Sunny Sue Raney Sings Mancini

SUE RANEY “Sue Raney Sings the Music of Henry Mancini Trend TRCD 557:*****

Is Sue Raney a jazz singer? Does it matter? The elements brought together here are her impeccable diction, her lyrical sensitivity, Mancini’s consistently rewarding melodies, and the arrangements by Alan Broadbent, whose adventurous use of a bank of flutes (doubling on clarinets and saxes) is a key factor.

There are moments of indisputable jazz: the wordless passages by Raney on “Charade” and “Whistling Away the Dark,” Broadbent’s piano solos, the warmly sympathetic fluegelhorn of Carmen Falzone.

“Bye Bye” turns out to be a rare lyricized version of the “Peter Gunn” theme, a driving performance in contrast to much of the album’s light mood. “We” is performed with a gentle Latin beat. The concluding “Moon River” is backed by Broadbent only.

A beautiful woman with a rare talent, Raney deserves fame (and in-person exposure) more than the press-agent-touted big sellers now dominating the jazz charts.

GEORGE BENSON “Tenderly” Warner Brothers 9-25907-2:**** 1/2

This is the George Benson we all knew had never really gone away. He is backed mainly by the trio of pianist McCoy Tyner, who adjusts himself splendidly to the context, with unobtrusive string or brass arrangements by Marty Paich.

Benson plays on every track but one, the exception being Gordon Jenkins’ exquisite “This Is All I Ask,” to which he does full justice. He sings wordlessly in unison with his guitar on “You Don’t Know What Love Is” and “At the Mambo Inn.”

Though a bit melodramatic at times, Benson is in good enough vocal shape to bring new life even to “Stardust.” Of the three instrumental cuts, “Stella by Starlight” has the best Benson and Tyner solos; “Tenderly” is an understated guitar solo, and “I Could Write a Book” with its extended ending cooks implacably.

BILL HARRIS:’The Fabulous Bill Harris” VSOP 66 CD (Box 50082, Washington, D.C. 20004)

*** 1/2

The Washington based Harris, who died last year, was called an unsung hero by Kenny Burrell. Certainly he was the most eclectic and intrepid of guitarists. Unaccompanied on all but one tune, he starts out singing, whistling, yodeling and strumming the blues, recites a poem about Ma Rainey, plays a long, awkward version of Django Reinhardt’s “Nuages” (his harmonic ear was flawed), then tackles Bach’s Prelude in D Minor arranged by Segovia (whom he met and performed for, supposedly pleasing the maestro). Culled from live shows in 1957, 1982 and 1986, the collection winds up with Harris’ “Wes Montgomery Suite.” A curiosity mainly of interest to fellow-plectrists.

THE AL GREY QUINTET:’The New Al Grey Quintet” Chiaroscuro CRD 305 (SOS Productions, 830 Broadway, New York, N.Y. 10003). *** 1/2

Hank O’Neal’s Chiaroscuro label is a welcome addition to the CD scene. He will record new material, such as this, as well as reissuing some gems from the old LP catalogue.

This could be called a “Three Sons” group. Mike Grey joins his father to make it a two-trombone front line; J.J. Wiggins, son of pianist Gerald Wiggins, plays bass, and Joe Cohn, an exceptionally promising guitarist, plays on such tunes as “Tain’t No Use” and “The Undergone” written by his father, the late Al Cohn. Completing the quintet is Bobby Durham on drums.

Because the arrangements are neatly crafted, and the material (originals and standards) well diversified, this improbable instrumentation works well. It is impossible to tell which Grey, father or son, plays which solos, so similar is their approach.

Cohn comes close to stealing the show. In “Rue Prevail” he doubles briefly on trumpet. Wiggins is in fingerpopping form on “Night and Day.” All in all, a promising debut.

DON PULLEN “New Beginnings” Blue Note CDP 7 91785 2:**** 1/2

Heard in the 1970s with Charles Mingus, and with the Art Ensemble of Chicago, Pullen is a primary force in the piano avant-garde. He is capable, within the framework of a five-minute composition, to mix good humor and explosive tone clusters, waltzing buoyancy and rhythmic game playing. Of his six works here, only the final, overlong “Silence-Death” lapses into chaotic, unswinging pretention. His power is fortified by the presence of Gary Peacock on bass and Tony Williams on drums. Consonance and dissonance are seldom mixed with the skill Pullen brings to this provocative collection.

BOBBY HACKETT “BOBBY HACKETT LIVE AT THE ROOSEVELT GRILL” Chiaroscuro CRD 105:****

Louis Armstrong was an admirer and close friend of Hackett; this 1970 session offers eloquent evidence of the cornetist’s unique lyricism. Vic Dickenson’s trombone is a major force throughout, especially on his own compositions, “Alone” and “Constantly,” and on “You’re Gonna Hear From Me,” Andre Previn’s only jazz standard. Dave McKenna’s piano, Jack Lesberg’s bass and the sometimes heavy-handed drumming of Cliff Leeman complete the quintet. Some of the announcements are by Eddie Condon. Good, informative notes by producer Hank O’Neal.

HERB ELLIS & RED MITCHELL:”Doggin’ Around” Concord CCD 4372. ***

Given the tonal limitations of a guitar-bass duo, this live session at the Loa in Santa Monica comes off unpretentiously well. Except for one cut on which Mitchell scats the blues, it’s all instrumental, using conventional standard tunes. The conversation piece will be Gary Larsen’s cover drawing for which he reportedly took guitar lessons from Ellis as part of his payment. The tune “Doggin’ Around” is not included; that title refers to the performing dogs on Larsen’s bandstand.

*JAZZ LISTINGS: Page 97