JAM Magazine: June/July 1996 Issue: For the Record

David Basse & The City Light Orchestra
KANSAS CITY LIVE
City Light #0732500012

Personnel: David Basse, drums, percussion and vocals; Pat Morrissey, trumpet and vocals; Ricky Anderson, acoustic and electric bass; Tim Perryman, trombone; Gerald Dunn, saxophones; Joe Cartwright, piano; Richard "Slyde" Hyde, trombone (tracks 2, 4, 9, 10); Greg Riley, saxophones (tracks 2, 4, 9, 10); Barry Zwieg, guitar (tracks 3, 5, 7); Bob Wayne, background vocals (tracks 5, 7); Jurgen Welge, drums (tracks 3, 5, 7); Stan Kessler, trumpet (track 1)

Tracks: St. James Infirmary, Do Nothing 'til You Hear From Me, The Gypsy In My Soul, The Eyes of a Desperado, Kansas City/Piney Brown Blues/Alright OK You Win, Little Sunflower, St. Louis Bound/Mary Ann, She's No Lady She's My Wife, Caldonia, Roberta

Recorded live at The Club at Plaza III, Kansas City, MO, and Liberty Hall, Lawrence, KS

Longtime Kansas City singer/drummer David Basse has released a new CD with his City Light Orchestra that includes Basse on drums, percussion and vocals, Pat Morrissey on trumpet, Ricky Anderson on bass, Tim Perryman on trombone, Gerald Dunn on saxophone and Joe Cartwright on piano. Sitting in are Richard "Slyde" Hyde, Greg Riley, Barry Zwieg, Bob Wayne, Jurgen Welge and Stan Kessler. First rate players all.

Kansas City Live breaks loose on the very first note of the first song with "St. James Infirmary," a song much played but rarely with the kind of heart wrenching soul found on this version.

The ultimate chameleon, Basse then switches gears on "Do Nothing 'til You Hear From Me" and "She's No Lady, She's My Wife," bringing a Lyle Lovett-style to these two classics. An instrumental of "Little Sunflower" follows with solid horn solos and a treatment reminiscent of the many jazz greats who've recorded this Freddie Hubbard standard.

Switching gears again, Basse jumps and jives on a memorable rendering of the swing-blues medley, "Kansas City/Piney Brown Blues/Alright, OK, You Win." It's vintage David Basse, and one of the many reasons he keeps KC audiences coming back for more. (Listen for a nod to KC jazz legend, Speedy Huggins: Last night I dreamed I was standing on 18th & Vine/I shook hands with Speedy Huggins and could hardly keep from crying.)

Basse next swings into "St. Louis Bound" and "Mary Ann," followed by "Caldonia," one of the CLO's most requested tunes. "The Gypsy In My Soul," "The Eyes of a Desperado" (written by Basse) and "Roberta" round out the rest of the CD, providing an eclectic finish for a swinging album.

All tracks on Kansas City Live were recorded either at The Club at Plaza III or at Liberty Hall in Lawrence. If you like Kansas City jazz, you will love this CD. It's just plain old "kick it" traditional jazz at its finest.

-- Vanessa Barnard

The Sons of Brasil
THE SONS OF BRASIL
Black Tie Records, BTR 0396-03

Personnel: Stan Kessler, trumpet, flugelhorn, percussion; Danny Embrey, guitars; Wayne Hawkins, keyboards; Greg Whitfield, bass; Doug Auwarter, drums, percussion; Gary Helm, percussion

Tracks: Amazonas, Demons, Em Casa Sozinho, Triste, Belo Horizonte, What a Day, The Boulevard, Ta Ta For Now, Mountain Vista, Rosinha, Valentina, ZuZu Rides Again

Recorded at BRC Studios, Kansas City, MO

It could be that time of year, when one's thoughts turn to travel, to getting away, to escape, to experiencing exotic places. Or it could be the Sons of Brasil's first recording that makes me feel that way. Actually, it's a combination of the two -- and the thought of both is exciting.

From the opening guitar of the talented Danny Embrey on "Amazonas" through the under-appreciated keyboards of Wayne Hawkins on every song to the closing notes of "ZuZu Rides Again," the Sons of Brasil have recorded a wonderful collection of mostly original songs at BRC Audio Productions. The time and care that engineer Bill Crain put into this recording shows.

If you haven't seen this group live (the best opportunity is at the Boulevard Cafe on Tuesday nights), you will be very pleased that some of KC's finest have captured the sounds of Brasil so effectively. The colors, scenery, mood, smells and excitement of this rich culture all come through.

The percussion work of Doug Auwarter and Gary Helm put a feeling of movement and travel into your feet, while the direct and at times pensive playing of Stan Kessler on trumpet and flugelhorn moves your heart. Also, listen for Greg Whitfield's lovely bass solo on "Em Casa Sozinho," a haunting Doug Auwarter composition.

The music on this album is full of life played by people who come across as loving what they do. Maybe it's the passion of the music, or the different styles of samba-reggae-timbalada, but this recording by the Sons of Brasil will move you figuratively. And emotionally.

-- Bill O'Connor

Nancy LaMott
LISTEN TO MY HEART
Midder Music CD005

Personnel: Nancy LaMott, vocals; Christopher Marlow, piano, arrangements, musical direction; Jay Leonhart, bass; John Redsecker, drums; orchestra conducted and arranged by Peter Matz

Tracks: Listen To My Heart, It Feels Like Home, The Lady Down The Hall, Have You Got Any Castles, Baby?, Not Exactly Paris, We Can Be Kind, I Got The Sun, Out Of This World/So In Love, The Secret O' Life, The Summer Knows/Summer Me Winter Me, Ordinary Miracles, I'll Be Here With You

Recorded 1995, Master Sound Astoria, Astoria, NY

Nancy LaMott was not necessarily a jazz singer. But hers is a story that transcends categorization.

In early 1995, after four solo albums, years as a dues-paying New York cabaret singer, and gathering, hard-earned acclaim from those in the know, Nancy was on the brink of break-through notoriety. Then came a cancer diagnosis in March of '95, a courageous battle for the next nine months against mounting odds, and the inevitable last December at the age of 43 (she was married for the first time an hour and a half before the end, having finally met "Mr. Right" only months earlier).

I will admit, knowing this background -- and the circumstances behind the making of Listen To My Heart -- plays a significant part in the impact of this album. Last summer, while battling the disease that would eventually take her life, Nancy LaMott went into the studio with the noted arranger/orchestrator Peter Matz to record this music -- a series of songs ranging from the poignant to the playful, the delicate to the downright gut wrenching -- and the result is nothing less than riveting. In every phrase, every word, and every nuance, it's clear that the person singing knows time might be running out. That the ultimate is at stake. And that this could very well be a last musical statement to be left behind for the ages.

As a "reviewer," I'm not really qualified to describe Listen To My Heart in further detail. It's truly a case of the music speaking for itself. I will, however, strongly recommend that you add this album to your collection, if for no other reason than to hear a perfectly tuned, crystalline voice plumbing the depths of human emotion.

Even those who are unfamiliar with Nancy LaMott will most likely react to this music with a mix of inspiration and loss. That certainly was the case with this listener. But there are also reminders here of how fortunes can change quickly, how it's important to keep things in perspective, and how listening to the heart of a great singer can be both sublime and quite sad. It is on that level this recording really hits home.

-- Mike Metheny

(To order any of Nancy LaMott's albums, write to: Midder Music, 275 W. 96th St., Suite 32-G, New York, NY 10025, or call 212-663-3656. They can also be found in area retail outlets.)

The Scamps
SWINGING WITH THE SCAMPS --
JAZZ, KANSAS CITY STYLE

Personnel: Arthur Jackson, tenor saxophone; Eddie Saunders, alto sax;
Rudy Massingale, piano; Lucky Wesley, bass, vocals, leader; Rusty Tucker, percussion, trumpet, vocals

Tracks: Shiny Stockings, Stormy Monday, There Is No Greater Love, Take The "A" Train, In A Mellow Tone, You Are So Beautiful, Night Train, St. James Infirmary, Robin's Nest, Straighten Up and Fly Right, C Jam Blues

Recorded at Sound Trek Studios, Kansas City, MO

"Some things get better with age," as the old adage goes. And the Scamps are living proof this is true.

With the release of Swinging With The Scamps -- their first ever CD -- these elder statesmen of Kansas City jazz have documented the music that has been thrilling live audiences for years. The album consists mostly of tried and true jazz standards with not a weak link in the bunch. A few gems stand out.

The Scamps' signature tune, "Take The 'A' Train," is brought to life by the scintillating saxophone of Arthur Jackson, a member of group since 1949. The infectious swing of Jackson's tenor adds a refreshing zest to anything in the Scamps' book.

Lead singer Rusty Tucker (featured in the December/January JAM) lends his soulful, scratchy voice to "Kansas City" and "St. James Infirmary," a voice that is tailor made for the Scamps' authentic jazz sound.

The "kid" in the band, alto saxophonist and relative newcomer Eddie Saunders, provides abundant support to the timeless music of one of KC's most timeless jazz groups, and leader/bassist Lucky Wesley has much to say as a vocalist on the blues standard, "Stormy Monday."

Pianist Rudy Massingale -- a founding member of the group back in 1946 -- refuses to let the decades slow him down. His nimble fingers still tickle the ivories with the kind of grace that seems to defy the years.

For those who enjoy traditional Kansas City jazz at its finest, this CD is a must. The Scamps are a treasure to be revered, and Swinging With The Scamps is yet another reason why.

-- Bart Swartz

("Swinging With The Scamps" is available at all Scamps gigs or at Music Exchange, 207A Westport Road. -- Ed.)

Clark Terry
REUNION
d'Note Jazz CD DBD 2001

Personnel: Clark Terry, trumpet/flugelhorn; Brian Gould, trombone; "Pee Wee" Claybrook, tenor sax; Howard Dudune, tenor sax/alto sax, clarinet; Jim Putman, guitar; Dean Reilly, bass; Harold Jones, drums

Tracks: Dickie's Dream, Jitterbug Waltz, 7 Come 11, Serenade to Sweden, Straighten Up and Fly Right, 9:20 Special, Isfahan, Lemonade, Swingin' the Blues, There Is No Greater Love

Recorded in San Francisco, January 1995

For years, Clark Terry has been a staunch fixture on the jazz scene. Internationally recognized as a musician of versatility and depth, his virtuosic technique always adds an extra dynamic dimension to any group with whom he performs.

Here, in a fresh musical concept, Terry is reunited with saxophonist Elbert "Pee Wee" Claybrook. Claybrook, at 84, and Terry, nearing 76, retain the skills that forged their successful careers. They worked together in St. Louis in 1942, and in a wartime Navy band.

After the war, Terry achieved acclaim with bands led by Ellington, Hampton, Barnet and Basie. Claybrook, who settled in the Bay area when the war ended, has played with Earl Hines, Vernon Alley, Dick Oxtot, and for the past dozen years, Bryan Gould's Swing Fever.

The two St. Louis veterans are featured here with this well-established San Francisco band. Playing together, with few personnel changes, for 18 years, Swing Fever projects an original stylistic approach. They bolster this diverse program that emphasizes works by Basie and Ellington, with a nod toward Benny Goodman, Fats Waller and Louis Jordan.

"Jitterbug Waltz," glittering in a bright eight minute musical setting, is the CD's crown jewel. With Jim Putman's guitar floating majestically on the Waller theme, Jon English's rippling arrangement transforms the usually cascading piano tour de force into a lilting band instrumental.

The Middle Eastern solemnity of Billy Strayhorn's brooding "Isfahan" is emphasized by Clark Terry's sonorous flugelhorn framed by the rich support from Howard Dudune's creamy alto sax. Bryan Gould's trombone sparkles on "9:20 Special" and "Swingin' the Blues." He digs into a Lawrence Brown mode on "Sultry Serenade."

"Lemonade," typical of Louis Jordan's compositional whimsy, provides the opportunity for Terry and Gould to exchange musical barbs with only Dean Reilly's supportive string bass behind them. On "Straighten Up and Fly Right," they joyfully "double-speak" their way through the Nat Cole swinger while Gould successfully copes with Terry's loquacious scat jargon.

Count Basie's riff-ladened "Dickie's Dream" is a launching pad for Jim Putman's romping guitar. Drummer Harold Jones' understated but swinging tempos continually keep the pianoless rhythm section on a straight course.

The warm, mellow tones of Claybrook's tenor sax on "There Is No Greater Love," and his undaunted musical title reflection of "Swingin' the Blues," strongly affirm his "unsung hero" status. Clark Terry's seamless solos inventively rephrase a tune's melodic structure into a personal statement. In this context, he is more than a featured artist. He becomes an integral part of Swing Fever.

Undoubtedly Clark Terry's stellar presence here will attract attention to the merits of Swing Fever. Working steadily since 1978, this little band has polished its unique style, established an enthusiastic coterie of followers, and, appropriately, now stands on the brink of broader prominence.

-- Floyd Levin

COMING ATTRACTIONS:
In future issues of JAM, look for reviews of new music from Kevin Mahogany, Karrin Allyson, Lisa Henry, Interstring, Matt Kane, Paul Hofmann, Gary Sivils, Lee's Summit native/Airmen of Note alumnus Rick Lillard, and the soundtrack from the new Robert Altman film, "Kansas City."

RETURN TO JUNE/JULY 1996 MAIN INDEX

------------------------------------------------------------------------
© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		David Basse & The City Light Orchestra KANSAS CITY LIVE City Light #0732500012 Personnel: David Basse, drums, percussion and vocals; Pat Morrissey, trumpet and vocals; Ricky Anderson, acoustic and electric bass; Tim Perryman, trombone; Gerald Dunn, saxophones; Joe Cartwright, piano; Richard "Slyde" Hyde, trombone (tracks 2, 4, 9, 10); Greg Riley, saxophones (tracks 2, 4, 9, 10); Barry Zwieg, guitar (tracks 3, 5, 7); Bob Wayne, background vocals (tracks 5, 7); Jurgen Welge, drums (tracks 3, 5, 7); Stan Kessler, trumpet (track 1) Tracks: St. James Infirmary, Do Nothing 'til You Hear From Me, The Gypsy In My Soul, The Eyes of a Desperado, Kansas City/Piney Brown Blues/Alright OK You Win, Little Sunflower, St. Louis Bound/Mary Ann, She's No Lady She's My Wife, Caldonia, Roberta Recorded live at The Club at Plaza III, Kansas City, MO, and Liberty Hall, Lawrence, KS Longtime Kansas City singer/drummer David Basse has released a new CD with his City Light Orchestra that includes Basse on drums, percussion and vocals, Pat Morrissey on trumpet, Ricky Anderson on bass, Tim Perryman on trombone, Gerald Dunn on saxophone and Joe Cartwright on piano. Sitting in are Richard "Slyde" Hyde, Greg Riley, Barry Zwieg, Bob Wayne, Jurgen Welge and Stan Kessler. First rate players all. Kansas City Live breaks loose on the very first note of the first song with "St. James Infirmary," a song much played but rarely with the kind of heart wrenching soul found on this version. The ultimate chameleon, Basse then switches gears on "Do Nothing 'til You Hear From Me" and "She's No Lady, She's My Wife," bringing a Lyle Lovett-style to these two classics. An instrumental of "Little Sunflower" follows with solid horn solos and a treatment reminiscent of the many jazz greats who've recorded this Freddie Hubbard standard. Switching gears again, Basse jumps and jives on a memorable rendering of the swing-blues medley, "Kansas City/Piney Brown Blues/Alright, OK, You Win." It's vintage David Basse, and one of the many reasons he keeps KC audiences coming back for more. (Listen for a nod to KC jazz legend, Speedy Huggins: Last night I dreamed I was standing on 18th & Vine/I shook hands with Speedy Huggins and could hardly keep from crying.) Basse next swings into "St. Louis Bound" and "Mary Ann," followed by "Caldonia," one of the CLO's most requested tunes. "The Gypsy In My Soul," "The Eyes of a Desperado" (written by Basse) and "Roberta" round out the rest of the CD, providing an eclectic finish for a swinging album. All tracks on Kansas City Live were recorded either at The Club at Plaza III or at Liberty Hall in Lawrence. If you like Kansas City jazz, you will love this CD. It's just plain old "kick it" traditional jazz at its finest. -- Vanessa Barnard The Sons of Brasil THE SONS OF BRASIL Black Tie Records, BTR 0396-03 Personnel: Stan Kessler, trumpet, flugelhorn, percussion; Danny Embrey, guitars; Wayne Hawkins, keyboards; Greg Whitfield, bass; Doug Auwarter, drums, percussion; Gary Helm, percussion Tracks: Amazonas, Demons, Em Casa Sozinho, Triste, Belo Horizonte, What a Day, The Boulevard, Ta Ta For Now, Mountain Vista, Rosinha, Valentina, ZuZu Rides Again Recorded at BRC Studios, Kansas City, MO It could be that time of year, when one's thoughts turn to travel, to getting away, to escape, to experiencing exotic places. Or it could be the Sons of Brasil's first recording that makes me feel that way. Actually, it's a combination of the two -- and the thought of both is exciting. From the opening guitar of the talented Danny Embrey on "Amazonas" through the under-appreciated keyboards of Wayne Hawkins on every song to the closing notes of "ZuZu Rides Again," the Sons of Brasil have recorded a wonderful collection of mostly original songs at BRC Audio Productions. The time and care that engineer Bill Crain put into this recording shows. If you haven't seen this group live (the best opportunity is at the Boulevard Cafe on Tuesday nights), you will be very pleased that some of KC's finest have captured the sounds of Brasil so effectively. The colors, scenery, mood, smells and excitement of this rich culture all come through. The percussion work of Doug Auwarter and Gary Helm put a feeling of movement and travel into your feet, while the direct and at times pensive playing of Stan Kessler on trumpet and flugelhorn moves your heart. Also, listen for Greg Whitfield's lovely bass solo on "Em Casa Sozinho," a haunting Doug Auwarter composition. The music on this album is full of life played by people who come across as loving what they do. Maybe it's the passion of the music, or the different styles of samba-reggae-timbalada, but this recording by the Sons of Brasil will move you figuratively. And emotionally. -- Bill O'Connor Nancy LaMott LISTEN TO MY HEART Midder Music CD005 Personnel: Nancy LaMott, vocals; Christopher Marlow, piano, arrangements, musical direction; Jay Leonhart, bass; John Redsecker, drums; orchestra conducted and arranged by Peter Matz Tracks: Listen To My Heart, It Feels Like Home, The Lady Down The Hall, Have You Got Any Castles, Baby?, Not Exactly Paris, We Can Be Kind, I Got The Sun, Out Of This World/So In Love, The Secret O' Life, The Summer Knows/Summer Me Winter Me, Ordinary Miracles, I'll Be Here With You Recorded 1995, Master Sound Astoria, Astoria, NY Nancy LaMott was not necessarily a jazz singer. But hers is a story that transcends categorization. In early 1995, after four solo albums, years as a dues-paying New York cabaret singer, and gathering, hard-earned acclaim from those in the know, Nancy was on the brink of break-through notoriety. Then came a cancer diagnosis in March of '95, a courageous battle for the next nine months against mounting odds, and the inevitable last December at the age of 43 (she was married for the first time an hour and a half before the end, having finally met "Mr. Right" only months earlier). I will admit, knowing this background -- and the circumstances behind the making of Listen To My Heart -- plays a significant part in the impact of this album. Last summer, while battling the disease that would eventually take her life, Nancy LaMott went into the studio with the noted arranger/orchestrator Peter Matz to record this music -- a series of songs ranging from the poignant to the playful, the delicate to the downright gut wrenching -- and the result is nothing less than riveting. In every phrase, every word, and every nuance, it's clear that the person singing knows time might be running out. That the ultimate is at stake. And that this could very well be a last musical statement to be left behind for the ages. As a "reviewer," I'm not really qualified to describe Listen To My Heart in further detail. It's truly a case of the music speaking for itself. I will, however, strongly recommend that you add this album to your collection, if for no other reason than to hear a perfectly tuned, crystalline voice plumbing the depths of human emotion. Even those who are unfamiliar with Nancy LaMott will most likely react to this music with a mix of inspiration and loss. That certainly was the case with this listener. But there are also reminders here of how fortunes can change quickly, how it's important to keep things in perspective, and how listening to the heart of a great singer can be both sublime and quite sad. It is on that level this recording really hits home. -- Mike Metheny (To order any of Nancy LaMott's albums, write to: Midder Music, 275 W. 96th St., Suite 32-G, New York, NY 10025, or call 212-663-3656. They can also be found in area retail outlets.) The Scamps SWINGING WITH THE SCAMPS -- JAZZ, KANSAS CITY STYLE Personnel: Arthur Jackson, tenor saxophone; Eddie Saunders, alto sax; Rudy Massingale, piano; Lucky Wesley, bass, vocals, leader; Rusty Tucker, percussion, trumpet, vocals Tracks: Shiny Stockings, Stormy Monday, There Is No Greater Love, Take The "A" Train, In A Mellow Tone, You Are So Beautiful, Night Train, St. James Infirmary, Robin's Nest, Straighten Up and Fly Right, C Jam Blues Recorded at Sound Trek Studios, Kansas City, MO "Some things get better with age," as the old adage goes. And the Scamps are living proof this is true. With the release of Swinging With The Scamps -- their first ever CD -- these elder statesmen of Kansas City jazz have documented the music that has been thrilling live audiences for years. The album consists mostly of tried and true jazz standards with not a weak link in the bunch. A few gems stand out. The Scamps' signature tune, "Take The 'A' Train," is brought to life by the scintillating saxophone of Arthur Jackson, a member of group since 1949. The infectious swing of Jackson's tenor adds a refreshing zest to anything in the Scamps' book. Lead singer Rusty Tucker (featured in the December/January JAM) lends his soulful, scratchy voice to "Kansas City" and "St. James Infirmary," a voice that is tailor made for the Scamps' authentic jazz sound. The "kid" in the band, alto saxophonist and relative newcomer Eddie Saunders, provides abundant support to the timeless music of one of KC's most timeless jazz groups, and leader/bassist Lucky Wesley has much to say as a vocalist on the blues standard, "Stormy Monday." Pianist Rudy Massingale -- a founding member of the group back in 1946 -- refuses to let the decades slow him down. His nimble fingers still tickle the ivories with the kind of grace that seems to defy the years. For those who enjoy traditional Kansas City jazz at its finest, this CD is a must. The Scamps are a treasure to be revered, and Swinging With The Scamps is yet another reason why. -- Bart Swartz ("Swinging With The Scamps" is available at all Scamps gigs or at Music Exchange, 207A Westport Road. -- Ed.) Clark Terry REUNION d'Note Jazz CD DBD 2001 Personnel: Clark Terry, trumpet/flugelhorn; Brian Gould, trombone; "Pee Wee" Claybrook, tenor sax; Howard Dudune, tenor sax/alto sax, clarinet; Jim Putman, guitar; Dean Reilly, bass; Harold Jones, drums Tracks: Dickie's Dream, Jitterbug Waltz, 7 Come 11, Serenade to Sweden, Straighten Up and Fly Right, 9:20 Special, Isfahan, Lemonade, Swingin' the Blues, There Is No Greater Love Recorded in San Francisco, January 1995 For years, Clark Terry has been a staunch fixture on the jazz scene. Internationally recognized as a musician of versatility and depth, his virtuosic technique always adds an extra dynamic dimension to any group with whom he performs. Here, in a fresh musical concept, Terry is reunited with saxophonist Elbert "Pee Wee" Claybrook. Claybrook, at 84, and Terry, nearing 76, retain the skills that forged their successful careers. They worked together in St. Louis in 1942, and in a wartime Navy band. After the war, Terry achieved acclaim with bands led by Ellington, Hampton, Barnet and Basie. Claybrook, who settled in the Bay area when the war ended, has played with Earl Hines, Vernon Alley, Dick Oxtot, and for the past dozen years, Bryan Gould's Swing Fever. The two St. Louis veterans are featured here with this well-established San Francisco band. Playing together, with few personnel changes, for 18 years, Swing Fever projects an original stylistic approach. They bolster this diverse program that emphasizes works by Basie and Ellington, with a nod toward Benny Goodman, Fats Waller and Louis Jordan. "Jitterbug Waltz," glittering in a bright eight minute musical setting, is the CD's crown jewel. With Jim Putman's guitar floating majestically on the Waller theme, Jon English's rippling arrangement transforms the usually cascading piano tour de force into a lilting band instrumental. The Middle Eastern solemnity of Billy Strayhorn's brooding "Isfahan" is emphasized by Clark Terry's sonorous flugelhorn framed by the rich support from Howard Dudune's creamy alto sax. Bryan Gould's trombone sparkles on "9:20 Special" and "Swingin' the Blues." He digs into a Lawrence Brown mode on "Sultry Serenade." "Lemonade," typical of Louis Jordan's compositional whimsy, provides the opportunity for Terry and Gould to exchange musical barbs with only Dean Reilly's supportive string bass behind them. On "Straighten Up and Fly Right," they joyfully "double-speak" their way through the Nat Cole swinger while Gould successfully copes with Terry's loquacious scat jargon. Count Basie's riff-ladened "Dickie's Dream" is a launching pad for Jim Putman's romping guitar. Drummer Harold Jones' understated but swinging tempos continually keep the pianoless rhythm section on a straight course. The warm, mellow tones of Claybrook's tenor sax on "There Is No Greater Love," and his undaunted musical title reflection of "Swingin' the Blues," strongly affirm his "unsung hero" status. Clark Terry's seamless solos inventively rephrase a tune's melodic structure into a personal statement. In this context, he is more than a featured artist. He becomes an integral part of Swing Fever. Undoubtedly Clark Terry's stellar presence here will attract attention to the merits of Swing Fever. Working steadily since 1978, this little band has polished its unique style, established an enthusiastic coterie of followers, and, appropriately, now stands on the brink of broader prominence. -- Floyd Levin COMING ATTRACTIONS: In future issues of JAM, look for reviews of new music from Kevin Mahogany, Karrin Allyson, Lisa Henry, Interstring, Matt Kane, Paul Hofmann, Gary Sivils, Lee's Summit native/Airmen of Note alumnus Rick Lillard, and the soundtrack from the new Robert Altman film, "Kansas City." RETURN TO JUNE/JULY 1996 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.