The Vanguard Jazz Showcase happily continues…
Classic Vanguard Jazz Piano Sessions – Mosaic Records #MD6-281 – six CDs- 1953-1958 (complete credits below) – ****1/2
As a follow-up to their Vanguard small group Swing box set released earlier this year, Mosaic Records, the pre-eminent jazz connoisseur boutique label, is
now featuring piano led sessions from Vanguard Records, recorded with single mic expertise at the Brooklyn Masonic Temple between 1953-1958. Many of the same musicians from the small group sessions return in various configurations, but this time the recordings were led by Vanguard roster pianists.
All the sessions were produced by John Hammond, who took over the helm for the Solomon brothers (Vanguard’s owners) for jazz releases (both 10″ and 12″ LP) for the label. With initial input and assistance from jazz historian and critic, Nat Hentoff, Hammond first used the Count Basie rhythm section, and then followed up with the “cream of the crop” New York based jazz artists, who trusted Hammond’s vision of letting the artists have free rein to explore both standards, and the emerging bop movement for free improvisation. The wooden walls and floors of the Masonic Temple aided the natural echoes of the acoustic instruments. Now with 24-bit remastering, the set’s acoustics are even more exemplary, and a sonic upgrade that should be appreciated by jazz audiophiles.
The six CDs have a great mix of pianists, with rhythm sections, as well as horns occasionally used to expand the sound stage. Definite mention should be made of trumpeter, Ruby Braff, who is featured throughout this set, with his melodic duos with pianist, Ellis Larkins, reason enough to purchase this historically significant box set. In addition, the 16 page booklet, with archival photos, and an erudite essay from jazz historian, Thomas Cunniffe, add even more value.
The set opens with Jo Jones Trio/ Jo Jones Plus Two. Recorded in April, 1958, this was one of the last Vanguard releases. Led by pianist, Ray Bryant, its 42 minute length was cut in one session due to the group’s prior East Coast tour refining their “chops.” It was also one of the first recordings recorded in stereo. It had its challenges with floor drum mics. “Papa” Jo Jones’ drum brush work is highlighted on “Little Susie.” Bryant’s mastery of piano blues is shown on “Spider Kelly’s Blues.” Two old “chestnuts” of “Sweet Lorraine,” and “Ol’ Man River,” have Jones taking over on the latter, while Ray handles octave doubling on the former.
Sir Charles Thompson leads a trio and quartet next on two 10″ releases. Thompson earned his “royal moniker” from Lester Young. Thompson led very few groups as a leader in his career, content to serve as a first call sideman. He was noted to be comfortable with most jazz genres of that period, from swing to bop, and had a 70 year career. His quartet featured Basie’s rhythm section, and noted guitarist, Freddie Green, playing a strong mix of standards.
The Thompson Trio date in Feb. 1955, was Charles’ final Vanguard issue. He shows he was a man for all musical seasons on “Howard’s Blues,” where he mixes “boogie-woogie,” country, swing, and be-bop. Even more unique is Thompson’s true jazz cover of “Mr. Sandman,” a top hit of the day from The Chardettes, a female vocal quartet. It’s given a bop treatment, unlike Charles’ more faithful version on a much later Nagel Heyer Records, Wake Up album.
Bobby Henderson, one of Count Basie’s favorite pianists, was an under the radar talent, due to spending many years in Albany, after difficult times in New York City. He was “re-discovered” by John Hammond, and later returned to relative obscurity. As an acolyte of Fats Waller, he shows his mastery of Waller’s “speed” and joyous spirit on “Jitterbug Waltz,” and “Handful of Keys,” the title of his Vanguard LP.
Mel Powell is the featured piano player on three sessions on this box set. Powell is most noted for his tenure with Benny Goodman. He was a master of the Dixieland style, and ventured into classical composition. A real treat, out of print for 70 years is the inclusion of his “Sonatina for Piano.” A true classical recording, in three movements, each with a different theme, it is a complex piece for jazz ears, at times atonal. Never recorded again, it’s complexity demands repeated listening for full appreciation.
Powell’s Dixieland prowess is on full display on “S”Wonderful,” and “I Must Have That Man,” which features the bowed and pizzicato talents of Basie’s bass star, Walter Page.
Two other Powell LPs, Borderline, and Thigamagig, show the creativity of Mr. Powell. The former is a trio with tenor giant, Paul Quinichette, while the later trio has Ruby Braff aboard. Neither has a drummer. The Borderline date has a constant change in direction, both improvised and composed. There is much counterpoint and often brings to mind what Dave Brubeck’s group was doing. On the ballad, “What’s New,” Quinichette earns his nickname, the “Vice Pres,” due to his cool, relaxed airy tone, bringing to mind, Lester Young.
The date with Ruby Braff is also a winner. Powell plays with gusto, and the drummer, Bobby Donaldson picks up energy with Braff complementing the two on the title cut. “Don-Que-Dee,” is a mambo written by Donaldson, and he shines on the tom-toms. “Bouquet,” blends classical and jazz, like a trumpet sonata with repetitive piano lines. “California, Here I Come,” has the trio “racing to the Golden State.”
Mel Powell’s Out on a Limb, recorded on October, 19,1955, provided Mel with the opportunity to have 10 musicians in various ensembles. Recorded in one day, none of the tracks were ever played elsewhere in this manner. For the project, Mel used players from diverse groups, together for a “one off” meeting. He uses counterpoint on “Gone With the Wind,” and has five musicians getting solos in less than four minutes on “Stompin’ at the Savoy.”
“When Your Lover Has Gone,” is a real beauty with a sublime, haunting clarinet solo by Peanuts Hucko. Other memorable moments are provided by guitarist, Skeeter Best, on “Three Little Words,” and “You’re Lucky to Be Me,” with Oscar Pettiford’s bass solo.
The highlight of the entire box set is the inclusion of the two duo dates with pianist Ellis Larkins, and trumpeter, Ruby Braff. Their mastery of melody is pure joy. Ellis was the dream accompanist of Ella Fitzgerald, and his warm and inviting classy piano skills mate perfectly, on standards, with the “sass” of Ruby Braff’s brash trumpet. They provide a relaxed late night feel, in the warmest sense.
Listening to the two of them embrace “Skylark,” lay on the tenderness on “What is There to Say,” and “Love for Sale,” these two masters offer “comfort food for the soul.” Their sessions on the final two CDs are a fitting finish to a marvelous box set.
Thomas Cunniffe mentions at the close of his essay in the Mosaic booklet that there are up to around ten unissued Vanguard Jazz Showcase dates. Not to be too greedy, but jazz fans would be “over the moon” to get the chance to revisit the rest of the great music that John Hammond brought to the Vanguard label in the 1950s. Fingers crossed…
—Jeff Krow
Classic Vanguard Jazz Piano Sessions – Mosaic Records
Album Index:
10″ LPs:
Mel Powell Septet
Sir Charles Thompson Quartet
Sir Charles Thompson Trio
Ruby Braff/ Ellis Larkins Two Part Inventions in Jazz- Vols. 1 &2
12″ LPs:
Mel Powell Trio-Borderline
Mel Powell Trio-Thigamagig
Mel Powell-Out on a Limb
Braff/ Ellis Larkins- 2 x 2
Bobby Henderson-Handful of Keys
Jo Jones Trio-Jo Jones Plus Two
Performing Artists
Ray Bryant, Sir Charles Thompson, Bobby Henderson, Mel Powell, Ellis Larkins – piano;
Buck Clayton, Ruby Braff, Al Mattaliano – trumpet;
Henderson Chambers – trombone;
Paul Quinichette, Nick Caiazza – saxophones;
Edmond Hall, Peanuts Hucko – clarinet;
Freddie Green, Skeeter Best, Steve Jordan, Tommy Kay – guitar;
Tommy Bryant, Walter Page, Aaron Bell, Arnold Fishkin, Oscar Pettiford – bass;
Jo Jones, Jimmy Crawford, Bobby Donaldson – drums;
John Hammond – producer
