quintet is exotic and assured on five originals from its bandleader. All the players are on fire, but Mitchell and Hayes are perhaps even a notch or two above their band mates on this blowing sessions.

Three Sounds

The Three Sounds – Groovin’ Hard: Live At The Penthouse 1964-1968 (Resonance Records)

The title of this set is perhaps a tad misleading: while Gene Harris, bassist Andy Simpkins and – depending on the track – Bill Dowdy, Kalil Madi or Carl Burnett on drums play with skill, finesse and power, this set leans more toward assured understatement than fiery soul-jazz readings. The Three Sounds were together 1956-73, and these archival recordings date from the middle-period (and arguably creative height) of the group, 1964-68. As was often the case, the trio’s sound was best documented live in front of an audience, and this collection – curated by Zev Feldman, perhaps current day’s most important jazz archivist – is no exception. The interplay between the players borders on the telepathic; the music is at once loose and free yet meticulously arranged. Without a doubt, the highlight of this stellar set is “Blue Genes,” with Harris’ deft piano work at its center.

Pepper

Art Pepper Presents “West Coast Sessions!” Volume 1: Sonny Stitt (Omnivore Recordings)

Art Pepper Presents “West Coast Sessions!” Volume 2: Pete Jolly (Omnivore Recordings)

The estate of alto and tenor saxophonist Art Pepper is responsible for bringing these long-unheard recordings back to light. Led by Pepper’s widow Laurie, and working with Omnivore, a series of the man’s sessions are receiving thoughtful reissue in the 21st century. These volumes are perhaps the most intriguing of what’s come out of the project so far: dates recorded in and around 1980, but featuring players from 1950s jazz. Happily, there’s absolutely nothing “80s” about these sessions other than their recording date. Because Pepper was under contract to Atlantic at the time, these recordings – originally issued on the small Atlas label – don’t feature him as official bandleader, but make no mistake: he’s in charge. The Stitt sessions are spread across two discs, and bring together recordings originally released on three separate albums, adding three previously unheard tracks. The Pete Jolly sessions are a single-disc set, and feature two alternate takes of Pepper’s original “Y.I. Blues.” Booklets include not only short essays from Laurie Pepper, but also diagrams depicting the studio instrument setup for the recordings. Both sets are essential for fans of 1950s jazz.

Evans

The Bill Evans Trio – On a Monday Evening (Concord Bicycle Music)

Bill Evans was one of the most distinctive pianists in all of music; his command of the keyboard was such that to the untrained listener, his sound seemed to be that of two different musicians. His left and right hand often seemed to operate completely separate from one another, yet they were always musically connected. The revered pianist was at his best in the context of a trio, and this 1976 recording captures him onstage with drummer Eliot Zigmund and longtime associate Eddie Gomez on upright bass. The monaural recording made at Madison, Wisconsin’s Union Theatre has never been bootlegged, so this vinyl (and CD, and digital) release marks its debut. Typical of an Evans set, the album is a mixture of originals and readings of contemporary tunes. The sound is superb, the performances are flawless, and the vinyl edition is pressed on 180g and comes in a sturdy gatefold sleeve.

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Bill Kopp is the Blurt Jazz Desk editor. You can bug him directly at his most excellent music blog, Musoscribe.

 

 

Bill Kopp / The Blurt Jazz Desk: New Archival Releases

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Thank you, Zev Feldman, of the Resonance and Elemental labels. Examined: Sarah Vaughan, Wes Montgomery, Bill Evans, Stan Getz, João Gilberto & Getz, Thad Jones/Mel Lewis Orchestra, and Art Pepper.

BY BILL KOPP, BLURT JAZZ DESK EDITOR

Lovers of the classic era in jazz and/or modern jazz owe a debt of gratitude to Zev Feldman. The head of a pair of modern-day jazz labels (Resonance and Elemental) has been exceedingly busy of late, rescuing heretofore unheard recordings of great historical import. Kicking off with a bang a mere four years ago, Feldman unearthed a cache of Wes Montgomery recordings, and released them as Echoes of Indiana Avenue. At the time, the source tapes for that set were thought to be the earliest extant recordings of the acclaimed jazz guitarist. But in 2015 Resonance roared back with In the Beginning, a 2CD set of even more (and even earlier) Montgomery.

Other projects have included a remarkable Bill Evans Trio recording from Greenwich Village (Live at Art D’Lugoff’s Top of the Gate) and a John Coltrane set, Offering: Live at Temple University. The latter earned liner note essayist Ashley Kahn a Grammy award.

But the last several months have seen a flurry of activity from Feldman’s labels that suggests those early successes were merely warm-ups. No less than seven (actually eight) archival releases – all featuring previously-unheard music – have been released by Resonance or Elemental.

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Sarah Vaughan – Live at Rosy’s

The celebrated jazz singer was in her mid-fifties at the time of this recording, taped in New Orleans for an NPR broadcast in May 1978. At the time, Vaughan was enjoying something of a renaissance. Stephen Sondheim‘s “Send in the Clowns” – a reading of which is included on this 2CD set of mostly standards – had become Vaughan’s signature tune. “Sassy” Vaughan had built her reputation fronting big bands, but here she takes a totally different approach form her earlier work. With a spare band – piano, bass and drums – the focus here is wholly on Vaughan and her voice. Because this recording was professionally made for radio broadcast, the sound quality is quite good. The accompanying booklet is generous with both vintage photos and interview content.

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Wes Montgomery – One Night in Indy

Zev Feldman clearly has a thing for the work of Wes Montgomery, and who can blame him? His brief but informative liner note essay tells the story of how he came to release this CD of a 1959 open reel recording. Even with Feldman’s understated description of event, readers will get a sense of the thrill he experienced. And the recording is of more than historical import: playing with The Eddie Higgins Trio, the focus her is squarely on Montgomery’s already fully-developed technique. Those who bemoan his later A&M and Verve outings into reading of pop will appreciate this six-song set of tunes from the songbooks of Duke Ellington, Thelonious Monk, Cole Porter, Neal Hefti and more. Sound quality is simply superb for what was clearly an unofficial recording.

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Bill Evans – Some Other Time: The Lost Session from the Black Forest

Here’s a rare treat. Bill Evans was quite prolific in his day, but until now there have been no studio recordings of his short-lived lineup of his Trio featuring bassist Eddie Gomez (Scott LaFaro‘s different but superb replacement), and drummer extraordinaire Jack DeJohnette. These recordings were overseen by MPS head Hans Georg Brunner-Schwer, the so-called “man from the Black Forest.” As with virtually all recordings made at MPS Studios, the music lives and breathes on this recording. Based on the customary run time of albums at the time these recordings were made (June 1968), had this material been released, it likely would have been spread across two or perhaps three record albums. There’s but one breakdown (“It’s All Right with Me”) and one alternate take (“You’re gonna Hear From Me”). Otherwise it’s all new material, a mix of standards. Some tracks feature the Trio; some are duos, and a few feature Evans alone at the piano. Five days prior to this session, the Trio was in Montreux, Switzerland, performing at the annual jazz festival. Feldman’s brief essay reveals the back story of these tapes, and other essays (from critics, Gomez and DeJohnette) provide all the context one could ever wish for.

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Stan Getz Quartet – Moments in Time

The first of two releases chronicling tenor saxophonist Stan Getz’s May 1976 residency at San Francisco’s Keystone Korner, this is a thrilling single-disc collection of live music by Getz and his three sidepeople (Joanne Brackeen, piano; Clint Houston, bass; Billy Hart, drums). Superb song selection and even better musicianship are the dual highlights of this timeless set, which sounds (stylewise) as if it could have been recorded any time between the late 1950s and the following three decades. Again, our intrepid jazz archivist Zev Feldman tells the story of how he found these tapes and brought them to current-day listeners. His Q&A with drummer Billy Hart – and a short note from Getz’s son Steve – round out a nice booklet that also contains some good live performance photos. Apparently some “sound restoration” took place on these tapes, but by the sound of them, you’d never know the CDs weren’t sourced from pristine pro tapes stored in some climate-controlled vault for forty-plus years.

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João Gilberto & Stan Getz – Getz/Gilberto ’76

The provenance of these recordings is the same as the above title, and the lineup is the same, with the addition of Brazilian vocalist and guitar sensation João Gilberto, he of “Girl From Ipanema” fame and so much more. The program here is give over almost wholly to Gilberto’s original material (no “Ipanema”) and similar material. By its very nature, this material is far more subdued than the Monents in Time set, and – other than some nice sax solos – Getz’s band rarely takes the spotlight. Feldman includes another whole interview’s worth of conversation with drummer Hart for this set.

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Thad Jones/Mel Lewis Orchestra – All My Yesterdays: The Debut 1966 Recordings at The Village Vanguard

Few would make the case that big band jazz was anywhere near its peak in the mid 1960s. But likely you couldn’t tell that to bandleader Jones and drummer Lewis; this set finds the big band playing like their lives depended on it. There’s a swinging vibe that – while not exactly loose – feels miles away from the stiff arrangements and readings sometimes associated with large jazz orchestras. The material is built upon a repertoire of standards, yet has the energetic vibe of Buddy Rich‘s pop-leaning shows of the same era. For this set, Feldman made the unusual decision to package the CDs and book in a larger-than-standard case; apparently this engendered complaints and backlash from OCD-leaning consumers who need their CD sets to be either standard size or a box set (a point of view I appreciate), so he’s vowed not to do it again. That issue aside, this is a wonderful set of music in a lovely package.

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Art Pepper – Live at Fat Tuesday’s

Heading in more dissonant and wild direction than most of the other titles discussed here, this live recording of a 1981 concert in New Your City focuses on material that lends itself to ambitious interpretations: Monk’s “Rhythm-a-ning” is the best example. And when they slow it down, as on Gordon Jenkins‘ “Goodbye,” thee band shows off their skills in a different manner. Zev Feldman’s in-depth interview with the saxophonist’s widow Laurie Pepper forms the backbone of a characteristically excellent liner note booklet. This is little more than conjecture on my part, but perhaps the reason this title is released on Elemental (as opposed to Resonance, under the umbrella of the not-for-profit organization Rising Jazz Stars) may have to do with Pepper’s estate owning the material. Omnivore Recordings has also released several Pepper titles over the last year or so.

Note that another title, jazz organist Larry Young‘s In Paris: The ORTF Recordings has also been released recently by Resonance; a review copy was not available at the time of this writing.

The release schedule for Feldman’s labels would be impressive by the standards of a mid-sized record label; that these releases come form a tiny label specializing in jazz, and a nonprofit 501(c)(3) organization at that – is truly remarkable. Tantalizingly, and judging by Feldman’s regular Facebook dispatches from locations across the globe, there’s every reason to suspect more jazz treasures will be revealed in the near future.

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Bill Kopp is a music journalist, editor of Musoscribe.com, and editor of BLURT‘s newly-launched jazz desk. He has written liner notes for several jazz reissues, including Cannonball Adderley‘s The Price You Got to Pay to Be Free and Music, You All, both due out in May.

THE BLURT JAZZ DESK

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THE BLURT JAZZ DESK IS OPEN FOR BUSINESS! Announcing our newest department, which we hope will intrigue, enthuse, energize and – if we do our job correctly – even aggravate, thereby prompting a back-and-forth dialogue. Please say hello to veteran Asheville-based music journalist BILL KOPP, the editor of the Jazz Desk. Incidentally, Kopp also publishes his Musoscribe Music Magazine, which can be found right here.

Scroll down for links to standalone reviews.

Up first from Dr. Kopp: “Jazz Nazis, Fuck Off: Herbie Mann”, in which he offers the late jazz flautist a reappraisal through the lens of a crucial new archival release, Live at the Whisky 1969: The Unreleased Masters, and interviews with compiler Pat Thomas and Mann biographer Cary Ginell. “Herbie’s efforts helped call attention to jazz among young listeners,” summarizes Ginell. “He always had his ear to the ground to see about the new styles of music that were coming into vogue and what young people were listening to.”

Installment #2: Latest Archival Releases (via the Resonance & Elemental labels). Examined: Sarah Vaughan, Wes Montgomery, Bill Evans, Stan Getz, João Gilberto & Getz, Thad Jones/Mel Lewis Orchestra, and Art Pepper.

Installment #3: New Releases, via respected labels Mack Avenue, International Anthem Recording Co., Whaling City Sound, Onyx Productions, Ropeadope, Same Island Music, Okeh, Jazzelm Music, and Orleans Records.

Installment #4: Sonny Rollins exclusive interview – and an extremely long, in-depth one with the sax legend at that.

Installment #5: Latest MPs Vinyl Reissues – the German label serves up 180-gram wax by the Monty Alexander Trio, Freddie Hubbard, Joe Henderson, Baden Powell, and the Oscar Peterson Trio.

Installment #6: 7 Recent Archival Releases – A look at titles from Omnivore Recordings, Real Gone Music, TCB Music, Resonance Records and Concord Bicycle Music.

Installment #7: 6 New Releases – A look at titles from Motéma Music, Mack Avenue, Hot Club, Intuition, One Note and Challenge.

Installment #8: 3 ECM Piano Trios – Guest columnist Michael Toland takes a listen to a trio of recent trios from the venerable ECM label.

Installment #9: 6 New Releases –  A look at titles from Codes Drum, Ronin Jazz, Resonance, Mack Avenue, and Cuneiform.

Installment #11: 7 Recent Releases – New titles from MPS, Modern Harmonic, Varese Sarabande, and North Texas Jazz.

 

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Standalone Reviews

Gary Bartz Ntu Troop – Harlem Bush Music: Uhuru LP (reissue, 7/28/17)

Joe Henderson Featuring Alice Coltrane – The Elements LP (reissue, 7/28/17)