Overcoming the String Shortage

The evolution of string groups in jazz has been a checkered story. The trouble usually is that you can lead a fiddle to the jazz group, but you can’t make it swing.

Except for the occasional violin soloist (Joe Venuti, Stuff Smith, Stephane Grappelli and a dozen others), string players (except, of course, those who played string bass primarily in its rhythm function) have shown themselves largely incapable of capturing the improvisational essence common to the great horn artists.

During the past few years several promising steps have been taken to correct the problem. The albums reviewed below are significant cases in point.

UPTOWN STRING QUARTET: Philips 838-358-2. ****

An offshoot of Max Roach’s Double Quartet, this group includes his daughter, Maxine Roach, on viola. She and the two violinists and cellist clearly have the qualifications to establish a jazz feeling when it is required. Working without a rhythm section, the foursome glides rather than swings, with an unconventional repertoire that includes “Jelly Roll Rag” and “Easy Winner,” both achieving a quaint turn of the century flavor; arrangements by Bill Lee (Spike’s father) of traditional African-American songs, and originals by Max Roach (arranged by Maxine) and Oscar Pettiford among others. Though the emphasis is on well phrased ensemble playing, there are enough solo touches to establish each members’ individual credentials.

WARREN VACHE AND THE BEAUXARTS STRING QUARTET: “Warm Evenings” Concorde Jazz CCD 4392 *** 1/2

There is no attempt to use this quartet for purposes other than elaborate window dressing for a superior soloist, but this tradition goes all the way back to Charlie Parker with strings. The charts by Jack Gale support Vache’s coronet in a set of standards, but the third and fourth cuts are mood-breakers in which he has only a rhythm section for backing. Vache has the right lyrical touch for Gordon Jenkins’ “This Is All I Ask,” in which the strings help him sublimate an already superior melody.

JOHN HANDY WITH CLASS: “Centerpiece” Milestone MCD 9173-2. *** 1/2

Handy’s alto saxophone blends beautifully with three versatile colleagues: Julie Carter, Tarika Lewis, Sandi Poindexter. All three play the violin, sing, hum and scat--on two cuts they even play and sing simultaneously, without overdubbing. Handy and another male singer joined the vocal proceedings here and there, but primarily this adventurous unit wins points, despite occasional intonation lapses, for the ingenious blending (in Handy’s own arrangements) of his horn with voices and/or violins. Four of the eight tunes are based on the blues.

DIZZY GILLESPIE: “The Symphony Sessions” ProJazz CDJ698 ***

Gillespie’s regular quintet is surrounded by the Rochester Philharmonic, with John Dankworth conducting. The seven pieces are compositions he wrote 20 to 46 years ago, some recorded in earlier versions that left no room for improvement. Nevertheless, Robert Farnon’s arrangement of “Con Alma” and Mike Crotty’s interesting treatment of “Fiesta Mojo” (with logical use of the strings) rise above the general level, as does the long, quasi-symphonic treatment by J.J. Johnson of “Night in Tunisia,” composed in 1943. Gillespie’s horn, though not always in optimum form, does eloquent justice to “Brother K.,” his lyrical tribute to Dr. Martin Luther King. There is generally good solo work by Ron Holloway on tenor sax and the somewhat poorly recorded guitar of Ed Cherry.

ART PEPPER: “The Complete Galaxy Recordings” Galaxy GCD-1016-2. *****

Strings play a minor role here, but on one of the 11 sessions Pepper was backed by a violins-and-celli ensemble for eight songs (five of which are heard additionally in alternate takes). Bill Holman and Jimmy Bond each wrote four of the arrangements, providing for Pepper what was clearly an inspiring harmonic cushion. On one of the Holman charts, “Blues in the Night,” Pepper switched from alto saxophone to clarinet. The rest of this 16-CD set, selling for a mere $225, consists of Pepper’s combo dates from 1978 through April 1982, seven weeks before his death. His choice of sidemen, and of songs, was impeccable. The pianists were George Cables, Stanley Cowell, Hank Jones and Tommy Flanagan. It would be hard to ask for anything more.