JAM Magazine: April/May 1998 Issue: For the Record

Wild Bill Davison
WILD BILL DAVISON AND THE JAZZ GIANTS
Sackville Records

Personnel: "Wild Bill" Davison, cornet; Herb Hall, clarinet; Benny Morton, trombone; Claude Hopkins, piano; Arvell Shaw, bass; Buzzy Drootin, drums

Tracks: Struttin' With Some Barbecue, Dardanella, Black and Blue, I Would Do Anything For You, I Found a New Baby, Blue Again, I Surrender Dear, Yesterdays, Them There Eyes

Recorded March 27 and 29, 1968 at the Colonial Tavern, Toronto, Canada

Thirty years ago, during a three-week engagement at Toronto's Colonial Tavern, "Wild Bill" Davison recorded an LP that launched the successful Sackville label.

The all-star group, appropriately called "The Jazz Giants," had been organized only a short time. From the start, the band worked well together and generated a polished swinging style. The intense drive that developed on the Colonial bandstand was sustained in the studio.

Davison led the pack with his usual charging "full steam ahead" mode, brash snarls and low notes. Herb Hall's New Orleans-tinged clarinet and Benny Morton's melodic trombone merged with Wild Bill's cornet to form a cohesive front line. The outstanding rhythm section included pianist Claude Hopkins, Arvell Shaw on string bass and Buzzy Drootin on drums.

The nine tunes, all "old chestnuts," are well-roasted by Davison's flaming horn and the brilliance of the Jazz Giants. "I Would Do Anything for You," with the composer Claude Hopkins at the keys, showcases his hit song from 1932.

"Blue Again" is one of those tunes that will forever have Wild Bill's indelible mark. He contrasts his impassioned treatment of lovely ballads with torrid high-stepping romps on "Struttin' With Some Barbecue" and "I Found a New Baby." Herb Hall imparts a sensual Middle Eastern flavor to "Dardanella," a 1919 favorite and one of the first popular songs to rack up a million record sales.

The Jazz Giants remained together for 18 months, but, unfortunately, never recorded again. To celebrate their 30th anniversary, Sackville has reissued this wonderful material on CD. This is our only chance to hear this great little band except on a well-worn LP.

Apologies are not necessary for the short playing time. 48 minutes filled the original LP, and no additional material was recorded. Like natural gems, small flawless jewels can shine very brightly. The closing 16 bars of "I Found a New Baby" alone are worth the price of this CD.

On their album notes, Sackville producers John Norris and Bill Smith always include the statement, "We wish to thank the musicians for the privilege of being able to record their music." After issuing a succession of quality LPs and CDs for 30 years, it's time to thank Sackville for music that has enhanced our collections.

Few independent record companies have survived for three decades. Sackville's secret? They continue to release top-notch albums like Wild Bill Davison and The Jazz Giants.

-- Floyd Levin

Paul Hofmann
HASHOAH LAMENTATIONS
(Lamenting The Holocaust)
MHR Records CD-06/07

Personnel: Paul Hofmann, solo piano

Tracks: (Disc one) Never Again, Suite: "Remembrances"; (Disc two) Never Again (short version), Suite: "Reflections on the Almighty," Reflections on Forgiveness, The Love That Lasts, Suite: "Three Spiritual Songs," In Blessed Memory of Albert Kaufmann, Suite: "Hashoah Lamentations," Benediction

Recorded December 9-10, 1996 and July 18-20, 1995 at Soundtrek Studio, Kansas City, MO; Ron Ubel, engineer

Kansas City jazz fans will know Paul Hofmann from his three-year stay in KC (1992-95), for sterling releases on his MHR recording label (Things Are Looking Up and There With a Smile are two that feature various KC jazz artists), and for his occasional learned contributions to this magazine.

They will also know him as an excellent pianist and composer who, with each release, continues to fortify that dual reputation.

Hashoah Lamentations is a departure from Paul's previous jazz-oriented works. It is a deeply introspective meditation that, despite a jazz voicing here and there, plus stretches of improvised development, is basically classical in nature.

It is also an album that deals with a very serious subject. In the album's liner notes, Paul explains.

"Although I'm primarily a jazz artist, this recital is more strongly influenced by traditional Western piano styles than by jazz. It is an album of compositions dedicated to the victims of the Holocaust... to the survivors... and, in a general sense, to Jewish people everywhere."

Although images conjured up by this music are not limited to those of that dark period in human history more than 50 years ago, it is still inevitable that, while first experiencing Lamentations, the listener will recall grainy black and white photos of emaciated concentration camp inmates and the attendant horror that must have accompanied that atrocity. Hofmann's music is, indeed, a lamentation for victims of the Holocaust. And he paints a somber musical sketch with each track.

"It is often noted," Hofmann continues, "that many non-Jews were persecuted -- and murdered -- by Hitler and his henchmen. Of course I acknowledge this, and with much sorrow... As their lives were surely worth as much to God as were the lives of Jewish victims, the 'Jewishness' of this project is not meant to minimize anyone else's sufferings."

About that, Paul Hofmann is certainly sincere, for he, too, is a non-Jew, making this a project born out of one fine musician's desire to acknowledge a human tragedy, not just one of a religious nature.

Again, this is heavy stuff. But it provides food for thought, as well as an emotional journey into the heart of human suffering. Hashoah Lamentations can be ordered from MHR Records by calling 716-473-5999 or by writing to 99 Westerloe Ave., Rochester, NY 14620. All net proceeds from the sale of this album will be directed to various Holocaust-related programs and institutions.

-- Mike Metheny

Clay Jenkins
YELLOW FLOWERS AFTER
Chase Music Group/CMG 8051

Personnel: Clay Jenkins, trumpet; Reggie Thomas, piano; Tom Warrington, bass; Steve Houghton, drums

Tracks: First Impressions, Fully Intended, Yellow Flowers After, Fanagalo, Let's Fall in Love, Soultrane, Polar Ways, Brilliant Corners, Don't Get Around Much Anymore

Recorded at Stagg Street Studios, Van Nuys, CA July 1, 1996; Gary Denton engineer.

If you like your harmonies consonant and with expected resolutions, this CD may not be for you. This is not music played down the yellow stripe in the middle of the road.

On the other hand, if you like jazz that's next to the edge -- and sometimes over the edge -- you will enjoy this interesting and unusual album.

This is not a Kansas City jazz group. So, why is it being reviewed in JAM? Two reasons. As Kansas City jazz fans will already know, L.A.-based trumpeter Clay Jenkins comes to town with some regularity, and when he does, he usually appears with bassist Bob Bowman. The two have appeared together at Jardine's and The Club at Plaza III over the years. Pianist Reggie Thomas also has KC ties having appeared here a number of times. And, like Jenkins, he has been a staff member at the annual summer jazz camp at UMKC.

"First Impressions" is the appropriately titled first cut on Yellow Flowers After. It may have been unintentional, but this Reggie Thomas original gives an accurate impression of what is to follow. Melodies and meters make for uncommon backgrounds upon which to improvise, and the results are looser and less structured than the listener might expect.

"Fully Intended," written by Jenkins, begins with the melody stated by trumpet followed by unison piano before moving to solos by Reggie and Clay. Again, atypical melodies and rhythms at the start resolve nicely into a swinging framework for the soloists.

The title cut, "Yellow Flowers After," is a lovely ballad written by Clay Jenkins. And it provides a mellower background for beautiful solos by Clay, Reggie and bassist Tom Warrington. Next is Jenkins' "Fanagalo," a slow minor key swinger with accents on 3 and 4 giving the tune a Native American flavor.

After a sustained-note intro, Arlen and Koebler's "Let's Fall In Love" kicks off at about 280, not a customary tempo for this venerable standard. On this arrangement, drummer Steve Houghton, a limitless source of energy for the group, has a first opportunity to solo. All soloists acquit themselves well on this cut.

Tadd Dameron's "Soultrane" is a beautiful ballad in which Clay and Reggie play graceful and expressive solos. The last of Clay's compositions, "Polar Ways," is another original again with a Native American feel.

With its quirky, clever melody, Thelonious Monk's "Brilliant Corners" fits perfectly on this CD. And the final tune, "Don't Get Around Much Anymore" by Duke Ellington and Bob Russell is a beautiful ballad, played soulfully by Clay alone.

Again, this CD is not straight down the center of the road. But if you are looking for something different played by an excellent group of musicians, this is it.

Check your local music store for Yellow Flowers After or contact Chase Music Group, P.O. Box 11178, Glendale, CA 91226. It can be ordered by phone by calling 800-724-2730.

-- Jerry Landsbaum

Al Pearson
'BOUT TIME
BLD-052791

Personnel: Al Pearson, trumpet, flugelhorn; Bobby Watson, alto sax; Doug Talley, tenor sax; Wayne Hawkins, piano, organ; Ricky Anderson, bass; Mike Warren, drums; Michael DeLeon, percussion

Tracks: That's Right, Whisper Not, Love For Sale Nature Boy, Jayhawk Talk, What's Going On, Save Your Love For Me, A Baptist Beat, Guitaca City, This Is For Albert

Recorded August 16 and November 24, 1997 at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer

What a great way to celebrate spring, 1998.

Trumpeter Al Pearson's new CD, 'Bout Time, is a solid effort, start to finish, beginning with "That's Right," a Lee Morgan composition (listen for Wayne Hawkins' Jimmy Smith-style organ) right up through "This is For Albert" by Wayne Shorter (featuring the album's guest, Bobby Watson).

While many of the tracks on 'Bout Time are uptempo, the band's treatment of "Love For Sale" is actually quite haunting, much as it was intended to be when Cole Porter first penned it for "The New Yorkers" in 1930.

I've always enjoyed hearing bassist Ricky Anderson live. I can now say that it is a treat to hear him on CD. He sounds especially good on "Save Your Love For Me," a cut that showcases Al Pearson's romantic side.

Another standout track is Benny Golson's jazz anthem, "Whisper Not," next to "I Remember Clifford," probably his best known composition.

Doug Talley's tenor makes "Nature Boy" a winner, as does the interaction between drummer Mike Warren, percussionist Michael DeLeon and Bobby Watson on "A Baptist Beat," "Guitaca City" and "This is For Albert."

Al Pearson is a warm and inviting soloist, much like the late Carmell Jones. (It was nice to hear Carmell's "Jayhawk Talk," the title cut from his 1965 Prestige release.) There are similarities between the two trumpeters -- neither are really hard boppers even though their playing is based on bop fundamentals.

Even if it weren't springtime, 'Bout Time would be a worthy addition to your jazz CD collection. Great tunes, performed by some of Kansas City's finest jazz musicians, and with Bobby Watson sitting in on six of ten cuts... This is one to enjoy.

-- Bill O'Connor

(Catch Bill O'Connor's weekly jazz radio show on 90.1 KKFI-FM every Wednesday, 1:00 to 4:00 p.m. -- Ed.)

RETURN TO APRIL/MAY 1998 MAIN INDEX

------------------------------------------------------------------------
© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		Wild Bill Davison WILD BILL DAVISON AND THE JAZZ GIANTS Sackville Records Personnel: "Wild Bill" Davison, cornet; Herb Hall, clarinet; Benny Morton, trombone; Claude Hopkins, piano; Arvell Shaw, bass; Buzzy Drootin, drums Tracks: Struttin' With Some Barbecue, Dardanella, Black and Blue, I Would Do Anything For You, I Found a New Baby, Blue Again, I Surrender Dear, Yesterdays, Them There Eyes Recorded March 27 and 29, 1968 at the Colonial Tavern, Toronto, Canada Thirty years ago, during a three-week engagement at Toronto's Colonial Tavern, "Wild Bill" Davison recorded an LP that launched the successful Sackville label. The all-star group, appropriately called "The Jazz Giants," had been organized only a short time. From the start, the band worked well together and generated a polished swinging style. The intense drive that developed on the Colonial bandstand was sustained in the studio. Davison led the pack with his usual charging "full steam ahead" mode, brash snarls and low notes. Herb Hall's New Orleans-tinged clarinet and Benny Morton's melodic trombone merged with Wild Bill's cornet to form a cohesive front line. The outstanding rhythm section included pianist Claude Hopkins, Arvell Shaw on string bass and Buzzy Drootin on drums. The nine tunes, all "old chestnuts," are well-roasted by Davison's flaming horn and the brilliance of the Jazz Giants. "I Would Do Anything for You," with the composer Claude Hopkins at the keys, showcases his hit song from 1932. "Blue Again" is one of those tunes that will forever have Wild Bill's indelible mark. He contrasts his impassioned treatment of lovely ballads with torrid high-stepping romps on "Struttin' With Some Barbecue" and "I Found a New Baby." Herb Hall imparts a sensual Middle Eastern flavor to "Dardanella," a 1919 favorite and one of the first popular songs to rack up a million record sales. The Jazz Giants remained together for 18 months, but, unfortunately, never recorded again. To celebrate their 30th anniversary, Sackville has reissued this wonderful material on CD. This is our only chance to hear this great little band except on a well-worn LP. Apologies are not necessary for the short playing time. 48 minutes filled the original LP, and no additional material was recorded. Like natural gems, small flawless jewels can shine very brightly. The closing 16 bars of "I Found a New Baby" alone are worth the price of this CD. On their album notes, Sackville producers John Norris and Bill Smith always include the statement, "We wish to thank the musicians for the privilege of being able to record their music." After issuing a succession of quality LPs and CDs for 30 years, it's time to thank Sackville for music that has enhanced our collections. Few independent record companies have survived for three decades. Sackville's secret? They continue to release top-notch albums like Wild Bill Davison and The Jazz Giants. -- Floyd Levin Paul Hofmann HASHOAH LAMENTATIONS (Lamenting The Holocaust) MHR Records CD-06/07 Personnel: Paul Hofmann, solo piano Tracks: (Disc one) Never Again, Suite: "Remembrances"; (Disc two) Never Again (short version), Suite: "Reflections on the Almighty," Reflections on Forgiveness, The Love That Lasts, Suite: "Three Spiritual Songs," In Blessed Memory of Albert Kaufmann, Suite: "Hashoah Lamentations," Benediction Recorded December 9-10, 1996 and July 18-20, 1995 at Soundtrek Studio, Kansas City, MO; Ron Ubel, engineer Kansas City jazz fans will know Paul Hofmann from his three-year stay in KC (1992-95), for sterling releases on his MHR recording label (Things Are Looking Up and There With a Smile are two that feature various KC jazz artists), and for his occasional learned contributions to this magazine. They will also know him as an excellent pianist and composer who, with each release, continues to fortify that dual reputation. Hashoah Lamentations is a departure from Paul's previous jazz-oriented works. It is a deeply introspective meditation that, despite a jazz voicing here and there, plus stretches of improvised development, is basically classical in nature. It is also an album that deals with a very serious subject. In the album's liner notes, Paul explains. "Although I'm primarily a jazz artist, this recital is more strongly influenced by traditional Western piano styles than by jazz. It is an album of compositions dedicated to the victims of the Holocaust... to the survivors... and, in a general sense, to Jewish people everywhere." Although images conjured up by this music are not limited to those of that dark period in human history more than 50 years ago, it is still inevitable that, while first experiencing Lamentations, the listener will recall grainy black and white photos of emaciated concentration camp inmates and the attendant horror that must have accompanied that atrocity. Hofmann's music is, indeed, a lamentation for victims of the Holocaust. And he paints a somber musical sketch with each track. "It is often noted," Hofmann continues, "that many non-Jews were persecuted -- and murdered -- by Hitler and his henchmen. Of course I acknowledge this, and with much sorrow... As their lives were surely worth as much to God as were the lives of Jewish victims, the 'Jewishness' of this project is not meant to minimize anyone else's sufferings." About that, Paul Hofmann is certainly sincere, for he, too, is a non-Jew, making this a project born out of one fine musician's desire to acknowledge a human tragedy, not just one of a religious nature. Again, this is heavy stuff. But it provides food for thought, as well as an emotional journey into the heart of human suffering. Hashoah Lamentations can be ordered from MHR Records by calling 716-473-5999 or by writing to 99 Westerloe Ave., Rochester, NY 14620. All net proceeds from the sale of this album will be directed to various Holocaust-related programs and institutions. -- Mike Metheny Clay Jenkins YELLOW FLOWERS AFTER Chase Music Group/CMG 8051 Personnel: Clay Jenkins, trumpet; Reggie Thomas, piano; Tom Warrington, bass; Steve Houghton, drums Tracks: First Impressions, Fully Intended, Yellow Flowers After, Fanagalo, Let's Fall in Love, Soultrane, Polar Ways, Brilliant Corners, Don't Get Around Much Anymore Recorded at Stagg Street Studios, Van Nuys, CA July 1, 1996; Gary Denton engineer. If you like your harmonies consonant and with expected resolutions, this CD may not be for you. This is not music played down the yellow stripe in the middle of the road. On the other hand, if you like jazz that's next to the edge -- and sometimes over the edge -- you will enjoy this interesting and unusual album. This is not a Kansas City jazz group. So, why is it being reviewed in JAM? Two reasons. As Kansas City jazz fans will already know, L.A.-based trumpeter Clay Jenkins comes to town with some regularity, and when he does, he usually appears with bassist Bob Bowman. The two have appeared together at Jardine's and The Club at Plaza III over the years. Pianist Reggie Thomas also has KC ties having appeared here a number of times. And, like Jenkins, he has been a staff member at the annual summer jazz camp at UMKC. "First Impressions" is the appropriately titled first cut on Yellow Flowers After. It may have been unintentional, but this Reggie Thomas original gives an accurate impression of what is to follow. Melodies and meters make for uncommon backgrounds upon which to improvise, and the results are looser and less structured than the listener might expect. "Fully Intended," written by Jenkins, begins with the melody stated by trumpet followed by unison piano before moving to solos by Reggie and Clay. Again, atypical melodies and rhythms at the start resolve nicely into a swinging framework for the soloists. The title cut, "Yellow Flowers After," is a lovely ballad written by Clay Jenkins. And it provides a mellower background for beautiful solos by Clay, Reggie and bassist Tom Warrington. Next is Jenkins' "Fanagalo," a slow minor key swinger with accents on 3 and 4 giving the tune a Native American flavor. After a sustained-note intro, Arlen and Koebler's "Let's Fall In Love" kicks off at about 280, not a customary tempo for this venerable standard. On this arrangement, drummer Steve Houghton, a limitless source of energy for the group, has a first opportunity to solo. All soloists acquit themselves well on this cut. Tadd Dameron's "Soultrane" is a beautiful ballad in which Clay and Reggie play graceful and expressive solos. The last of Clay's compositions, "Polar Ways," is another original again with a Native American feel. With its quirky, clever melody, Thelonious Monk's "Brilliant Corners" fits perfectly on this CD. And the final tune, "Don't Get Around Much Anymore" by Duke Ellington and Bob Russell is a beautiful ballad, played soulfully by Clay alone. Again, this CD is not straight down the center of the road. But if you are looking for something different played by an excellent group of musicians, this is it. Check your local music store for Yellow Flowers After or contact Chase Music Group, P.O. Box 11178, Glendale, CA 91226. It can be ordered by phone by calling 800-724-2730. -- Jerry Landsbaum Al Pearson 'BOUT TIME BLD-052791 Personnel: Al Pearson, trumpet, flugelhorn; Bobby Watson, alto sax; Doug Talley, tenor sax; Wayne Hawkins, piano, organ; Ricky Anderson, bass; Mike Warren, drums; Michael DeLeon, percussion Tracks: That's Right, Whisper Not, Love For Sale Nature Boy, Jayhawk Talk, What's Going On, Save Your Love For Me, A Baptist Beat, Guitaca City, This Is For Albert Recorded August 16 and November 24, 1997 at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer What a great way to celebrate spring, 1998. Trumpeter Al Pearson's new CD, 'Bout Time, is a solid effort, start to finish, beginning with "That's Right," a Lee Morgan composition (listen for Wayne Hawkins' Jimmy Smith-style organ) right up through "This is For Albert" by Wayne Shorter (featuring the album's guest, Bobby Watson). While many of the tracks on 'Bout Time are uptempo, the band's treatment of "Love For Sale" is actually quite haunting, much as it was intended to be when Cole Porter first penned it for "The New Yorkers" in 1930. I've always enjoyed hearing bassist Ricky Anderson live. I can now say that it is a treat to hear him on CD. He sounds especially good on "Save Your Love For Me," a cut that showcases Al Pearson's romantic side. Another standout track is Benny Golson's jazz anthem, "Whisper Not," next to "I Remember Clifford," probably his best known composition. Doug Talley's tenor makes "Nature Boy" a winner, as does the interaction between drummer Mike Warren, percussionist Michael DeLeon and Bobby Watson on "A Baptist Beat," "Guitaca City" and "This is For Albert." Al Pearson is a warm and inviting soloist, much like the late Carmell Jones. (It was nice to hear Carmell's "Jayhawk Talk," the title cut from his 1965 Prestige release.) There are similarities between the two trumpeters -- neither are really hard boppers even though their playing is based on bop fundamentals. Even if it weren't springtime, 'Bout Time would be a worthy addition to your jazz CD collection. Great tunes, performed by some of Kansas City's finest jazz musicians, and with Bobby Watson sitting in on six of ten cuts... This is one to enjoy. -- Bill O'Connor (Catch Bill O'Connor's weekly jazz radio show on 90.1 KKFI-FM every Wednesday, 1:00 to 4:00 p.m. -- Ed.) RETURN TO APRIL/MAY 1998 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.