CODA - the Journal of Jazz and Improvised Music 2002

Gary Burton / Makoto Ozone Virtuosi Concord CCD-2105-2 CODA 304 ( July/Aug 2002)

Duets, the most intimate and transparent musical collaboration, require ego suppression and empathy, particularly when the instruments are as simiiar as piano and vibes. Gary Burton has always excelled in this situation . Witness his association with Chick Corea over three decades which bought us many memorable sessions including the 1972 "Crystal Silence." Burton's connection with the gifted Japanese pianist, Makoto Ozone, his partner on this CD, began when Ozone was a Berklee student almost twenty years ago and has involved some six albums together. This release is a jazz exploration of classical compositions. As you would expect from Burton and Ozone , the improvisation is thoughtful and intricate. It is definitely not a "Swingin' the Classics" album. Respect is paid to the limited tradition of classical improvisation, which started as an individual exercise with the Baroque. The timeline runs from Scarlatti to Samuel Barber through Brahms, Delibes, Rachmaninoff and Ravel . The duo uses counterpoint and dissonance. At times there's free flight by Burton over Ozone's punctuation and vice versa. Brahms' Capriccio is given a latin treatment. Delibes' "Berceuse/Duettino" from Lakmé is beautifully calming. Gershwin is represented by his blues-llavored "Prelude II" and the staccato "Piano Concerto in F." There's a Cardoso tango and a solemn tribute to the classics, "Something Borrowed, Something Blue," written by Ozone. And if you only associate Zez Confrey with piano novelties you'll be surprised with his pensive and melodic "Impromptu" which provides Ozone with an opportunity to stride. My subtitle for this CD is "Ears." Virtuoso technique without listening spells disaster. Ozone and Burton have ears for the masters and for each other.

Lorraine Feather - New York City Drag (Rhombus Records RHO 7020) You're Outa Here, Too Good Lookin', California Street, Gal On The Side Part II - She's Gettin Some, In Living Black And White, Alligator, Timeless Rag, Gal On The Side Part I - The Garden Gate, New York City Drag, Jukebox, You and Yours, Cezanne. CODA 304July/Aug 2002 Fats Waller was a swinging striding piano virtuoso and an engaging singer with a sly wit. On this CD the piano mastery is served up by Dick Hyman (also Mike Lang on three tracks) with Lorraine Feather providing wit and song. A gifted composer, Waller penned many standards in collaboration with Andy Razaf and other lyricists, Many of his compositions, however, were thought of as piano performance pieces until recently. Along came singer-lyricist Lorraine Feather, daughter of jazz writer Leonard and former band singer Jane. Feather's experience ran the gamut from words set to swing classics for the vocal trio "Full Swing" to lyrics for Jessye Norman's appearance at the 1996 Olympics. Her love of Waller's music and encouragement from Hyman led to this album where she complements the Waller instrumentals with sophisticated and incisive lyrics. "You're Outa Here" (Waller's "Minor Drag") with its lyric, "... take your books and your bike and your Barcalounger..." is a musical portrait of a breakup. Feather is as racy as Waller on "She's Gettin' Some" ("Gladyse") and as poignant as Noel Coward in her tribute to NYC that opens "New York Drag " ("Clothes Line Ballet") and the love song "You and Yours" ("Chelsea"). She moves "Bond Street" to California, builds a jukebox from " Fractious Fingering" and marries words to music on "Blue Black Bottom," "Valentine Stomp." "Viper's Drag" and many other Waller instrumentals. " In Living Black and White", based on "Numb Fumblin'" is her tribute to that "rascal to remember" and the other stride masters of the past. Digital magic allows Fats to drop by and accompany Feather on "Cezanne" which he knew as "Smashing Thirds." I know he enjoyed the visit. Feather succeeds on two levels. As a vocalist, her sense of swing and clear diction makes singing these complex lyrics seem effortless. In a recent article she stated her ambition as a lyricist. "to take the listener along on a great ride." That she does and you'll want to take that ride often.

The Dizzy Gillespie Alumni All-Star Big Band/Things to Come ( MCG Jazz) CODA 305 - Sept/Oct 2002 If you've forgotten, or never known, the visceral excitement of hearing Dizzy's band of the late forties for the first time, just check out the frenetic title track. Things to come,indeed! Section work that defies belief, Antonio Hart's blistering alto solo and Dizzy's protege, John Faddis riding high as he does throughout this album. From the original band's book come "Manteca," "Emanon," " Ray's Idea" and "A Night in Tunisia." The four trumpet exchange in "Tunisia" with Faddis, Terrell Stafford, Greg Gisbert and Claudio Roditi would have delighted Diz. The current band covers the jazz generations. Golden agers include James Moody and Jimmy Heath who played with Dizzy in the forties plus Slide Hampton and Frank Wess. All of them are in fine solo form. Benny Golson is represented by charts of "Stablemates," "Whisper Not" and the poignant "I Remember Clifford" featuring Stafford. Quincy Jones' "Jessica's Day" is a finger-snapper while "Lover Come Back to Me" is a study in contrast. For a workshop in band dynamics and brass punctuation there's " 'Round Midnight" with Wess on alto and a lyrical solo by Faddis. This performance was held in September 2000 at Manchester Craftsmen's Guild, Pittsburgh's noted multi-discipline, minority-directed arts and learning center. Album proceeds go to benefit the MCG jazz program.The CD may encourage you to return to the source. Nothing wrong with that. However, it stands on its own as one of the most dynamic big band albums in recent years.