Bix and the Boys Showcased Properly

Bix Beiderbecke and Frank “Tram” Trumbauer were the Butch Cassidy and Sundance Kid of the early jazz years. Their highly personal styles interacted with surprising smoothness: Beiderbecke’s magisterial sounds on cornet tempered by the briskness of his rhythmic swing, Trumbauer’s work on the C-melody saxophone slipping easily from rapid-fire virtuosity through honey-smooth phrasing into an occasional dash of whimsy.

It’s no surprise that their playing was admired and imitated by a generation of emerging young artists, or that iconic figures such as Benny Carter and Lester Young acknowledged their influence. But it’s unfortunate that such high regard has dimmed over the years, outshone by the bright gleam of other prominent horn players.

True, there are legions of Beiderbecke devotees, determined to sustain the importance of his role in jazz history; Trumbauer, unfortunately--despite his considerable contributions--doesn’t have the same standing.

Fans of both, along with followers of the equally powerful trombonist Jack Teagarden, will find much to cheer about in a superb new seven-CD collection. Mosaic, which issues its classy, boxed sets in high-quality, limited editions, has delivered again with “The Complete Okeh and Brunswick Bix Beiderbecke, Frank Trumbauer and Jack Teagarden Sessions (1924-36)” (****).

Included is a rich array of performances by all three in a variety of settings, including small groups led by each, as well as Trumbauer’s big band. Beiderbecke is present from February 1927 until April 1929; he died in August 1931 at 28. And the playing displayed within this relatively brief period provides a fascinating overview of his progress from sheer improvisational brilliance into the alcoholic descent that led to his passing.

But at his peak, in those moments when Beiderbecke aimed for the sun, the musical results are incomparable. There is, of course, his groundbreaking solo on “Singin’ the Blues,” as well as his magical piano work on “In a Mist.” But there is much, much more, all of it worthy of further exploration, including the superb trombone and vocal performances by Teagarden. Call it a worthy and vital entry in anyone’s collection, enhanced by Richard M. Sudhalter’s informative program notes. If you’re looking for a can’t-miss, special holiday gift for your favorite jazz fan, this is the perfect choice.

Speaking of gifts, here are some recordings by artists whose low visibility does not obscure the glow of their talents.

*** Tina May, “One Fine Day,” 33 Records. One of England’s best-known jazz vocalists, May is largely unfamiliar in this country. But, as her performances in this collection reveal--ranging from luscious balladry to some impressive, up-tempo vocalese--she can stand shoulder to shoulder with the top level of American jazz singers.

*** Paula West, “Come What May,” Hi Horse Records. West, unlike May, has been on the American scene for a while, but largely limited to the San Francisco Bay Area. She too deserves a wider hearing. She is accompanied in this sterling effort by a superb back-up ensemble including, among others, pianist Bill Charlap, guitarist Peter Bernstein, vibist Bobby Hutcherson, saxophonists Frank Wess and Joe Temperley, clarinetists Ken Peplowski and Don Byron, and trumpeter Ryan Kisor. West fully merits the high-quality backing. Her version, for example, of “Lush Life” touches the center of the song via controlled understatement; with “Them There Eyes,” she coolly reveals her capacity to match every twist and turn of the hard-swinging accompaniment.

*** Tony Perez, “From Enchantment and Timba ... to Full Force Jazz,” Universal/Pimienta Records. Twenty-eight-year-old pianist Perez was picked by Chucho Valdes to lead the legendary Cuban jazz ensemble Irakere. He is also a major artist in his own right. Like Gonzalo Rubalcaba, he blends a fiery classical technique and a deep understanding of Cuban rhythms with a far-reaching improvisational imagination. The results are extraordinary in both his soloing and arrangements for a small horn ensemble performing originals as well as selections by Willie Colon, Eddie Palmieri and Arsenio Rodriguez.

**1/2 Sarah Jane Cion, “Summer Night,” Naxos Jazz. Cion’s graceful piano style obviously owes a debt to Bill Evans (placing her among a legion of contemporary artists). She personalizes the style with an elegant but briskly rhythmic touch that triggers some surprisingly rich insights--especially during a tender solo medley that includes “You Won’t Forget Me,” “Why Did I Choose You” and a theme from “Cinema Paradiso.” Cion is not solely introspective, however, and her hard-swinging qualities are on full display in a pair of tracks also showcasing the ebullient tenor saxophone of Michael Brecker.

**1/2 Joe Beck & Ali Ryerson, “Django,” DMP Records. The duo of guitarist Beck and alto flutist Ryerson offers music seasoned with a bit of romance, some lovely melodic expositions and a sprinkling of bossa nova. Ryerson’s dark-toned flute--pitched a fourth below the more familiar sound of the instrument--handles most of the melodic chores in a program that includes everything from John Lewis’ “Django” and Miles Davis’ “Nardis” to Lennon & McCartney’s “Come Together” and the standard “Tenderly.” Beck, one of the most versatile guitarists around, is both a one-man orchestra and a quietly intimate musical companion.

** Lyle Ritz and Herb Ohta, “A Night of Ukulele Jazz Live at McCabe’s,” Flea Market Music. You say jazz can’t be played on the four-stringed ukulele? Don’t tell Lyle Ritz, who’s been doing just that for more than a decade, even though he’s far better known for work as a studio bass player. Herb Ohta is equally reluctant to accept any limitations in repertoire, having recently issued a collection of Bach pieces on the ukulele. On this disc, Ritz and Ota perform individually and together, with bassist Richard Simon as an accompanist. Ritz’s versions of pieces such as “Lulu’s Back In Town,” “Triste” and “Where or When,” and Ohta’s rendering of “I Remember April,” are delivered with craft and enthusiasm. Still, despite their effectiveness, it’s difficult to ignore the constant mechanical manipulation required to extract rich harmonies from a relatively limited instrument. The amazement, as someone once said, is not how it’s done, but that it’s done at all.

*

Don Heckman writes frequently about jazz for The Times.