JAM: June/July 2004 Issue: For the Record

Bob Brookmeyer
Bob Brookmeyer
MS-009
Personnel: Bob Brookmeyer (A-E), valve trombone; John Williams (A), Bob Brookmeyer (B-C), Nat Pierce (D), Hank Jones (E), piano; Bill Anthony (A1), Red Mitchell (A2), Joe Benjamin (B1), Ralph Pena (B2), Bill Crow (C), Addison Farmer (D), Eddie Jones (E), bass; Frank Isola (A), Dave Bailey (B), Osie Johnson (C-D), Charlie Persip (E), drums; Jimmy Giuffre (B), clarinet; Jimmy Giuffre (B), Al Cohn (D-E), Paul Quinichette (D), Zoot Sims (E), tenor saxophone; Jimmy Giuffre (B), Al Cohn (E), baritone saxophone; Jim Hall (B-D), Jimmy Raney (C), Freddie Green (E), guitar; Big Miller (D), vocal (on “A Blues” and “Trav'lin' Light”); Harry Sweets Edison (E), trumpet. Arranged by Al Cohn (“Pennies From Heaven”), Bill Potts (“Bee Kay”), and Bob Brookmeyer (all others).

Tracks: DISC ONE: Liberty Belle (A1); Have you Met Miss Jones (A1); Isn't It Romantic (A2); Traditional Blues (A1); Doe Eyes (A2); Red Devil (A2); Body and Soul (A2); Last Chance (A2); Arrowhead (C); Street Swingers (C); Hot Buttered Noodling (C); Musicale Du Jour (C); Raney Day (C); Jupiter (C). DISC TWO: Louisiana (B1); Santa Claus Blues (B1); Truckin' (B2); Some Sweet Day (B1); Sweet Like This (B1); Jada (B1); Don't Be That Way (B1); Honeysuckle Rose (B2); Brook's Blues (B2); Slow Freight (B2); The Sheik of Araby (B1). DISC THREE: Jumpin' at the Woodside (D); A Blues (What's On Your Mind) (D); Blue and Sentimental (D); Doggin' Around (D); Moten Swing (D); Trav'lin' Light (D); Stretching Out (E); Now Will You Be Good (E); Pennies From Heaven (E); King Porter Stomp (E); Ain't Misbehavin' (E); Bee Kay (E).

Recorded as follows: (A) The Bob Brookmeyer Quartet , July 5 (A1) and July 7 (A2), 1954 at the Van Gelder Studio, Hackensack , New Jersey . Rudy Van Gelder, recording engineer, and Bob Brookmeyer, producer. (B) Traditionalism Revisited (with “Brook's Blues” and the full version of “Slow Freight” originally issued on Bob Brookmeyer and “The Sheik of Araby” originally issued on The Playboy Jazz Allstars ) July 13 (B1) and July 16 (B2), 1957 at Coastal Studios, New York City. Al Schmitt, engineer, and Richard Bock, producer. (C) The Street Swingers , December 13 and 16, 1957 at Coastal Studios, New York City . Al Schmitt, engineer, and Richard Bock, producer. (D) Kansas City Revisited , October 23, 1958 at Olmsted Studios, New York City . Dick Olmsted, recording engineer, and Jack Lewis, producer. (E) Stretching Out , December 27,1958 at Nola Penthouse Studio, New York City . Tommy Nola, recording engineer, and Jack Lewis producer.

“The best news is musical.”
- Bob Brookmeyer
Currents , December 27, 2003

If the best news is musical, the eponymous Bob Brookmeyer compilation set brings glad tidings indeed. Brookmeyer is just the ninth artist to be featured in the Mosaic Select limited-edition series. Mosaic has collected five albums from the late 1950s, adding extra tracks from the original Pacific Jazz/World Pacific and United Artists recording sessions, to create a three-CD set. As leader throughout, his trademark intellect and bold artistry electrify a wide array of traditional jazz fare.

“The Mosaic box is a good contrast to my current concerns – language, form, content,” Brookmeyer told JAM. “I am, of course, older and don't need to shout and holler like I used to.” In his late 20s, in Los Angeles , and in the midst of his self-styled Pre-Sober Era, his voice and volume were just fine. The body of work collected here hearkens an even earlier time, one redolent of KC's 12th Street vicinity and vintage, where, according to Brookmeyer, “the only worry was that I might not swing.” Hardly a concern.

Disc one encompasses The Bob Brookmeyer Quartet and The Street Swingers. Recording Street Swingers with Jim Hall and Jimmy Raney was fun, Brookmeyer recalled for JAM , “because we had been jamming together a lot.” The two guitarists and valve trombonist each contributed two of the six all-original tracks. The swinging results are, in a word, exuberant.

Traditionalism Revisited, which occupies disc two, “echoed my interest in 1957 in some old music I had around and had been listening to,” recounts Brookmeyer. “Giuff and Hall,” on saxophones and guitar, respectively, “were naturals.” Naturally, the renderings are pure and emotionally satisfying.

Kansas City Revisited, where swing meets cool jazz to celebrate early Count Basie, joins Stretching Out on disc three to complete the set. For Stretching, Brookmeyer was joined by childhood favorites Harry “Sweets” Edison on trumpet and Freddie Green on guitar, both from Basie's band.

These days, Brookmeyer's outspoken views on music, politics, culture, and life appear in the bristling “Currents” section of his website (www.bobbrookmeyer.com). He's been writing words – not just music – for a long time. His original liner notes for Kansas City Revisited offered “hearty thanks to them what played, them what listen and most especially – to them what buys.” For them what listen, the best news is musical. Them what buys will be glad they did. --Tom Fredrick

Candace Evans
So Nice
CE2681
Personnel: Candace Evans, Piano and Vocals; Ricky Anderson, bass; Kelly White, drums; Steve Rigazzi, bass; Thomas Pender, guitar; Jim Mair, saxophones; Greg Richter, vibraphone and piano; Russ Long, piano; Gary Helm, percussion; Mark Cohick, flute; Gary Bierschwal, drums.

Tracks: So Nice; What A Little Moonlight Can Do; Hello Young Lovers; Agua de Beber; I Get Along Without You Very Well; Centerpiece; Lover Man; Just In Time; Black Orpheus; Witchcraft; Sugar

Recorded, Mixed, and Mastered by Don Miller at Airborne Audio Productions, Kansas City.

So Nice is Candace Evans' second recording and features her voice and piano with regular rhythm mates Ricky Anderson and Kelly White, supplemented on various selections by several other favorite regional players.

The three bossa novas all feature the guitar of Thomas Pender and Gary Helm's percussion. Evans scats through “So Nice” after a strong Kelly White opening. Flutist Mark Cohick makes his only appearance here, first in unison with the scatted theme and then in a so lo an d pr oviding counterpoint during the close. Pender's style fits the Brazilian groove perfectly: His acoustic comping is a key component of the rhythm on these tracks. He has an opening and strong solo that will take you directly to Rio on “Agua de Beber,” and has another fine solo and obligati behind the vocals on “Black Orpheus.” The percussion is as dense as it should be, thanks to Helm's additions to the work of White and Pender. Candace's piano solos stress her two-handed style, and her voice is passionate, especially on “Black Orpheus.”

Evans' vocals vary between playful (“Moonlight”) and emotional (“I Get Along Without You”), depending on the needs of the song. She effectively scats new melodies throughout the set (note “Centerpiece'), and will also alter the melody in passages with lyrics. With some singers this can be a distraction, but that is never the case with Candace. She also solos on piano effectively and proves to be an apt accompanist (to herself and other soloists). The finale “Sugar,” for example is a straight instrumental feature for Evans' piano work.

“Moonlight” is a highlight of the set. Steve Rigazzi sets the easy pace on this classic. Evans is almost sultry here. There's something about the way she flies over the tune's title after lagging behind the beat that just works, and her piano solo is superb.

Russ Long is Evans' duo partner on “I Get Along Without You.” Russ provides all the right chords and fills while Candace tugs at her (and our) heartstrings.

In addition to the tunes mentioned above, Greg Richter joins Evans on vibes and piano for a fast version of “Hello Young Lovers,” with a nice scat chorus with vibe complement; Jim Mair adds his alto and tenor saxes to the blues “Centerpiece” (Evans' scatted chorus over Pender's guitar is a highlight here) and the Comden/Green classic “Just In Time,” and Evans wrings it out on “Lover Man” (and also has another piano featuring a nice double time half chorus).

The programming balance adds to the enjoyment of the recording, with bossa novas and tunes featuring Mair and Richter interspersed around the cuts featuring the basic Evans trio. And the folks from Airborne have done their normal excellent recording and mastering job, making this an enjoyable set for Candace Evans fans.
--Roger Atkinson

Laura Chalk
My Favorite Things
Personnel: Laura Chalk, vocals; Danny Embrey, guitar; Paul Smith, piano; Bob Bowman, bass; Todd Strait, drums; Rod Fleeman, guitar

Tracks: Meditacao; Willow Weep For Me; My Favorite Things; Like A Lover; Comes Love; Frim Fram Sauce; East of the Sun; So Many Stars; O Barquinho; Do Nothin' Till You Hear From Me; Maybe You'll Be There

Recorded at Soundtrek Recording Studios, February 27-28, 2004; Ron Uhel, engineer; Craig Rettmer, mastering (Soundtrek)

My Favorite Things is Laura Chalk's debut recording, and it proves to be enjoyable. Backed by the stellar Danny Embrey (Danny also arranged all of the tunes except for the title cut), Paul Smith, Bob Bowman, and Todd Strait (with Rod Fleeman bringing his acoustic guitar to several tracks), Laura brings her clear voice to a program of bossa novas, ballads, and standards.

Chalk's vocals have several characteristics that add to the selections. She has a way of fading off the notes that can make a phrase slowly dissipate into mix. She also has her own way with rhythm, treating it like a rubber band, stretching and contracting to add contrast with this dead-on-time rhythm section. I can't quite put my finger on who her voice reminds me of-- the closest I have gotten to it is Lani Hall (who sang on many of Sergio Mendes' late 1960's recordings), but the voice is less airy than what Lani brought to those recordings.

The four Brazilian tracks are all highlights. Laura opens in English and finishes in Brazilian on “Meditation” and “O Barquinho (My Little Boat).” Embrey's rhythm guitar sets the mood on both. Chalk scats in unison with Danny on the latter to fine effect. “Like A Lover” is a scrumptious ballad. And “So Many Stars” (with Fleeman taking the guitar chair and providing a sweet opening with Chalk) is as pretty a tune as you'll hear. Chalk seems to be staring into a clear night sky on this reading.

“My Favorite Things” is Chalk's arrangement, a weaving of the 5/4 of “Take Five” into the lope of the Rodgers and Hammerstein classic. It opens with the typical “Take Five” rhythmic intro, then slides into the more familiar “My Favorite Things” time. Like the Coltrane classic on this tune, there is a vamp between choruses, but here it returns to the 5/4. Smith and Embrey solo “My Favorite Things,” then Strait burns a 5/4 solo before a scatting Chalk takes it out. This arrangement works.

“Willow” brings Bob Bowman to the forefront; he opens this classic and then accompanies Chalk on the first bars. The Bowman lines continue to provide interesting counterpoint throughout the tune. Paul Smith's solo reminds me of Red Garland. After a Bowman solo, Chalk weeps over Bob's bass to close.

Chalk is almost staccato on the swinging “East of the Sun.” The exchanges at the end are not your typical “fours”: for a half chorus a unison voice and guitar trade fours with piano before Paul finishes the chorus. The following choruses are drums and guitar trading eight bar solos, with Strait's drums taking the lead 8 rather than the more typical reverse.

Chalk has her way on each tune, from the whimsy of “Frim Fram Sauce” to the easy swing of “Do Nothin' Till You Hear From Me” to the closing ballad “Maybe You'll Be There.” The supporting cast takes much credit for the success of this disc, also. They play almost as one. Strait needs little help with time, which frees Bowman to provide alternative melody lines on the bottom. Fleeman does the same thing for Bowman on “Do Nothing” with his guitar setting the pace.

This is a recommended introduction to the voice of Laura Chalk.

--Roger Atkinson






	Search our site:		Bob Brookmeyer Bob Brookmeyer MS-009 Personnel: Bob Brookmeyer (A-E), valve trombone; John Williams (A), Bob Brookmeyer (B-C), Nat Pierce (D), Hank Jones (E), piano; Bill Anthony (A1), Red Mitchell (A2), Joe Benjamin (B1), Ralph Pena (B2), Bill Crow (C), Addison Farmer (D), Eddie Jones (E), bass; Frank Isola (A), Dave Bailey (B), Osie Johnson (C-D), Charlie Persip (E), drums; Jimmy Giuffre (B), clarinet; Jimmy Giuffre (B), Al Cohn (D-E), Paul Quinichette (D), Zoot Sims (E), tenor saxophone; Jimmy Giuffre (B), Al Cohn (E), baritone saxophone; Jim Hall (B-D), Jimmy Raney (C), Freddie Green (E), guitar; Big Miller (D), vocal (on “A Blues” and “Trav'lin' Light”); Harry Sweets Edison (E), trumpet. Arranged by Al Cohn (“Pennies From Heaven”), Bill Potts (“Bee Kay”), and Bob Brookmeyer (all others). Tracks: DISC ONE: Liberty Belle (A1); Have you Met Miss Jones (A1); Isn't It Romantic (A2); Traditional Blues (A1); Doe Eyes (A2); Red Devil (A2); Body and Soul (A2); Last Chance (A2); Arrowhead (C); Street Swingers (C); Hot Buttered Noodling (C); Musicale Du Jour (C); Raney Day (C); Jupiter (C). DISC TWO: Louisiana (B1); Santa Claus Blues (B1); Truckin' (B2); Some Sweet Day (B1); Sweet Like This (B1); Jada (B1); Don't Be That Way (B1); Honeysuckle Rose (B2); Brook's Blues (B2); Slow Freight (B2); The Sheik of Araby (B1). DISC THREE: Jumpin' at the Woodside (D); A Blues (What's On Your Mind) (D); Blue and Sentimental (D); Doggin' Around (D); Moten Swing (D); Trav'lin' Light (D); Stretching Out (E); Now Will You Be Good (E); Pennies From Heaven (E); King Porter Stomp (E); Ain't Misbehavin' (E); Bee Kay (E). Recorded as follows: (A) The Bob Brookmeyer Quartet , July 5 (A1) and July 7 (A2), 1954 at the Van Gelder Studio, Hackensack , New Jersey . Rudy Van Gelder, recording engineer, and Bob Brookmeyer, producer. (B) Traditionalism Revisited (with “Brook's Blues” and the full version of “Slow Freight” originally issued on Bob Brookmeyer and “The Sheik of Araby” originally issued on The Playboy Jazz Allstars ) July 13 (B1) and July 16 (B2), 1957 at Coastal Studios, New York City. Al Schmitt, engineer, and Richard Bock, producer. (C) The Street Swingers , December 13 and 16, 1957 at Coastal Studios, New York City . Al Schmitt, engineer, and Richard Bock, producer. (D) Kansas City Revisited , October 23, 1958 at Olmsted Studios, New York City . Dick Olmsted, recording engineer, and Jack Lewis, producer. (E) Stretching Out , December 27,1958 at Nola Penthouse Studio, New York City . Tommy Nola, recording engineer, and Jack Lewis producer. “The best news is musical.” - Bob Brookmeyer Currents , December 27, 2003 If the best news is musical, the eponymous Bob Brookmeyer compilation set brings glad tidings indeed. Brookmeyer is just the ninth artist to be featured in the Mosaic Select limited-edition series. Mosaic has collected five albums from the late 1950s, adding extra tracks from the original Pacific Jazz/World Pacific and United Artists recording sessions, to create a three-CD set. As leader throughout, his trademark intellect and bold artistry electrify a wide array of traditional jazz fare. “The Mosaic box is a good contrast to my current concerns – language, form, content,” Brookmeyer told JAM. “I am, of course, older and don't need to shout and holler like I used to.” In his late 20s, in Los Angeles , and in the midst of his self-styled Pre-Sober Era, his voice and volume were just fine. The body of work collected here hearkens an even earlier time, one redolent of KC's 12th Street vicinity and vintage, where, according to Brookmeyer, “the only worry was that I might not swing.” Hardly a concern. Disc one encompasses The Bob Brookmeyer Quartet and The Street Swingers. Recording Street Swingers with Jim Hall and Jimmy Raney was fun, Brookmeyer recalled for JAM , “because we had been jamming together a lot.” The two guitarists and valve trombonist each contributed two of the six all-original tracks. The swinging results are, in a word, exuberant. Traditionalism Revisited, which occupies disc two, “echoed my interest in 1957 in some old music I had around and had been listening to,” recounts Brookmeyer. “Giuff and Hall,” on saxophones and guitar, respectively, “were naturals.” Naturally, the renderings are pure and emotionally satisfying. Kansas City Revisited, where swing meets cool jazz to celebrate early Count Basie, joins Stretching Out on disc three to complete the set. For Stretching, Brookmeyer was joined by childhood favorites Harry “Sweets” Edison on trumpet and Freddie Green on guitar, both from Basie's band. These days, Brookmeyer's outspoken views on music, politics, culture, and life appear in the bristling “Currents” section of his website (www.bobbrookmeyer.com). He's been writing words – not just music – for a long time. His original liner notes for Kansas City Revisited offered “hearty thanks to them what played, them what listen and most especially – to them what buys.” For them what listen, the best news is musical. Them what buys will be glad they did. --Tom Fredrick Candace Evans So Nice CE2681 Personnel: Candace Evans, Piano and Vocals; Ricky Anderson, bass; Kelly White, drums; Steve Rigazzi, bass; Thomas Pender, guitar; Jim Mair, saxophones; Greg Richter, vibraphone and piano; Russ Long, piano; Gary Helm, percussion; Mark Cohick, flute; Gary Bierschwal, drums. Tracks: So Nice; What A Little Moonlight Can Do; Hello Young Lovers; Agua de Beber; I Get Along Without You Very Well; Centerpiece; Lover Man; Just In Time; Black Orpheus; Witchcraft; Sugar Recorded, Mixed, and Mastered by Don Miller at Airborne Audio Productions, Kansas City. So Nice is Candace Evans' second recording and features her voice and piano with regular rhythm mates Ricky Anderson and Kelly White, supplemented on various selections by several other favorite regional players. The three bossa novas all feature the guitar of Thomas Pender and Gary Helm's percussion. Evans scats through “So Nice” after a strong Kelly White opening. Flutist Mark Cohick makes his only appearance here, first in unison with the scatted theme and then in a so lo an d pr oviding counterpoint during the close. Pender's style fits the Brazilian groove perfectly: His acoustic comping is a key component of the rhythm on these tracks. He has an opening and strong solo that will take you directly to Rio on “Agua de Beber,” and has another fine solo and obligati behind the vocals on “Black Orpheus.” The percussion is as dense as it should be, thanks to Helm's additions to the work of White and Pender. Candace's piano solos stress her two-handed style, and her voice is passionate, especially on “Black Orpheus.” Evans' vocals vary between playful (“Moonlight”) and emotional (“I Get Along Without You”), depending on the needs of the song. She effectively scats new melodies throughout the set (note “Centerpiece'), and will also alter the melody in passages with lyrics. With some singers this can be a distraction, but that is never the case with Candace. She also solos on piano effectively and proves to be an apt accompanist (to herself and other soloists). The finale “Sugar,” for example is a straight instrumental feature for Evans' piano work. “Moonlight” is a highlight of the set. Steve Rigazzi sets the easy pace on this classic. Evans is almost sultry here. There's something about the way she flies over the tune's title after lagging behind the beat that just works, and her piano solo is superb. Russ Long is Evans' duo partner on “I Get Along Without You.” Russ provides all the right chords and fills while Candace tugs at her (and our) heartstrings. In addition to the tunes mentioned above, Greg Richter joins Evans on vibes and piano for a fast version of “Hello Young Lovers,” with a nice scat chorus with vibe complement; Jim Mair adds his alto and tenor saxes to the blues “Centerpiece” (Evans' scatted chorus over Pender's guitar is a highlight here) and the Comden/Green classic “Just In Time,” and Evans wrings it out on “Lover Man” (and also has another piano featuring a nice double time half chorus). The programming balance adds to the enjoyment of the recording, with bossa novas and tunes featuring Mair and Richter interspersed around the cuts featuring the basic Evans trio. And the folks from Airborne have done their normal excellent recording and mastering job, making this an enjoyable set for Candace Evans fans. --Roger Atkinson Laura Chalk My Favorite Things Personnel: Laura Chalk, vocals; Danny Embrey, guitar; Paul Smith, piano; Bob Bowman, bass; Todd Strait, drums; Rod Fleeman, guitar Tracks: Meditacao; Willow Weep For Me; My Favorite Things; Like A Lover; Comes Love; Frim Fram Sauce; East of the Sun; So Many Stars; O Barquinho; Do Nothin' Till You Hear From Me; Maybe You'll Be There Recorded at Soundtrek Recording Studios, February 27-28, 2004; Ron Uhel, engineer; Craig Rettmer, mastering (Soundtrek) My Favorite Things is Laura Chalk's debut recording, and it proves to be enjoyable. Backed by the stellar Danny Embrey (Danny also arranged all of the tunes except for the title cut), Paul Smith, Bob Bowman, and Todd Strait (with Rod Fleeman bringing his acoustic guitar to several tracks), Laura brings her clear voice to a program of bossa novas, ballads, and standards. Chalk's vocals have several characteristics that add to the selections. She has a way of fading off the notes that can make a phrase slowly dissipate into mix. She also has her own way with rhythm, treating it like a rubber band, stretching and contracting to add contrast with this dead-on-time rhythm section. I can't quite put my finger on who her voice reminds me of-- the closest I have gotten to it is Lani Hall (who sang on many of Sergio Mendes' late 1960's recordings), but the voice is less airy than what Lani brought to those recordings. The four Brazilian tracks are all highlights. Laura opens in English and finishes in Brazilian on “Meditation” and “O Barquinho (My Little Boat).” Embrey's rhythm guitar sets the mood on both. Chalk scats in unison with Danny on the latter to fine effect. “Like A Lover” is a scrumptious ballad. And “So Many Stars” (with Fleeman taking the guitar chair and providing a sweet opening with Chalk) is as pretty a tune as you'll hear. Chalk seems to be staring into a clear night sky on this reading. “My Favorite Things” is Chalk's arrangement, a weaving of the 5/4 of “Take Five” into the lope of the Rodgers and Hammerstein classic. It opens with the typical “Take Five” rhythmic intro, then slides into the more familiar “My Favorite Things” time. Like the Coltrane classic on this tune, there is a vamp between choruses, but here it returns to the 5/4. Smith and Embrey solo “My Favorite Things,” then Strait burns a 5/4 solo before a scatting Chalk takes it out. This arrangement works. “Willow” brings Bob Bowman to the forefront; he opens this classic and then accompanies Chalk on the first bars. The Bowman lines continue to provide interesting counterpoint throughout the tune. Paul Smith's solo reminds me of Red Garland. After a Bowman solo, Chalk weeps over Bob's bass to close. Chalk is almost staccato on the swinging “East of the Sun.” The exchanges at the end are not your typical “fours”: for a half chorus a unison voice and guitar trade fours with piano before Paul finishes the chorus. The following choruses are drums and guitar trading eight bar solos, with Strait's drums taking the lead 8 rather than the more typical reverse. Chalk has her way on each tune, from the whimsy of “Frim Fram Sauce” to the easy swing of “Do Nothin' Till You Hear From Me” to the closing ballad “Maybe You'll Be There.” The supporting cast takes much credit for the success of this disc, also. They play almost as one. Strait needs little help with time, which frees Bowman to provide alternative melody lines on the bottom. Fleeman does the same thing for Bowman on “Do Nothing” with his guitar setting the pace. This is a recommended introduction to the voice of Laura Chalk. --Roger Atkinson RETURN TO JUNE/JULY 2004 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2004. All rights reserved.