jazzmatazz home


jazzmatazz | upcoming | recent | reviews | books | links | musicians | labels | sale list | stores | philly jazz

previous review | reviews home | next review

Boxed Set Mania


Holidays’ approach guarantees an onslaught of ‘essential’ boxed sets. They do make great gifts if the music is above par and if quality matches quantity. Here are three offerings, ones with varying measures of success.

~~~

Oscar Peterson - Dimensions: A Compendium of the Pablo Years - 4 CDs (Pablo) Nov 4, 2003 hear sound samples

hear/buy: Dimensions Dimensions is as larger-than-life as its focus, pianist Oscar Peterson. These four discs, with recordings spanning the years 1953-1986, are largely impeccable. Peterson is dizzying at the keyboard, swinging and thinking, bluesifying, dervishly dancing, letting time stop as he scampers over keys faster than imaginable only to resolve in a foot-stomping retrospective rooted in boogie-woogie or early swing.

What are the highlights? Try the solo rendering of “Hogtown Blues,” one of the fastest and most fascinating piano escapades ever; the imaginative use of trumpet for duet purposes (done effectively with Dizzy, Roy Eldridge and Clark Terry); and the beyond-words beautiful trio work with bassist Neils-Henning Orsted Pedersen and guitarist Joe Pass, heard at their most majestic on “Goodbye” and as three speeding dynamos cavorting, chasing and topping one another on “Blues Etude.” Only occasionally trite [“Nigerian Marketplace” is an example of largely beautiful playing compromised by the addition of insipid drumming], this IS a treasured gift.

~~~

Paul Chambers - Mosaic Select (Mosaic) Sept 23, 2003 hear sound samples

hear/buy: Paul Chambers - Mosaic Select Paul Chambers - Mosaic Select has value if only because of its resurrection and reintroduction of a bassist of mythic proportions in the late 50s. Paul Chambers — sideman to Miles and Trane; Chambers, the solid, solid anchor of high-flying, improvisationally intricate jazz. Chambers was a nominal leader on several sessions, and they are reintroduced to the jazz library here. Several are desirable for their inclusion of John Coltrane (although few cuts with the tenor are captivating compositionally); others intrigue because they feature Clifford Jordan, a too-oft-ignored tenor; and some sparkle because, especially when Chambers pairs up with Kenny Burrell, his splendid bass artistry (both bowed and plucked) shines through.

What is outstanding? There are two visionary works — bass and drum duets with Art Blakey. And Chambers’ addition of guitarist Kenny Burrell on the “Whims of Chambers” sessions brought a cool ambience, with a (forgive the double-entendre) chambers music palette and organization that allowed the bassist to emerge from the background.

Is the music overwhelming? No. In most places it is simply impeccably solid. But is the revisiting important? Absolutely.

~~~

Modern Jazz Quartet - The Complete Modern Jazz Quartet Prestige and Pablo Recordings - 4 CDs (Prestige) Oct 21, 2003 hear sound samples

hear/buy: The Complete Modern Jazz Quartet Prestige and Pablo Recordings How does one quibble over the music of the Modern Jazz Quartet that superlative jazz-plus ensemble? A quartet of musicians, each with a discrete yet perfectly complementary identity, a quartet guaranteed to swing even when making forays into classical and “third stream” jazz; a quartet that time and again recorded music so pristine, yet so vibrant in its beauty as to bring all conversations (and life itself) to a halt.

Yet there are quibbles with this 4-CD set. MJQ began on Prestige but was let go (not swinging enough?) and found a home instead on the Atlantic label where perhaps its most exemplary recordings occurred, only to return to Pablo in the seventies. So we have a beginning and an end, an incomplete body of work. The greater quibble is that perhaps one in ten pieces just don’t work, with John Lewis’ fascination with classical music proving stifling or chastening.

Now the quibbles are over. The Prestige years included sides with Sonny Rollins, and that music is captivating. And throughout this collection are the most incredible transitions from, and juxtapositions between, Milt Jackson and John Lewis (who in addition to a bent toward classical music plays a mean blues, one delectable note at a time).

Maybe more than we needed to hear; but it is hard to complete about such a consummate set of musicians.

    JULES EPSTEIN





previous review       |       reviews home       |       next review

jazzmatazz | upcoming | recent | reviews | books | links | musicians | labels | sale list | stores | philly jazz | top

please send comments to jazzmatazz@att.net

last update 15 December 2003