Irene Kral
The Band And I/Stevereno!
Fresh Sound Records
www.freshsoundrecords.com

Oscar Peterson Trio
Plays My Fair Lady, Porgy and Bess and Firorello!
Fresh Sound Records
www.freshsoundrecords.com

Oscar Peterson Trio
Swinging Brass/Jazz Soul
Fresh Sound Records
www.freshsoundrecords.com

Jimmy Raney
In Three Attitudes
Fresh Sound Records
www.freshsoundrecords.com

The Sonny Stitt Quartet
The Sonny Side Of Stitt
Fresh Sound Records
www.freshsoundrecords.com

Sonny Stitt
Plays Arrangements From The Pen Of Johnny Richards And Quincy Jones
Fresh Sound Records
www.freshsoundrecords.com

Al Viola
Guitars
Fresh Sound Records
www.freshsoundrecords.com
By George W. Harris

This Spain-based label is giving better know reissue specialists like Mosaic and Storyville a real run for the money. They release material that would seem to fall through the musical cracks; that is, until you listen to it and then wonder, “How come this disc isn’t better known?” After getting a few of their stuff, you’ll start wondering what else is out there that you’ve never heard of. Here are some of their more recent discs:

1) Vocalist Irene Krall is sort of like a male version of Jackie Paris; overlooked by most, but followed by a devoted cognoscenti. This single disc combines two of her best sessions, her 1958 debut backed by Herb Pomeroy’s orchestra, and a 59 set with a snappy little band conducted by Al Cohn. Her voice is sort of like Chris Connor’s, but with a little bit extra butane. The added warmth works well on ballads like “Detour Ahead” and the moody “Lazy Afternoon” on the 58 session. SteveIreno has Krall delving into the overlooked Steve Allen Songbook, and with the likes of Cohn, Joe Newman, Zoot Sims, Hank Jones, Jimmy Raney, Charles Persip and Joe Venuti, she shows impressive charm on “The Best Time Of The Day’ and “Spring Is Where You Are.” All vocal fans should seek out this lady.
2) Oscar Peterson is by no stretch of the imagination an obscurity, but these three sessions from 58-60 are among his lesser known. The trio during this time had Peterson with Ray Brown and either Ed Thigpen or Gene Gammage on the drums. The wonderful thing about these three albums (on 2 cds) is that they can be appreciated on so many levels. If you play an instrument, for example, the OP3 can easily make up the perfect “Music Minus One” band, as their delivery of tunes like “I’ve Grown Accustomed To Her Face” or “I Got Plenty O’ Nuttin’” letter perfect in their melodic statements, and serve as excellent vehicles for blowing over during the improve sections. The more obscure Fiorello has the standard’ When Did I Fall In Love?” with the rest of the material holding up just as well. If you want swinging melody, this is the place!
3) Peterson gooses this 1959 session with a Swingng Brass that includes Buddy Childers, Dick Nash and Ollie Mitchel, as well as a reed team with Bud Shank, Bill Holman and Bob Cooper, under the baton of Russell Garcia. Songs like Ray Bryant’s “Cuban Chant” and Dizzy Gillespie’s “Con Alma” have the horns perfectly framing Peterson’s ivory work, while “Blues For Big Scotia” is a swinging romp. The second session on this 2 for 1 disc has Peterson’s regular trio of Brown and Thigpen returning to a stripped down “Con Alma” as well as a wonderfully exotic “Maidens Of Cadiz” among barnburners like “Woody’n You.” Mainstream that is in full current.
4) Guitarist Jimmy Raney is one of the overlooked bop-styled guitarists, making his name originally with Stan Getz. Here, on two 1956 session for this single disc, he mixes and matches with Bob Brookmeyer/vtb, Hank Jones-Dick Katz-John Williams/p, Terry Kotick-Red Mitchell/b, and Jack Edie-Osie Johnson/dr for some tasty swingers and ballads. Raney’s fingerwork on”Last Night When We Were Young” and “How Long Has This Been Going On” is prom dress stunning, while the more uptempos like “Strike Up The Band” romp like a Willy’s Jeep. Straightahead jazz at its zenith.
5) Sonny Stitt put out a TON of material back in the 50s and 60s. This 2cd collection of 4 sessions can also be found on the Mosaic multi cd set, but if you’re not in the mood for shelling out a ton of bucks, this is the place to start. Cursed as a Parker clone, but as he once said, “Let’s see YOU sound like Bird!” Here, he leads a band with Jimmy Jones/p, Aaron Bell/b, and Charlie Persip-Roy Haynes/dr for a collection of standards. While he has been known go mail in some of his performances, he’s in inspired form here. His take of “Laura” shines like a glazed donut, while “Angel Eyes” is as haunting as a full moon in a graveyard. While his alto is definitely reminiscent of Parker, his tenor had Lester Young litheness, and both are featured quite liberally here. A ditty like “Cocktails For Two” is coy without being cloying, while “Green Dolphin Street” grooves with an earthy grit. Great small group bop for the ears.
6) In 1953 and 1955, Stitt did a couple of sessions with orchestras conducted by Johnny Richards and Quincy Jones, respectigely. The bands themselves had pretty impressive lineups that included Kai Winding/tb, Horace Silver/p, Charles Mingus/b, Jo Jones/dr, JJ Johnson/tb, Oscar Pettiford/b and Freddie Greene/g, to name but a handful. The mix of big band working behind, around and through Stitt’s horn is a rare treat, with the wildly lating “Sancho Panza” a tour de force. Stitt is in inspired form here, with some gorgeous work on “If You Could See Me Now” and “an cooking little “Sonny’s Bunny.” This material definitely sheds off the Charlie Parker albatross.
7) Guitarist Al Viola was the “go to” guitarist for guys like Sinatra, London, Christy and Witherspoon, as well as being the sound that you hear on movies like The Godfather and Dr. Zhivago. I saw him a ton of times in LA with the Page Cavanaugh trio, and he was never less than stellar, This rare solo (in the literal sense) recording is one of the few under his name, and it’s a delight. It’s essential Viola accompanying his own six strings with overdubbed bass and rhythm guitars in various denominations and atmospheres. Takes of “Moonlight In Vermont” or “Lover” are all under 3 minutes, but you get more said in a short period than in an anthology of Al Dimeola recordings. Understated mastery on songs like “It’s Easy To Remember” or a swinging “Route 66” make you realized that less is more. Seek this one out until you find!