Marsalis Reaches Back With ‘Majesty’

WYNTON MARSALIS: “The Majesty of the Blues.” Columbia CK45091. ** 1/2

The opening title tune and the second cut, “Hickory Dickory Dock,” are played by the regular Marsalis sextet, with the leader reaching even further back than has been his wont. There are suggestions of early Ellington, along with touches of inspired Marcus Roberts piano.

The balance of the album, 35 minutes, is devoted to a three-part work, “The New Orleans Function,” for which a more traditional instrumentation and sound are employed to recapture the spirit of the funeral: Danny Barker, the 80-year-old New Orleans guitar player, here switching to banjo, and Dr. Michael White in some antic clarinet effects.

The dirge in the first movement and the exhilaration of the third are convincingly carried out, but the whole effect is vitiated by the middle section, a 16-minute Philipic written by Marsalis’ Boswell, Stanley Crouch, and protesting too much and too long and repetitiously that the noble art of jazz has been ruined by commercialization.

There are unpleasant overtones here: Significantly, the text in the booklet reads at one point: “The moneylenders of the marketplace have Never Ever known the difference between an office of an auction block and a temple.” But on the record the words “and a temple” had been mysteriously excised. Did someone at CBS decide that this was carrying the offensiveness a little too far?

SMITHSONIAN: “Jazz Piano.” RD039 (Smithsonian Institution, Washington, D.C. 20560).

*****

The evolution and glorious diversification of jazz piano throughout this century is admirably represented in another classic Smithsonian collection. The time span runs from Jelly Roll Morton in 1924 to a Tommy Flanagan/Hank Jones duet in 1978.

Martin Williams, the one-man committee who made these selections, was careful in his choices, as well as in his priorities: Art Tatum is accorded five tracks (including, of course, “Get Happy” and “Sweet Lorraine”); Bud Powell and Earl Hines have four each; Fats Waller, Teddy Wilson, Erroll Garner, Thelonious Monk and Bill Evans have three apiece, and several others, among them Nat King Cole and Duke Ellington, are represented twice. Duke’s “The Clothed Women” is an amazingly avant-garde rarity.

Williams’ Achilles’ heel is his indifference to Oscar Peterson, who is omitted entirely except for a two-minute snippet from a Fred Astaire record. But the inclusions are generally wise, taking in such underrated talents as Avery Parrish (in his legendary blues “After Hours”), Jimmy Rowles (his own tune “The Peacocks”), Dodo Marmarosa and Randy Weston.

Available in a four-CD set, “Jazz Piano” includes a 72-page booklet with scholarly notes by Williams, critic Francis Davis and the pianist Dick Katz.

Biographies and a bibliography complete this invaluable set.

CAROL SLOANE: “Love You Madly.” Contemporary CCD14049-2. **** 1/2

This is at once a superior vocal album and a first-rate jazz instrumental set. Sloane is backed by guitarist Kenny Burrell on two tunes, and on “Norwegian Wood” by Richard Rodney Bennett, who also wrote the simple, functional arrangements for the group cuts with Art Farmer, Clifford Jordan and Burrell.

Sloane understands every melody, knows just how many liberties to take and phrasing and alteration; she senses the inner feeling of each lyric. In short, she is a consummate jazz singer to whom the likes of Diane Schuur and Betty Carter could advantageously devote some serious listen-and-learn time. The choice of tunes, too, is first-rate: Wilder’s “While We’re Young,” Armstrong’s “Someday You’ll Be Sorry,” Blossom Dearie’s “Inside A Silent Tear.”

STEPHANIE NAKASIAN: “Comin’ Alive.” V.S.O.P 73CD (11 Lochness Court, Rockville, Md 20850).

****

“Inside A Silent Tear” reappears here, in a no less appealing version by another splendid, almost unknown jazz singer, who toured a few years ago with Jon Hendricks. Her two-part counterpart with pianist Hod O’Brien, the solos by Phil Woods on alto, Warren Chiasson on vibes and Wayne Andre playing some gutbucket trombone all contribute to another vital, life-affirming collection, with several little-known songs such as the Marvin Fisher-Jack Segal “May I Come In.”

JUDY CARMICHAEL:”Trio.” C&D; Productions (unnumbered; 21 East 4th St., New York, N.Y. 10003).

*** 1/2

Well established as one of the younger and most dedicated pianists in the stride tradition, Carmichael here keeps what might seem like strange company: No bass, no drums, just Michael Hashim on alto and soprano saxophones and Chris Flory on guitar. Because of her strong, self-sufficient left hand and the sympathetic participation of her colleagues, it works out surprisingly well.

Carmichael tends to choose compositions by other pianists: Ellington, Basie, Fats Waller and James P. Johnson are all represented, but so are Django Reinhardt (an attractive reading of his early “Swing ‘42”), and Harry (Sweets) Edison (“Jive At Five”). Flory’s fluency and Hashim’s consistent sense of swing are helpful, but in the final analysis the main credit goes to Carmichael for a performance rich in confidence and energy.

HOWARD RUMSEY’S LIGHTHOUSE ALL STARS:”Jazz Invention.” Contemporary CCD14051-2.*** 1/2

Although Rumsey, now retired, gave up the bass long ago (Monty Budwig takes his place here), he is the guiding light behind this reunion of men who worked for him at the Lighthouse in Hermosa Beach during the 1950s and ‘60s. The session was taped live at the nearby Civic Theatre.

Bob Cooper is the main figure, as composer of the title track, tenor saxophonist, arranger and musical director. Surrounded by old friends (Bud Shank, Conte Candoli, Bob Enevoldsen, Claude Williamson, John Guerin), he has created a nostalgically agreeable revival of what were, to many Southern Californians, the golden years. The tunes are mainly standards (“Topsy,” “Billie’s Bounce,” “Lover Man,” “Broadway”). The amusing and affectionate liner notes are by Sleepy Steim, who in those days was the popular KNOB disc jockey.