CODA -Jan Feb 2007 #331

SONNY ROLLINS SONNY,PLEASE DOXY DR9730-2

"Sonny,Please" brings this master improviser, with that unmistakeable gruff tenor sound, into the studio for the first time in five years. His music is powerful and free.

Rollins is in familiar company with his working group of trombonist Clifton Anderson , bassist Bob Cranshaw, Bobby Broom on guitar. drummer Steve Jordan and percussionist Kimati Dinizulu. Fine-tuned by a Japanese tour, they are ready to romp. That they do on this session which includes four Rollins compositions. The highlight of the title track, a repeated theme over percussion, is the fluid duo work of Rollins and Anderson. "Nishi," a bopper, opens up solos for Anderson and Broom while "Remembering Tommy (Flanagan)" is a melody that will stick with you. It wouldn't be Rollins without a calypso and "Park Palace Parade" is light and happy. Sonny also takes "Someday I'll Find You" and two other chestnuts through unexpected twists and turns. He's done this before but this session finds him less playful and even more inventive.

In 2004 this giant lost Lucille, his wife, producer and manager. He could have riden off into the sunset. Not Rollins, who established his own brand new label and web site. Archive releases are coming but Sonny, who always looks forward, first wants to record again.

CODA 332 MAR/APR 2007

Oscar Peterson/Ray Brown/Milt Jackson / What's Up? The Very Tall Band Telarc CD-83663 (www.telarc.com)

It was Ray Brown Week at the Blue Note in November 1998 and he brought along two old friends.(It must have been a treat for Brown's young drummer, Karriem Riggins, to play with those jazz legends!) The 1999 Telarc release, The Very Tall Band - Live at the Blue Note originated from this rare collaboration. Fortunately, there were some tasty leftovers in the Telarc vaults. and the result is What's Up.

Quality music as you might expect. Plenty of virtuosity, spontaneity, and joy, from all the participants right from the opener, Shorty Rogers' "Squatty Roo." Check out Oscar's formidable right hand, particularly on "Salt Peanuts." Away from the muting effect of the MJQ, Milt Jackson's swings like mad on "If I Should Lose You" following his shimmering impressionistic introduction. The group then illustrates Jackson's opinion that there is no jazz music without blues with the ten-minute "Ad Lib Blues.".

Ray Brown is up front and center on "Limehouse Blues" and provides the pulse throughout. For more emphasis on his performance listen to the earlier disc. It includes a solo medley where the audience reaction ranges from hush to buzz as he moves from "Full Moon and Empty Arms" to "Work Song."

Ray Brown passed in 2002, Milt Jackson shortly after the original release in 1999. We still have Oscar. Very tall. Giants.

CODA 334 July/August

Rufus Reid Quintet Live at the Kennedy Center MOTEMA MTM-0009 (CD-DVD set) (www.motema.com)

For decades respected bassist Rufus Reid performed with, and learned from, the best including Eddie Harris, Dexter Gordon, Thad Jones, and Stan Getz. For years he taught others. Then in 1999 he "retired" to a new beginning, aiming to become a leader and to further develop his composing skills. A result of his evolution is this refreshing session, recorded at the Kennedy Center in October 2006.

Reid wants music to be fun and likens it to a playground. The quintet opens with his original, "Come Out and Play". Drummer Tim Horner is described by Reid as his "partner in time." Sumi Tonooka sparkles on piano. Playing well together are veteran Rich Perry on tenor and the youthful trumpeter/flugelhornist Freddie Hendrix. Although each has an individual voice, it's their blend that provides the quintet with that "big" sound throughout this release.

Reid's music is varied, interesting and always melodic whether he takes you for a convertible ride with "Dream Gliding," celebrates his son's wedding with a 7/4 blues, or pictures a relative's smile with a jaunty samba. "Celebration," originally for big band is multi-tempo while the swinging "Forever on my Mind" is a soloists' delight. Hendrix is a find! Sparks fly when he solos.

Reid's program also includes Harold Land's passionate " Ode to Angela" and Billy Childs' beautiful tune, "Heroes." He salutes Ellington with a warm solo bass performance of "Sophisticated Lady" that allows room for a good-natured morph into a finger-snapping blues.

The beautifully photographed DVD covers the complete concert. (That young audience bodes well for jazz!) However, the real value lies in Rufus Reid's description of his musical journey. You'll get to know the man and that will deepen your understanding of his music.

CODA 335 Sept/Oct

Funky Butt - Big Mama - Schmell SMLCD201 (www.funkybutt.no)

Norwegian funk, rooted in New Orleans and the Caribbean, with occasional side trips. Funky Butt's third CD makes it clear that their original music signifies far more than an escape from the Scandinavian winter.

They describe themselves as "a funky brass band with piano added." Anders Aarum, who succeeded Tord Gustavsen as band pianist, provides the introductions with his opening Funky Butt Suite. All the soloists add excitement to this mixture of oompah, waltz, calypso and post-bop funk. The ensemble sound is strong and varied, making it difficult to believe that Funky Butt is only a sextet (saxes,trumpet,trombone, tuba, drums and keyboards). Trombonist Even Andersen serves up a pair of danceable tunes. "Brinker" uses both counterpoint and cacophony while "Je m'apelle Even" is pure Bourbon Street with an Andersen vocal. The haunting tango "Mystical" and "Fruitcake Rag" were penned by trumpeter Kare Nymark Jr. "Fruitcake," featuring Aarum, wouldn't be out of place as background for a silent movie chase scene. There's nothing restrained about Vidar Saether's "Wrapped in Gloves" which makes room for "Big Mama." In addition to his opening suite, there are four other Aarum originals. "Where to Put It" flavors solemnity with rhythm while "Somewhere Warm and Moist" is an hypnotic theme. There's an exhilarating "Sofia's Wedding Night" with its Eastern European wedding music and impassioned solos involving soprano and trumpet. Aarum's closing "Fabulous" is all dignity and brass.

Big Mama combines creativity and good humor in the tradition that includes, among others, Armstrong, Waller, Ellington, Willem Brueker and Carla Bley. Often raucous. Always musical. ++++++++++++++++++++++++++++++++++++++++++++