Today's Listening

Cannonball Adderley "Portrait of Cannonball"

This 1958 session, notable mostly for its spirited version of Gigi Gryce's Minority and debut recording of Miles Davis' Nardis, features a band made up of Adderley with Blue Mitchell, Bill Evans, Sam Jones, and Philly Joe Jones. Minority is presented three times, the chosen take being an amalgam of takes 2 and 3. Although you can hear why this choice was made, the edit in the "supertake" is not clean at all, and the supposed lesser solo by Cannonball is actually quite good. Everybody seems to be having their problems running through Gigi Gryce's minefield. The trades with Philly Joe are fantastic on both takes; no shortage of ideas, and you can even hear how quickly he recovers from dropping a stick on take 3. Bill Evans has a way of dealing with faster tempos by not playing too many consecutive 8th notes and initiating groups of asymmetric rhythmic phrases. Nardis is treated with kid gloves by mostly everyone in the first take except for Evans, who seems to innately understand the possibilities of the tune. 

Duke Ellington "Latin American Suite"

My friend trumpeter Kevin Dean tells me, "Whenever I feel myself getting depressed, I put on some Duke Ellington, and it always makes me happier." I agree wholeheartedly, and to me this recording is one of Duke's best towards the end of an unbelievably prolific and varied output. These selections are full of little kernels of musical wisdom and impeccable taste. Oclupaca allows us to enjoy Duke's amazing piano effects and Paul Gonsalves' earthy sound while creating a truly Latin-American hybrid. Chico Cuadradino is another perfect example of Ellington's innovative ability to enhance the blues in all kinds of interesting backgrounds and alternate structures. His piano is prominent throughout, acting as a magical guide and musical instigator. Duke's piano mastery is really in evidence on The Sleeping Lady and the Giant Who Watches Over Her. In his gorgeous intro, you can hear something vibrating on the piano strings occasionally, probably a microphone. This distraction seems to even enhance the dramatic effect of Duke's piano work, and his solo coda at the end of the piece is seriously deep. The recording suffers from some distortion at times, but the stereo panning really helps the music reach the listener.

Tal Farlow "Early Tal"

I was lucky enough to see Tal Farlow in Montreal during the early 80's. There were about twenty people in Ivan's Jazz Bar and some of them had no idea who Tal was or why he was there. But I did, mostly because of all my guitar playing friends who spoke in reverential tones about his advanced harmonic approach and unusual technique. He seemed to be an extremely affable character, who really enjoyed nothing more than playing the guitar with other good musicians. These recordings from the early fifties highlight Tal in his prime and should be studied by all jazz musicians who appreciate individualism and musical courage. Amazingly enough, one of the sessions features Gigi Gryce on flute and alto sax, and a few of his compositions as well. In addition, pianist Horace Silver and trumpeter Howard McGhee contribute some fantastic work. There seems to be no problem at all with Farlow and Silver comping, and both fulfill well defined ensemble roles as well as contributing memorable solos. Gryce's Futurity, based on There'll Never Be Another You, and the highly original Shabozz, are compelling examples of his advanced compositional prowess.