The Scottish National Jazz Orchestra: In the Spirit of Duke

Spartacus Records
By Ric Bang
Buy CD: In the Spirit of Duke

As everybody should know by now, jazz is enjoyed and appreciated worldwide. That said, this album hails from a country that doesn’t yet have a big reputation in our genre of choice. That’s something of an oversight; although mainstream American jazz fans likely couldn’t cite artists who hale from Scotland, several of our premier musicians proudly call that country home. One celebrated Scottish jazz musician is saxophonist, composer and arranger Tommy Smith.

Smith’s father, also a jazz buff and drummer, started his son on sax when he was 12 years old; he was only 16 when he released his first recordings with a quartet. During that same period, Tommy earned a scholarship to Boston’s famed Berklee College of Music. Just two years later, thanks to a recommendation from Chick Corea, he joined Gary Burton’s group on a world tour.

By the late 1980s, and into the early ’90s, Smith’s style had morphed into a more classical, concert-oriented approach. He composed “programs” based on music associated with famous jazz artists; he also formed his own recording company, Spartacus, so he’d have more control over his material. This combination of classics and jazz was quite popular, and drew major crowds at concerts throughout the world.

In the Spirit of Duke began as a project in the early 2000s, which eventually was taken on the road in 2012. The performance format was ambitious: stage settings were constructed to match the time period of the music being played, and the arrangements were memorized, so the musicians didn’t appear to be “reading.” The result could be called “repertory jazz.”

This album features 18 individual segments that are identified by tunes that Ellington and his cohorts — specifically Billy Strayhorn — composed, played and made famous, over the years. These are blended in a manner that tells the story of these individuals. As a result, many of the tracks herein are relatively short — averaging 3 minutes — but everything flows beautifully. 

The orchestra as a whole is first-class, as are the individual musicians featured as soloists. It’s like an evening at the theater, and it swings wonderfully. If you enjoy Ellington, you’ll love what Smith and his Scottish National Jazz Orchestra have produced. 

Eddie Daniels and Roger Kellaway: Duke at the Roadhouse

IPO Recordings
By Ric Bang
Buy CD: Duke at the Roadhouse

The jazz world offers musicians, great musicians and master musicians. This album features two of the latter: Eddie Daniels, who plays clarinet, tenor and alto sax, flute and piccolo; and Roger Kellaway, who plays piano, composes and arranges. They collectively have more than a century of experience, and are fluent in both the jazz and classical genres. 

They’re peers; Daniels was born in 1941, and Kellaway in 1939. Daniels’ first instrument was the alto sax, but he switched to tenor, then added the clarinet by the time he entered college. Since the early 1980s, clarinet has been his primary instrument. Kellaway has concentrated on the piano, but he also describes himself as a cello addict. In classical circles, he’s probably best known for his 1970s cello quartet recordings.

It’s difficult to find jazz-related individuals, or organizations, that Daniels and Kellaway haven’t worked with, and almost as hard to find classical ensembles that didn’t feature them. Both have won numerous awards.

This album isn’t their first collaboration; I reviewed — and loved — Duet of One several years ago. This time out, Daniels and Kellaway are honoring Duke Ellington’s music. The menu therefore includes seven of Duke’s compositions (“In a Sentimental Mood,” “Sophisticated Lady” and others), along with one that Duke didn’t write, but always has been associated with him: Juan Tizol’s “Perdido.” The disc is rounded out by two originals: Daniels’ “Duke at the Roadhouse” and Kellaway’s “Duke in Ojai.” 

For the most part, these tracks are presented as duets: Kellaway on piano, Daniels on clarinet or tenor sax. A cello is added a few times; be advised that Kellaway wrote every note for that instrument, including the solo passages.

This is a must-have album, particularly for Ellington fans. It’s the jazz equivalent of watching da Vinci paint the Mona Lisa.

The Mark Masters Ensemble: Ellington Saxophone Encounters

Capri Records
By Ric Bang
Buy CD: Ellington Saxophone Encounters

Step into your time machine, fasten your seat belts, and settle back for a visit to the Duke Ellington era. 

Have you ever wondered what it would be like, if a modern musician were to wander onto the stage and sit in with one of the great bands of the past? Well, that’s what this album is all about. It’s a collection of tunes written by members of Duke’s bands, during the era when he reigned supreme, and played here by eight of today’s top artists: the Mark Masters Ensemble. 

This group’s instrumentation is unique: five reeds and a rhythm section consisting of piano, bass and drums. Each individual is famed, having spent a career working with top-level jazz groups. The baritone sax is held by the award-winning Gary Smulyan; the other reed players — each fluent with clarinet, alto, tenor and flute — are Gary Foster, Pete Christlieb, Gene Cipriano and Don Shelton. The supporting rhythm section features pianist Bill Cunliffe, bassist Tom Warrington and drummer Joe LaBarbera. Leader Mark Masters is responsible for the arrangements.

The Ellington artists who contributed the tunes — all part of Duke’s library over the years — include Johnny Hodges, Paul Gonsalves, Harry Carney, Jimmy Hamilton and Ben Webster. All are Jazz Hall of Fame members. 

Hodges composed “Esquire Swank,” “Lawrence Brown Blues,” Used to Be Duke,” “Jeep’s Blues” and “Peaches.” Gonsalves did “The Line Up” and “The Happening”; Carney contributed “We’re in Love Again” and “Rockin’ in Rhythm”; Hamilton gave us “Ultra Blue” and “Get Ready”; and Webster wrote “Love’s Away.” You may not know some of the titles, but you’ll recognize the melodies. As was the case with many of the tunes in his book, Ellington often  played a role in the end result, as a “co-composer.”

You’ll swear it’s Duke’s wonderful band from the first bar of the lead track, “Esquire Swank.” Close your eyes, and you’ve time- and place-shifted back to one of the great 1940s ballrooms. The same can be said of all these tracks: This is, indeed, an encounter of a most magical kind.

It’s an ensemble and album to die for.

The Duke Ellington Legacy: Single Petal of a Rose

Renma Recordings
By Ric Bang
Buy CD: Single Petal of a Rose

Duke Ellington was the man in the1920s and ’30s. He grew in stature during the big band years, and still is considered to be the most important figure in the world of jazz. No surprise, then, that we’ve had (and still have) numerous tribute groups that use Duke’s compositions as the focal point for their music library. The Duke Ellington Legacy is one such unit.

This group, a nonet, boasts some special attributes. Ellington’s grandson, Edward Kennedy Ellington II, is the guitarist; Virginia Mayhew, whose specialty is developing tribute projects related to famous jazz icons, played a key roll in the creation of this band and is one of its two tenor sax artists; Houston Person, a living legend himself‚ is the other tenor player; and pianist Norman Simmons has accompanied jazz vocalists Carmen McRae, Anita O’Day, Joe Williams and Betty Carter. These artists are supported by vocalist Nancy Reed, trumpeter Jami Dauber, trombonist Noah Bless, bassist Tom DiCarlo and percussionists Paul Wells and Sheila Early, who split duties.

Most of the tunes here are Ellington or Billy Strayhorn compositions; the exceptions are “Home Grown,” by Simmons, and “After Hours,” by Erskine Hawkins. 

Although several of the other tracks are quite familiar — “In My Solitude,” In a Mellow Tone,” “Lush Life” and “Squeeze Me” — the lesser-known compositions highlight this release. “Happy Go Lucky Local” (which later became “Night Train”), “Johnny Come Lately,” “Blood Count,” “Love You Madly” and “Lotus Blossom” weren’t big hits with the general public, but their innovative musical quality is outstanding. And, as far as I’m concerned, “Single Petal of a Rose” remains one of the most gorgeous ballads ever written. The absence of lyrics may explain why it didn’t receive the attention it deserved.

Every member of this group obviously loves Ellington’s music; it shows in the stellar arrangements from Simmons and Mayhew, along with their interpretations of each melody. The result is Ellington “modernized‚” but his unique touch is retained. This is traditional jazz at its finest, with unforgettable melodic lines and solo work of the highest quality. 

As for vocalist Nancy Reed, Duke would have loved her.

I’ve never heard a better interpretation of Ellington’s music than that provided by this wonderful array of artists.

Delfeayo Marsalis: Sweet Thunder

Troubadour Jass Records
By Ric Bang
Buy CD: Sweet Thunder

Trombonist Delfeayo Marsalis brought along some family members for this album: brothers Branford on sax and Jason on drums and vibes. They’re joined by 11 additional artists.

After a series of concerts back in the day — sponsored by the Stratford, Ontario, Shakespeare Festival — Duke Ellington and compatriot Billy Strayhorn (both Shakespeare fans) wrote the jazz suite “Such Sweet Thunder.” It was recorded in 1957 by Columbia Records. That album release set the music world on fire, and is considered by many to be Ellington’s masterwork.

Delfeayo Marsalis, also a lover of The Bard, has updated and arranged that manuscript for an octet format, rather than a full orchestra. The original 12 tracks have been retained, though their order has been modified.

Delfeayo, who earned a master’s degree in jazz performance at the University of Louisville, also studied literature at the master’s level at the University of New Orleans. His thesis related Ellington to Shakespeare, and was a catalyst in his decision to take a fresh look at Ellington’s manuscript. Marsalis accomplished that marvelously.

The musical genres here run the gamut, from early Ellington through his big band years, and on to what many refer to as his “classical jazz” period. The condensed orchestration doesn’t have the power of a full band, but does provide for more interesting solo work by the artists.

This is relatively complex stuff, with meter and chord changes galore. It may not be your cup of tea, but regardless of such feelings, you can’t help admiring what Ellington, Strayhorn and now Delfeayo Marsalis have accomplished.

Dan Block: From His World to Mine

Miles High Records
By Ric Bang
Buy CD: From His World to Mine

Dan Block is among the many reedmen who make New York City their home. Although not well known to the public outside that area, he's a respected member of the music world. During his career, Block has played with icons such as Charles Mingus, Gerry Mulligan, Toshiko Akiyoshi and Clark Terry, and in bands supporting myriad headliner vocalists.

Block also is one of the few reed players equally fluent on the clarinet.

He holds Duke Ellington in the highest regard, and this album is a compilation of tunes composed by Duke or his alter ego, Billy Strayhorn; they were featured in the band's repertoire from the 1930s through the ‘50s. You may not be familiar with most of the menu, but don’t let that dissuade you; these 14 tracks demonstrate Ellington’s genius as a composer and arranger. Although all the famous members of his bands have passed on, the artists used here have done a magnificent job of recreating the sound and "feel" of those groups.

Ellington was a "portrait" composer; many of his songs were done with a specific member of his band in mind. Bassist Oscar Pettiford was the catalyst for "New York City Blues"; cornetest Rex Stewart for "Morning Glory"; clarinetist Jimmy Hamilton for "Are You Stickin' "; tenor sax artist Jimmy Sears for "Suburbanite"; and so on. Duke’s association with the Cotton Club and a theatrical production called Jump For Joy also are acknowledged.

This album is a trip down Memory Lane, in that marvelous Ellington style, rendered faithfully in trio, quartet and septet formats by excellent musicians. If you’re a Duke fan, you’ll love Block's work here.

John Pizzarelli: Rockin' in Rhythm

Telarc Records
By Ric Bang • Originally published in The Davis Enterprise, 6.30.10
Buy CD: Rockin' in Rhythm

John Pizzarelli is the guitarist/vocalist member of the musical Pizzarelli family. His father, Bucky, also is a guitarist; brother Martin is the bassist in the group featured on this album.

Rockin' in Rhythm is a tribute to Duke Ellington; it contains 14 of the most famous charts performed by that august band, including classics such as “In a Mellow Tone,” “East St. Louis Toodle Oo,” “Satin Doll,” “C-Jam Blues,” “Just Squeeze Me,” “Cottontail” and many more.

Although most of Ellington's melodies originally were performed — and are remembered — as instrumentals, many contained lyrics; this album includes both the words and music. John Pizzarelli is the primary vocalist, accompanying himself on guitar, and two guest vocalists are included: Kurt Elling and Pizzarelli's wife, Broadway star Jessica Molaskey.

Pizzarelli's Swing Seven group — a basic rhythm section plus trumpet, trombone/alto horn, alto sax/clarinet and baritone sax/baritone clarinet — is joined by a violin and tenor sax. Bucky Pizzarelli also gets involved with a few tracks.

The result is a smooth, sophisticated and swinging time-capsule of musicians and music that so many of us grew up to. It's wonderful to be exposed to a group of talented artists who have been part of the prime jazz era, and are doing their best to keep it alive.

Sathima Bea Benjamin: A Morning in Paris

Ekapa Records
By Ric Bang • Originally published in The Davis Enterprise, 2.7.08
Buy CD: A Morning in Paris

This recording, and its history, read like a fairy tale. 

It's one of those stories where a near-miracle occurs: The results of that miracle are lost, then found more than 30 years later and, finally, brought to full light after more time passes. 

Sathima Bea Benjamin is a South African vocalist who, although she gained fame singing songs from her own country, is almost an unknown in the jazz genre. In 1963, at the age of 23, she attended a Duke Ellington concert in Paris, France. She managed to catch Ellington's ear after the concert, raved about the ability of her pianist boyfriend (Abdullah Ibrahim), and talked Duke into visiting the Club Africana, where that trio was playing. 

Duke agreed to hear the ensemble, but also insisted that Benjamin sing for him. He was so impressed by both that he arranged for them to record albums for Frank Sinatra's Reprise Records. Ibrahim's album was released, but hers wasn't deemed "commercial" enough to sell ... and subsequently was "lost." 

The tapes for that session re-surfaced in 1996, when they were found by a writer doing a biography of Billy Strayhorn. 

So, what's so special about all of this? 

Well, three pianists backed up Benjamin's album: Ibrahim, Ellington and Strayhorn (one of Duke's arrangers at the time). The other musicians on that session included a bassist, drummer and Svend Asmussen, who played pizzicato violin (plucked, like a guitar, rather than bowed). Its effect, in conjunction with Benjamin's voice, is perfect for this recording. 

All 12 tunes are old "love song" standards that have been done hundreds of times, by as many artists, but you've never heard them performed like this. Benjamin's voice is velvet-smooth: clear as a bell and, as another reviewer has commented, with an "innocence" that just forces you to listen. 

Some of that is lost in her later, African-hued performances, but she was near perfection in this session. 

If you're yearning for the kind of music that meant so much when you were younger, this album is a must!