In the right column under Doug’s Picks, you will find three new CD entries and a timely book tip. A new DVD entry will follow before the week is out, if I can get ahead of the apricot and cherry harvesting long enough to watch the one I have in mind. The birds got most of the Royal Annes and Bings, but I spent an hour and a half picking pie cherries this morning, ending up with enough for one pie. We had it for dessert this evening. It was sensational. Last year, our one apricot tree was barren. This year, it came back like a champ, producing the biggest, sweetest cots I’ve ever known.
Archives for July 2006
CD: Ralph Burns
Ralph Burns, Perpetual Motion (Fresh Sound). Infrequently mentioned today, Burns was one of the great jazz arrangers of the 1940s and 50s, with a later career scoring for radio, TV and motion pictures. His arrangements were central to the success of several Woody Herman herds. The final movement of his “Summer Sequence” for Herman gained additional fame as “Early Autumn.” This CD brings together two of his mid-fifties albums, Ralph Burns Among the JATP’s and Jazz Studio 5. The soloists include Jazz at the Philharmonic regulars Oscar Peterson, Ray Brown, Roy Eldridge Flip Phillips and Bill Harris as well as comers like Joe Newman, Davey Schildkraut and Herbie Mann. But the star throughout is Burns’ brilliant writing. His setting of Alec Wilder’s “I’ll Be Around” for Newman’s trumpet is a quiet masterpiece.
CD
Jenny Scheinman, 12 Songs (Cryptogramophone). Scheinman is the violinist who mesmerized a Portland Jazz Festival audience earlier this year as a member of guitarist Bill Frisell’s Unspeakable Orchestra. Frisell is aboard here as a member of Scheinman’s band, and much, but no means all, of the album’s energy comes from the sparks flying between the two. The music by her seven-piece band ranges across a number of genres, including calypso, bluegrass-cum-Caribbean, what sounds like a schottische, and dirges. For all its eclecticism and free-ranging nature, the thread of Scheinman’s personality runs through the twelve pieces. The album’s charm, cohesiveness and sense of fun lie as much in her canny arranging as in the joyful peformances. I cannot classify this music and won’t try to, but I’ve found myself listening to it often.
CD
John La Barbera, On The Wild Side (Jazz Compass). This has been out for three years, but I just caught up with it. I’m glad that I did. La Barbera’s arrangements for Buddy Rich and Woody Herman impressed me years ago, and so does this new batch. The album bears endorsements by Elmer Bernstein and Horace Silver. It features La Barbera’s older brother Pat on tenor saxophone and younger brother Joe on drums and has other gifted players including trombonists Andy Martin and Bruce Paulson; trumpeters Wayne Bergeron and Clay Jenkins; saxophonists Tom Peterson and Kim Richmond; bassist Tom Warrington; pianists Bill Cunliffe and Tom Ranier; plus a guest appearance by Bud Shank. La Barbera’s writing, marked by a judicious use of ensemble power, is among the most exciting by contemporary arrangers. I see that he has released a followup CD on Jazz Compass. If it is as satisfying as this one, I look forward to it.
DVD:Keith Jarrett
Keith Jarrett, Tokyo Solo (ECM). With this magnificent DVD, the pianist banishes worries that his years under seige by chronic fatigue syndrome may have ended his solo career. He demonstrates, too, that he has learned the discipline of self-editing, reducing the average length of his inventions while sacrificing nothing of intensity, creativity or daring. Except for three encores, “Danny Boy,” “Old Man River” and “Don’t Worry ‘Bout Me,” his pieces have part numbers, not names. That may seem inelegant. The playing is not. The shortest piece is less than three minutes, the longest more than twenty. The instantaneous composition in one section of a piece inspires ideas for the next, and although the segments vary in shape and style, we witness the continuity of a fecund mind at work. As Jarrett wound down the ravishing “Part 1b,” it occurred to me that it must have been something like this when Mozart improvised.
Book
Catherine Dinker Bowen, Miracle at Philadelphia: The Story of the Constitutional Convention, May-September 1787 (Back Bay). With all of today’s arguments about what is, isn’t or should be constitutional, Bowen’s classic offers a refresher course on the original arguments, who made them, why, and how the foundation of US liberty was built by a few men sweltering in a big room during a blazing hot summer. The book reads like a great novel, but most novels don’t have this interesting a cast of characters.
After John Lewis, Who?
Deborah, who may or may not have a last name, wrote a few days ago about her encounter with “I Remember Clifford” and followed up with this message.
Thank you for helping to educate me!
Regarding the John Lewis-Wonderful World of Jazz album … I have twice given it to other jazz newbies, but new CDs of the album can no longer be bought in the US.
Please, will you suggest another jazz album I could give as an introduction to the genre for my friends who express an interest?
One place you can buy the Lewis CD in the United States is here, at prices ranging from reasonable to outrageous.
I could suggest a hundred or more introductory albums for your friends, but I like your challenge of picking just one. Tomorrow, it might be another, but today it’s The Lester Young Story, a bargain four-CD box set that contains many of the great records that Young made from his period of genius with Count Basie in the 1930s to his death in 1959.
Why Lester Young? In the development of the art of jazz soloing, he was the link between Louis Armstrong and Charlie Parker. At his best, he was sublimely lyrical, inventive, swinging and richly satisfying. No one who truly wants to be interested in jazz should fail to become intimately acquainted with Young. John Lewis, by the way, revered Lester and played piano for him in the early 1950s. Many of their recordings together are on this CD, but the comprehensive box set above is the place to start.
The Last Word
Our colloquy on annoying, useless, stupid and redundant words and phrases could probably go on forever, but it won’t. It’s time to wrap it up with these entries from Rifftides readers.
Any time soon.
Ramping up.
Heart-wrenching.
(From Gene Lees)
Add to the list of unnecessary expressions:
“To utilize” means nothing more than “to use.” I can’t think of a single instance where “utilize” would be more clear or more precise than the word “use.” There seems to be no reason to utilize the longer word at all. But I could care less.
(From Dave Frishberg)
Your mention of “data” reminds me of my pet peeve. That word is plural (the singular being datum). People consistently use a singular verb with it though (The data is based on on a large sample size, rather than: The data are …) One last pet peeve: comprise. That word is NOT followed by “of.”
(From Jeff)
I hate marketers who turn nouns into verbs. (e.g. leverage, network, and task). I, like Ted O’Reilly, get NAUSEATED by people who say they are NAUSEOUS.
(From Scott Faulkner)
As a Brit I’d rather not get into a debate about ‘mispronunciations.’
(From Gordon Sapsed)
Disinterested is often correctly brought up in word misuage discussions. I looked up the word today in the American Heritage Dictionary online and learned:
“Oddly enough, ‘not interested’ is the oldest sense of the word, going back to the 17th century. This sense became outmoded in the 18th century but underwent a revival in the first quarter of the early 20th. Despite its resuscitation, this usage is widely considered an error.”
(From Garrett Gannuch)
An odd one is the phrase “is that” inserted without logic or neccessity, creating phrases like:
“What you’re forgetting is, is that I didn’t graduate.”
I call this the double “is.” You hear it all the time in conversations on the radio.
(From Bill Crow)
Being the chief of the language police has some heavy resposibilities for you in this era. One thing that I would suggest is to advise all of your readers to avoid the stock channel (CNBC) at all costs. Today, after the Federal Reserve raised interest rates a quarter of a point, one of the commentators stated that it “was pretty much exactly” what he expected.
(From Charlie and Sandi Shoemake)
I have resigned as chief of the language police. The criminals are winning.
As John Ciardi would say if he were still with us, good words to you.