Rudy Royston Flatbed Buggy: Day

  The superb drummer Rudy Royston & his Flatbed Buggy ensemble are back with the thoroughly wonderful Day. An hour of original tunes, mostly by Royston, the work is meant to evoke the contours of a single day. The band offers the enchanting blend of bass clarinet (John Ellis), accordion (Gary Versace), cello (Hank Roberts), and bass (Joe Martin), with Royston’s deft and nuanced drumming at the core of the group’s sound. The combination of Ellis’ nimble bass clarinet, Roberts’ adroit cello, and Versace’s lively accordion gives this quintet a unique sound that captivates immediately. From the joyful opening on Morning through the rigors of the day and on to the unwinding of the evening in It’s Time to Sleep and Hank Roberts’ hypnotic A.M. Hours, the ensemble is distinctive, dynamic, and full of surprises. Royston has had a very busy career, appearing on well over 100 sessions since his recorded debut with saxophonist Fred Hess in December 1991. Also on that date was trumpeter Ron Miles, and the two shared many bandstands and recording dates over the years. Miles, passed away in 2022, and Royston touchingly dedicates this music to “my late brother Ritchie Royston and my late brother Ron Miles.” Royston has arranged the pieces in a way that tends to de-emphasize the solo contributions of his bandmates and instead stresses the entwined textures and myriad possibilities afforded by the instrumentation. The melancholy ballad Missing You is one highlight, with its sad melody carefully intoned by bass clarinet, accordion and cello. The pace is slow at first, gradually building to a controlled frenzy under solos by Ellis and Roberts until Royston brings things to a head, and the collective energy dissipates. The swinging Keep It Moving is another favorite, sparked by Royston’s exuberant drumming. There are echoes of gospel music, the blues, folk music of all kinds, and jazz in its many manifestations mixed up all together in Royston’s tunes, and it makes for a stirring brew. Heartily recommended. 

Greenleaf Music GRE-CD-1100; John Ellis (bcl) Gary Versace (acc) Hank Roberts (clo) Joe Martin (b) Rudy Royston (d); Paramus, NJ, August 2022; Morning/ Thank You For This Day/ Limeni Village/ Look to the Hills/ The Mokes/ Five-Thirty Strut/ Missing You/ Keep It Moving/ It’s Time to Sleep/ A.M. Hours; 59:46. greenleafmusic.com

Wes Montgomery & the Wynton Kelly Trio: Maximum Swing: The Unissued Half Note Recordings

  Guitarist Wes Montgomery and pianist Wynton Kelly first recorded together in late 1961 on Bags Meets Wes!, a Montgomery/ Milt Jackson project for Riverside Records. Clearly, they really got along on a musical level, getting together again for Wes’ Full House in 1962 for Riverside, and for the classic Smokin’ At The Half Note, recorded for Verve at various times during 1965. Now, with the release of Maximum Swing: The Unissued Half Note Recordings, we have another two hours of the Wes Montgomery & the Wynton Kelly Trio to enjoy, all from 1965. The music will be available on limited edition vinyl for Record Store Day and on CD in early December. All of disc one and the first three tracks on disc two of the CD version were originally broadcast on Alan Grant’s WABC Portraits in Jazz radio show. The final five tracks were sourced from the private collection of Yoshio Tokui of the wesFANclub in Japan. Many of the airchecks appeared on bootlegs, in poor sound, but the fan club tapes are previously unissued in any format. The quarter-hour segments of the radio broadcasts featured two or three tunes. On the Tokui recordings, made without the self-editing necessary for the radio show, Wes and company got to really stretch out, extending their performances to lengths unheard in most other settings. Sound quality on the broadcasts is quite good, which took some tinkering by restoration engineer Matthew Lutthans. The poorly recorded Tokui segment is another matter, and Lutthans describes the process of making this section listenable. As rough as it still is after digital manipulation, you get used to the sound after a few minutes. The band’s fantastic 10-minute version of Cherokee, taken at the song’s typical frantic pace, offers a genuine look at Montgomery and company on stage with no considerations beyond hard blowing. Kelly gets to play more on these tracks, too, another bonus. Montgomery is in great form throughout both discs, with several outstanding performances that listeners will return to again and again, including a stunning solo on the November 12 version of Four On Six and more jaw-dropping soloing on The Song is You, which also features some spirited exchanges by Montgomery and Kelly with drummer Jimmy Cobb. The 52-page booklet includes Bill Milkowski’s informative liner notes, Lutthans’ discussion of mastering the album, and a note by Yoshio Tokui on the origin of the tapes. There are also previously unseen photographs by Raymond Ross, remembrances by Herbie Hancock and Ron Carter (who subbed for the incredibly busy Paul Chambers on the November 5 performance), and appreciations by Bill Frisell, Mike Stern, and Marcus Miller. Miller is Wynton Kelly’s cousin and he’s got some good stories to tell. Alan Grant signed off his broadcasts by saying “Stay beautiful” and that’s easy to do when savoring the sounds of Wes Montgomery and the Wynton Kelly trio. Highest recommendation! 

Resonance HCD-2067 (also on vinyl): Wes Montgomery (g) Wynton Kelly (p) Paul Chambers$, Ron Carter*, Larry Ridley#, or Herman Wright% (b) Jimmy Cobb (d); NYC, dates as noted; Disc 1 (50:10): September 24, 1965: Laura/ Cariba/ Blues; November 5, 1965*: Impressions/ Mi Cosa/ No Blues; November 12, 1965#: Birks’ Works/ Four on Six/ The Theme. Disc 2 (74:18): November 19, 1965%: All the Things You Are/ I Remember You/ No Blues; late November, 1965#: Cherokee/ The Song is You/ Four on Six/ Star Eyes/ Oh, You Crazy Moon. www.resonancerecords.org

Cal Tjader: Catch The Groove, Live at The Penthouse, 1963-1967

  In the press release for the Record Store Day issue of Catch The Groove, Live at The Penthouse, 1963-1967, a compilation of radio broadcasts by Cal Tjader, it’s noted that the last new music to be heard from the late vibraphonist came out two decades ago. The reference is to Cuban Fantasy (Fantasy, 2003), which I had the immense pleasure of producing from performances in San Francisco in 1977. Now I have the added enjoyment of listening to several earlier editions of his bands beautifully captured from a series of appearances at the Penthouse in Seattle. Zev Feldman has been working for years with the stash of tapes from the club recorded and preserved by Jim Wilke. In addition to the wonderful music that he’s been presenting, Feldman always puts together appreciative and informative packages for his releases. The booklet for this set includes memorabilia from the club, previously unseen photos, admiring notes from vibraphonists Joe Locke, Gary Burton, and Terry Gibbs, plus heartfelt reminiscences by drummer Carl Burnett (heard on the 1966 and 1967 sessions), pianist Eddie Palmieri (who made two records with Tjader), and percussionist Poncho Sanchez (who played in Tjader’s band from 1975 until Tjader passed away in 1982), and more. Jim Wilke describes the sound of the band as “good-natured, outgoing music,” and from the warm appreciations that appear in the booklet, it seems that “good-natured” and “outgoing” describe the man as well as his music. There have been a few non-Latin musicians who became well-known for their forays into Latin music. Tjader’s heritage was Swedish, but that didn’t really matter, since he demonstrated a genuine affinity for Latin rhythms. Palmieri calls him “the most natural musician I’ve ever met,” high praise indeed. The first of the 27 songs heard in this set is Billy Strayhorn’s Take the “A” Train and the last track is Along Comes Mary, the 1966 pop hit by the Association. Each one, and everything in between, including standards like Here’s That Rainy Day and On Green Dolphin Street, original tunes like Tjader’s Davito and Soul Burst and jazz compositions like Strayhorn’s Lush Life and Milt Jackson’s Bags’ Groove, gets a respectful and swinging arrangement. The musical treats here are plentiful, with Tjader’s immensely appealing vibraphone inventions front and center, with sustained rhythmic fire from drummers Johnny Rae and Carl Burnett, and Bill Fitch and the masterful Armando Peraza on congas and bongos. When a 24-year old Poncho Sanchez joined the Tjader group, Tjader advised him to “just catch the groove, man.” Good advice, whether you were playing in the band or just listening to their music. Happily recommended. 

Jazz Detective DDJD-012 (also on vinyl); Cal Tjader (vib on all tracks); Seattle, WA; personnel and dates as noted: Disc 1 (76:41); February 2, 1963: Clare Fischer (p) Fred Schreiber (b) Johnny Rae (d, timb) Bill Fitch (cga, perc): Take the “A” Train/ In Your Own Sweet Way/ It Never Entered My Mind/ Morning of the Carnival (Manha de Carnaval)/ Insight. May 6, 1965: Lonnie Hewitt (p) Terry Hilliard (b) Rae (d, timb) Armando Peraza (cga, bgo): Sunset Boulevard/Here’s That Rainy Day/ Davito/ Pantano/ Leyte/ Half and Half. May 13, 1965: same group as May 6: On Green Dolphin Street/ Love For Sale/ Reza/ Maramoor Mambo. Disc 2 (70:14): June 9, 1966: Al Zulaica (p) Monk Montgomery (b) Carl Burnett (d) Peraza (cga, bgo): The Shadow of Your Smile/ Bags’ Groove/ Morning/ Mambo Inn. June 16, 1966: same group as June 9: On Green Dolphin Street/ I Can’t Get Started/ Soul Burst/ Cuban Fantasy. June 8 ,1967: Zulaica (p) Stan Gilbert (b) Burnett (d) Peraza (cga, bgo): O Morro Não Tem Vez/ Fuji/ Lush Life/ Along Comes Mary. www.thejazzdetective.com

Ahmad Jamal: Emerald City Nights, Live at The Penthouse, 1966-1968

  The third and final compilation of radio broadcasts from Seattle showcasing pianist Ahmad Jamal and his trio is Emerald City Nights, Live at The Penthouse, 1966-1968, available on limited edition vinyl for Record Store Day and on CD in December. This time around, we get to hear just one of Jamal’s trios, with bassist Jamil Nasser and drummer Frank Gant, a unit that stayed together from 1966 until the mid-1970's. Jamal, with his influential block chord approach to building improvisations and the irrepressible flow of sound from his instrument, is always a pleasure to hear, especially when he’s in front of an audience. Jamal’s elaborate inventions tend to disregard most of the familiar melodies in favor of the underlying chord structures. For instance, Joseph Kosma’s Autumn Leaves, which Eugene Holley, Jr., mentions in his notes was “a mainstay in the Jamal songbook,” is delivered here “in a whirling dervish of ingenuity and taste.” Another Jamal favorite, Erroll Garner’s classic Misty, gets a similarly unusual treatment, with a lengthy piano/drum duet. Jamal’s lone solo excursion is a lovely investigation of Johnny Mandel’s Emily, a piece also favored by another extremely influential pianist, Bill Evans. As Holley reminds us, the jazz world was in a state of profound flux in the late Sixties. Jamal persevered with his trio, and he always felt at home in the Penthouse. Club owner Charlie Puzzo was a big fan, and brought a concert grand into the small club for Jamal’s frequent appearances in Seattle. Jamal, who passed away in April, 2023, was involved with this release, approving the selections, and telling Holley that “it was a great place to work.” That feeling is apparent in the ebullient performances on offer. Holley’s liner notes follow an introductory note by co-produced Zev Feldman, and are joined by excerpts from brief interviews with pianists Les McCann, Emmet Cohen, Monty Alexander and Jamal himself, plus some previously unpublished photos. Definitely recommended. 

Jazz Detective DDJD-006 (also on vinyl); Ahmad Jamal (p) Jamil Nasser (b) Frank Gant (d); Seattle, WA, dates as noted; Disc 1 (45:13): September 29, 1966: Gloria/ Fantastic Vehicle/ Misty. August 24, 1967: Mr. Lucky/ Autumn Leaves. Disc 2 (48:37): August 31, 1967: Corcovado (Quiet Night of Quiet Stars)/ Where is Love/ Dance to the Lady. April 26, 1968:Naked City Theme/ Emily (solo)/ Alfie. www.thejazzdetective.com

Louis Hayes: Exactly Right!

  When NEA Jazz Master drummer Louis Hayes counts off the tempo to start a tune, you can be sure that it will be Exactly Right!, which happens to be the apt title of his latest Savant release. Accompanied by his frequent associates tenor saxophonist Abraham Burton, vibraphonist Steve Nelson, pianist David Hazeltine, and bassist Dezron Douglas, Hayes swings hard through an hour of inspired small combo jazz. The music is basically in the hard bop style that was prevalent when Hayes made his recording debut back in 1956 as a member of the Horace Silver quintet. To honor his early days, Hayes and company perform Silver’s Mellow D, originally heard on 1959's Finger Poppin’ With The Horace Silver Quintet with Hayes as the drummer. There’s also a homage to fellow percussionist Art Blakey with the closing tune, Cedar Walton’s Ugetsu, the title track of a 1963 Blakey album on Riverside. Tenorman Burton’s burly tone serves him well on upbeat numbers like Duke Pearson’s Is That So, and he also has a beautiful way with a ballad, as he demonstrates on Sergio Mendes’ So Many Stars and Fred Lacey’s Theme For Ernie with exquisite support from vibist Nelson and the sensitive Hazeltine. By now, you might have noticed that Hayes, as bandleader and co-producer with bassist Douglas, has a well-honed talent for picking interesting tunes to play, and ones that are not heard too often. In the Sixties, Hayes briefly co-led a quintet with Freddie Hubbard and Joe Henderson called the Jazz Communicators. It’s a name that the drummer revived around 2010, with many of the same musicians as Exactly Right! , but even if he’s not using the moniker now, the essence is the same: music that’s honest, unpretentious, and deeply satisfying. Recommended. 

Savant SCD 2206; Abraham Burton (ts) Steve Nelson (vib) David Hazeltine (p) Dezron Douglas (b) Louis Hayes (d); Paramus, NJ, December 16-17, 2022; Exactly Right!/ Is That So?/ Hand in Glove/ So Many Stars/ Carmine’s Bridge/ Nefertiti/ Mellow D/ Theme For Ernie/ Scarborough Fair/ Ugetsu; 54:54. www.jazzdepot.com

Mark Reboul/Roberta Piket/Billy Mintz: Seven pieces/ about an hour/ saxophone, piano, drums

The legendary ESP-Disk label, which recorded such prominent avant-garde artists as Albert Ayler, Sun Ra, and Marion Brown, also released albums by relatively obscure musicians who remained unknown to all but a few cognoscenti. I’m thinking of players like pianist Lowell Davidson and reedist Marzette Watts. To that small list, add the name of saxophonist Mark Reboul, an almost unknown player from the New York scene. The newly issued Seven pieces/ about an hour/ saxophone, piano, drums was recorded back in 2004 by the trio of Mark Reboul, Roberta Piket & Billy Mintz. ESP-Disk’ has been through several incarnations since it was founded in 1963, but the original dictum that “the artists alone decide what you will hear” is still in force. The current manager of ESP, Steve Holtje, solicited this set from Reboul who he knew from attending one of his rare gigs. Unlike a lot of what’s usually called “free jazz” with its stereotypical connotations of blasting saxophones and bashing drums, Reboul’s music is quietly intense and often very slowly paced. The solemn breathiness of his saxophones is nicely complemented by Piket’s careful comments at the keyboard and Mintz’ typically subtle and spare drumming. Seven pieces is a fascinating document of an underexposed talent who is well worth hearing. Recommended. 

ESP-Disk’ ESP5041; Mark Reboul (sax) Roberta Piket (p) Billy Mintz (d); Brooklyn, NY, 2004; 7¾/ 10/ 13/ 3/ 6¾/ 9/ 11¾; 61:49. www.espdisk.com