SPECIAL ON PRESTIGE REISSUES: THE TRUMPET

Awhile back, we did a review of various tenor sax players that have had their material reissued through Concord Record’s digital download program. At under 7 bucks an album, it’s a cheap way to discover obscure gems by the likes of Gene Ammons, Dexter Gordon, Eddie “Lockjaw” Davis and Arnett Cobb.

This time around, we’re going to spotlight trumpet masters. Unlike the tenor sax, which has 3 main disparate influences, the trumpet styles can be traced in a much more direct line, with few exceptions, like a baton being passed from Louis Armstrong (with a Bix (B)sidebar) (A) to Roy Eldridge (E) to Dizzy Gillespie (G) to Clifford Brown (B)(with a Miles Davis (D)side bar) to Freddie Hubbard (H). Each of the artists that follows jumps off the train at some station, so it will be easy to figure out which path you want to follow.

Cannonball Adderley
Pyramid
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By George W. Harris

Nat Adderley (GGBBDD) had a sweet sound on the flugelhorn, and was a bopper at heart. His most renowned period was with his brother Cannonball’s classic small bands, either in a quintet or sextet mode. This 74 session, recorded just a year before Cannonball’s premature death, has a lot of hard bop feel, thanks to the crisp rhythm team of Hal Galper/p, Roy McCurdy/dr and Walter Booker. Guest appearances by George Duke/k and Phil Upchurch give the band an extra funky feel, while Galper’s keyboards get a bet dated with all of the electronic gimmickry. The band still knows how to swing with abandon as on the title track and the intriguing three part “Suite Cannon” and Nat’s horn is as sweet as a Bit O Honey on “Bess…”

Ruby Braff
Concord Heritage
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Ruby Braff
Bravura Eloquence
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By George W. Harris

Ruby Braff (AAABBB) was an Armstron/Beiderbecke disciple who had a gentle and fluffy sound up to the day he died. The Heritage disc is a collection of collaborations with buddies like George Barnes/g, Ken Peplowski/cl, Scott Hamilton/ts and Dave McKenna/p on some lovely standards. These were done at a time that acoustic jazz was treated like leprosy, so those that stuck to it back in the 70s and 80s did it out of sheer conviction and will power.

Bravura is one of a pair of sessions from 1988 with 7 string guitarist Howard Alden and bassist Jack Lesberg. The music is spacious and almost instantly nostalgic in the best sense of the word, with treatments of “Ol’ Man River” and “I’ve Grown Accustomed To Her Face” dreamy in their gravity defying lightness. Braff’s tone embraces the melodies like a long lost love. All that’s missing on the pair of medleys with songs by Judy Garland and Charlie Chaplin are sepia stills. Warm like embers in November.

Buck Clayton
Goin’ To KC
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By George W. Harris

Buck Clayton (AAAAAA) knew he was going to be a trumpet player once he heard Armstrong’s version of “Stardust” being played over a set of loudspeakers. He made his name as part of the trumpet section for the original Count Basie Orchestra, as well as some classic small group sessions with Billie Holiday. He also put together some wonderful albums of jam sessions with the likes of Coleman Hawkins, Woody Herman and various swinging singles. On this 1960 session, he teams up with the Tommy Gwatney Kansas City 8 (How could I make that up?!?), which included such disparate souls as Dickie Wells/tb, Charlie Byrd/g, John Bunch/p, Tommy Newsom/ts and the famous Mr. Gwatney on vibes and reeds. The music is well arranged by Newsom and The Gwat, particularly on the Old Testament favorite “John’s Idea.” Clayton’s horn cut’s like a Cold Steel knife, and swings like nothing else. Great stuff for those who want to snap their fingers along with the music.

Miles Davis/Jimmy Forrest
Our Delight
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By George W. Harris

This disc is probably the most frustrating, as Miles Davis (DDDDDD) is obviously one of THE most important musicians, let alone trumpet players in modern music. He was in bands that started bebop (with Parker), cool jazz, hard bop, modal jazz, and fusion. This recording of a 1952 gig in St. Louis with R&B tenor saxist Jimmy Forrest should be a discovery sort of like a jazz version of the Dead Sea Scrolls, as it features Davis in at a rarely heard time in his career, just after his famous Blue Note sessions.

Unfortunately, the sound quality is bootleg quality, and even jarring in some points. The song selection is standard bebop fare, like “Wee Dot” and “Ladybird.” The rhythm section was a local team, which does it’s job in serviceman like conduct. Forrest, who is one of my favorite tenorists (get EVERY ONE of his Prestige reissues), is not in his element here, and except for the film noir reading of “What’s New” this disc is for Davis fans that want every scrap of music recorded. This is like a burlap tarp draped over the Mona Lisa, in that you can barely make out the beauty.

Art Farmer
Phd
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Art Farmer/Donald Byrd
2 Trumpets
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By George W. Harris

Art Farmer (GGGBBB) was to the trumpet what Stan Getz was to the tenor; he had a golden tone that made other horn players green with envy. He was with a couple famous small groups in the 50s that included Gerry Mulligan with one and Benny Golson in another. Here, he’s caught 30+ years apart.

2 Trumpets has Farmer teamed with the bright and beautiful Donald Byrd (EEGGBB) on this 56 session that includes bop foundations Barry Harris/p, Jackie McLean/as, Art Taylor/dr and Doug Watkins/b. They really stretch out on Miles Davis’ “Dig” and show how similar styles can sound so differently on slower tunes like “Round Midnight” and “When Your Lover Has Gone.” Byrd was one of the first call guys for sessions like this, and it’s easy to see why-he’s got that classic assertive hard sound, perfectly in contrast to Farmer’s soft fluffiness.

Farmer on flugelhorn in 89 showed that he still had what it took on this brainy date with Kenny Burrell/g, James Williams/p, Rufus Reid/b, Clifford Jordan/ts and Smitty Smith/dr. The session is mostly originals that never caught on, save the lovely “Like Someone In Love.” The music is mature, elegant and well crafted; the epitome of class. Good stuff to go around a few times.

Roy Eldridge
What It’s All About
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Roy Eldridge (EEEEEE) was THE consummate swing era trumpeter, full of bravado, and never met a cutting session he didn’t like. He could make the horn crackle, scream, shriek, and above all SWING like no one else. This 76 date on the old Pablo label finds him at the tail end of his career, but you sure couldn’t tell it from the music; this guy is ON, like an old time boxer who wants to go one more round with the new kids in town. Here, he’s with some overlooked big band section stars, notably Norris Turney/as (from Duke Ellington) and Budd Johnson/ts (from Earl Hines), as well as Milt Jackson. Everyone comes out swinging on the 13 minute “Melange” and the no holds barred title track. Even the “Recado Bossa Nova” will get your head spinning. Eldridge could go from a sugary sweet plunger mute, sounding like a cooing baby, to a blistering megaphone blast, where he sounds like a riot squad policeman, in seconds flat. Whew!

Dizzy Gillespie
Bahaina
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By George W. Harris

Dizzy Gillespie
Dizzy’s Party
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By George W. Harris

Dizzy Gillespie (GGGGGG) took Roy Eldridge’s baton and turned it into a boomerang to usher in the era of bebop in the mid 40s. Caught here 30 years later, he put out a pair of releases with almost the same personnel, with quite different results.

Bahaina, from 1975, has Gillespie returning to the Latin music that he pioneered post WWII. Here, the emphasis is on Brazil, with Mickey Roker/dr, Roger Glenn/fl, Paulhino DaCosta/perc, Earl May/b and Alexander Gafa/g laying down some intoxicating and hypnotic rhythms for Gillespie to float over. Like a master craftsman, he knows when to give punctuated stutters, or multi-note runs, whether to whisper or shout, and when to let other guys like Glenn and Gafa show their wares. The festive “Carnival” serves as a contrast to the modal “Olinga” which has a deep and reflective mood. Possibly Gillespie’s last great outing.

The next year, Gillespie got together almost the exact same band, with Ray Pizzi/reeds being the major difference. The food is standard bebop fare, with the Middle Eastern “Land Of Milk And Honey” being one of his concert favorites. There are only four songs, and three are over 7 minutes long, giving the album a thrown together feel. Diz’s solos have a déjà vu feel to them in that you’ve heard these notes somewhere before.

Tom Harrell
Stories
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By George W. Harris

A member of Phil Woods’ last great quintet, flugelhornist Tom Harrell (BBDDHH) is probably the most original of all living horn players. His compositional skills are on the same high level of his playing. Here, on this 88 release, he shows the power of his creative and imaginative pen on these originals, which include appearances by Bob Berg/ts and John Scofield/g. His tone on these pieces is just unbelievably warm and glowing, particularly on the ballad “Song Flower.” The rhythm section of Ray Drummond/b, Billie Hart/dr and Niels Lans Doky/p is necessarily first rate; no novice could handle this tricky but completely accessible pieces. Make SURE you catch him whenever he comes to town. It’s a treat!

Art Blakey’s Jazz Messengers
Kyoto
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By George W. Harris

From the mid 50s until his death in 1990, drummer Art Blakey used his band as the launching pad for some of the greatest names in jazz history. The trumpet players alone that played in front of him is staggering: Clifford Brown, Donald Byrd, Lee Morgan, Freddie Hubbard, Chuck Mangione, all the way to Wynton Marsalis. Here in 64, he had one of his greatest bands, with Hubbard, Wayne Shorter/ts, Curtis Fuller/tb, Cedar Walton/p and Reggie Workman/b. Hubbard (GGGHHH), here, is just beginning his ascent to become THE hard bop trumpeter, and he sounds mean and macho on “The High Priest” and the title track. The mix of Hubbard’s bravado and Shorter’s tangential musings is a perfect contrast of styles and colors. A classic band.

Thad Jones
Mad Thad
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By George W. Harris

Thad Jones (BBGGGG) was a sophisticated bebopper that eventually made a name for himself with Count Basie before going on to co-lead the important Thad Jones/Mel Lewis Orchestra in the 60s and 70s. Here, in 57, he is found in the company of his brother Elvin/dr, Tommy Flanagan/p, Doug Watkins/b and fellow Basie-ite Frank Foster/ts for some sophisticated bebopping on “Bird Song” and “Jumping For Jane.” The winning verdict is due to the haunting treatment of ballads like “Whisper Not” and the medley that gives a chance for everyone to contribute their elegant attire to the ball. Beautiful stuff.

Taft Jordan
Mood Indigo
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By George W. Harris

Taft Jordan (AAAAAE) made his name with the Duke Ellington Orchestra, and made very few discs on his own, so this disc is doubly valuable. This release is essentially from two different sessions in 60, and 61. The 60 date, from which the title gets it’s name, is an intimate and subtle small group affair with Kenny Burrell/g, Charlie Persip/dr and Richard Wyands/b that does lovingly delicate readings of Ellington tunes like “Warm Valley” and “Lost In Meditation.” The interplay between horn and guitar is simply exquisite. The 61 date includes the horn work of Hilton Jefferson/as and Al Sears/ts, two gents who made their names in the big band era with gorgeous tones. The music here’s a bit more assertive with a punchy “Rockin’ N Rhythm” as well as a bluesy “Lil Darlin’.” Just a perfect session played by guys who cared more for sound than mindless notes.

Clark Terry
Mellow Moods
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By George W. Harris

Flugelhornist Clark Terry (AAABBB) played with both Basie and Ellington big bands, and had a gorgeous tone that could swing, but also sound modern enough to keep up with the likes of Thelonious Monk. This combination of sessions from 61-62 has arrangements by Oliver Nelson, and performances by Budd Johnson/ts, George Barrow/bs, Art Davis-Joe Benjamin/b, Ed Shaunessy-Charlie Persip/dr, Eddie Costa/-Junior Mance/p, and Lester Robertson/tb. The music here has some gorgeous ballads, some blues and a couple cornball acts. All through these originals and obscurities, Terry’s horn has a joyful and cheerful demeanor that no one else in jazz had. Still alive, and still one of a kind. Great listening.

Blue Mitchell
Smooth As The Wind
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Blue Mitchell (GGGDDB) had a light and silky sound, being part of what is considered Horace Silver’s best quintet in the early 60s. This brass and strings session (arranged by either Tadd Dameron or Benny Golson) fits perfectly with Mitchell’s elegant sound. The band includes like minded souls like Tommy Flanagan/p, Charles Persip/dr and brass buddies Clark Terry, Jimmy Cleveland and Britt Woodman. A couple Silver tunes like “Peace” and “Strollin’” are rich and textured, while “I’m A Fool To Want You” and “ “The Best Things In Life Are Free” are emotional gems. I put this on while driving the boulevard this weekend with my wife in our 84 Olds Cutlass Supreme. The cruising was easy!!!!

Woody Shaw
Song Of Songs
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By George W. Harris

By all accounts, Woody Shaw (HHHHHH) was the guy who seemed destined to take the trumpet legacy to the next level. As the Bible says, man proposes, God disposes. For various reasons, it was not to be, although Shaw did put out some amazing music like this 72 delight with Emannuel Boyd/fl-ts, George Cables/p, Henry Franklin/b, Woody Theus III/dr and Ramon Morris/ts. The music, which is almost like a trumpet version of Coltrane’s Impulse years, is constantly exciting and unpredictable, from the passionate “The Goat And The Archer” to the title track. There are only 4 songs, but they all count. Just wondering where this guy could have gone…wow.