Nat King Cole & Friends
Riffin: The Decca JATP, Keynote and Mercury Recordings
Hip-O-Select Records
www.hip-o-select.com
By George W. Harris

Webster’s Dictionary defines “Essential” as “most important;
indispensable.” By textbook standards, this limited edition 3 disc set
is “essential” music. Especially if you consider the other definition
of “essential” being “having the character of an essence.” Nat “King”
Cole’s piano playing, singing and out and out style of swing was THE
essence of what jazz is all about, and it’s covered here in a wonderful
variety of essential environments.

Before he became known as the singer of “Mona Lisa” and “L-O-V-E,” Cole
was the quintessential jazzman. His trio stuff here that makes up disc
1 with Oscar Moore/g and Wesley Prince/b is the inspiration of a
plethora of jazz artists. Tunes like “Sweet Lorraine” are the marrow of
small group swing, whether you’re a fan of singers or musicians. Cole,
like Babe Ruth, was the master of two fields.

Out of circulation for years are the rare treats of Cole being the
pianist for Eddie Cole’s Solid Swingers and The Keynoters, which
feature some snapping “Honey Hush” and Willie Smith’s alto on a
gorgeous “The Way You Look Tonight.” This is like finding a silver
dollar in an old pair of pants.

The second disc, which consists of Cole in various settings during a
series of Jazz At The Philharmonic concerts in July of 1944, have been
mostly in fairly easy accessibility, but it’s great to have them all
together here. Cole and his trio are stunningly swinging during their
spotlight which includes “The Man I Love,” but it’s the extended, and I
mean EXTENDED jams that became wildly popular. Tenorists Illinois
Jacquet and Jack McVea made their names on these raucous songs; “Lester
Leaps In” and “Blues” must be heard to be believed. I actually met
McVea 15 years ago when he was playing at Disneyland in New Orleans
square. He still had it. Whew!!

Disc Three makes the word essential quite redundant-the work with
Dexter Gordon and Harry “Sweets” Edison on a quartet of tunes is as fun
as all get out, but it’s the Lester Young Trio with Cole and Buddy Rich
that will probably make you never want to hear another tenor sax player
again. These unbelievably light, airy yet delectable pieces like “I
Cover The Waterfront” or “I Found A New Baby” will make you realized
that just about everything after this session is close to a sham. How
did music get this good? How did we lose it?

If you’re new to jazz, you may not want anything else for about 2 years
after taking this in, and letting it soak into your dna. If you’re a
jazz vet, and don’t know this stuff, it’s time for renewal and
repentance. If this music doesn’t prove the existence of a loving God,
then I truly pity you.