Monday, September 21, 2020

Andy Biskin - Early American: The Melodies of Stephen Foster

Styles: Clarinet Jazz
Year: 2006
File: MP3@320K/s
Time: 56:12
Size: 130,7 MB
Art: Front

(0:41) 1. My Old Kentucky Home, Good-Night!
(2:16) 2. Jeanie With the Light Brown Hair
(5:12) 3. Early American
(3:20) 4. Camptown Races
(3:04) 5. Journey Cake
(3:39) 6. Oh! Susanna
(3:18) 7. Fits and Starts
(2:49) 8. Hard Times Come Again No More
(3:44) 9. Nelly Bly
(3:21) 10. Thin King Thinking
(2:55) 11. Old Folks at Home
(5:31) 12. Old Black Joe
(3:18) 13. Dom Casual
(5:56) 14. There's a Good Time Coming
(3:15) 15. Beautiful Dreamer
(2:56) 16. Kid Proof
(0:51) 17. Old Folks at Home

The songs of Stephen Foster (1826-64) seem to have seeped into our American DNA, especially for those of us of a certain age. We sang "Oh! Susanna," "Old Folks," "Camptown Races" and other Foster gems in elementary school badly, if memory serves me, with an unrestrained, window-rattling youthful gusto on "Oh! Susanna." Those melodies are part of us now. New York-based clarinetist Andy Biskin discovered the simple beauty and straightforward storytelling aspects of Foster's melodies after a chance playing of "I Dream of Jeannie With the Light Brown Hair" on a restaurant gig. He has since developed a deep interest in Foster's material that he brings to the fore on Early American.

Biskin and his cohorts Pete McCann (guitar and banjo), Chris Washburne (trombone, tuba) and John Hollenbeck (drums) craft a sometimes light-hearted and often whimsical sound, infused with warmth and an old-timey feeling, as they play some of Foster's best-known songs. You could call it Americana folk music chamber jazz, with a forward-leaning focus when Biskin's arrangements give the familiar melodies some idiosyncratic twists and turns, updating these timeless sounds with the likes of McCann's searing electric guitar solo on "There's a Good Time Coming."

Biskin slips in six of his own compositions to complement Foster's songs. On his "Thin King Thinking" the clarinet sings the blues in front of a thick tuba growl, before the band slides into an loose-limbed disassemble, like a drunken house band in a mid-19th Century house of ill repute; and on "Kid Proof" the group romps, taking turns, sharing the moments of sound a tuba huff, then a drum clitter-clat and a clarinet trill, the guitar issuing spikey notes all around them. The opening and closing tracks are brief moments (less than a minute each) from just after Foster's time, the tinkle of a wind-up music box from the late-1800s playing "My Old Kentucy Home, Good Night!" and "Old Folks at Home." In between you hear Andy Biskin's updated yet still reverent take on the sounds of Stephen Foster. ~ Dan McClenaghan https://www.allaboutjazz.com/early-american-the-melodies-of-stephen-foster-andy-biskin-strudelmedia-review-by-dan-mcclenaghan.php

Personnel: Andy Biskin: clarinet; Pete McCann: guitar, banjo; Chris Washburne: trombone, tuba; John Hollenbeck: drums, percussion.

Early American: The Melodies of Stephen Foster

Thelonious Monk - Palo Alto

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 47:23
Size: 109,1 MB
Art: Front

( 7:00) 1. Ruby, My Dear
(13:16) 2. Well, You Needn't
( 6:36) 3. Don't Blame Me
(14:01) 4. Blue Monk
( 4:25) 5. Epistrophy
( 2:02) 6. I Love You Sweetheart Of All My Dreams

The back story makes this album irresistible even before you’ve listened to it: In 1968, a 16-year-old jazz fan at Palo Alto High School in California decides to hold a concert in the school’s auditorium to raise funds for its International Club and convinces Thelonious Monk’s manager that his client should be the headliner. (Not surprisingly, the student, Danny Scher, would soon become a major force in the live-music production world.) As concert day approaches, one of the school’s janitors, an audio enthusiast, offers to tune the piano in exchange for recording the show, a deal that’s quickly agreed to. On the afternoon of October 27, the Thelonious Monk Quartet gives its only known high-school performance. Afterward, the janitor (his name apparently lost to history, though researchers are no doubt still working on that) hands the young promoter a tape. It goes in a box, where it sits for the next 50 years. When its owner rediscovers it, he contacts Monk’s son T.S., who first tickled by the story, then impressed by the recording’s quality sanctions its release.

All praise be to that anonymous janitor. Palo Alto’s sound quality may not be absolutely optimal, but its clarity is astounding. You can hear everything, from the creaks of the piano bench to the quiet, regular swish of Ben Riley’s hi-hat on “Ruby, My Dear” and it’s even in stereo. There are no big surprises here in terms of material: four Monk evergreens (“Well, You Needn’t,” “Blue Monk,” and “Epistrophy” in addition to “Ruby”) and typically jagged solo rollicks through “Don’t Blame Me” and “I Love You (Sweetheart of All My Dreams).” Even so, this is one of the best live Monk recordings available, maybe even the best, and certainly the best by this band. Which brings us to a key point: Monk is known for his compositions, his piano style, and his personal idiosyncrasies. He’s not known so much as a bandleader. But Palo Alto should add ammunition to the arsenal of those who believe his 1964-’68 quartet wasn’t just a great vehicle for his tunes but a superlative band in its own right. Riley, bassist Larry Gales,and saxophonist Charlie Rouse truly understood Monk’s music, and Monk himself, on a basic emotional level in ways that few others did yes, more than Trane, more than Sonny, more than Blakey and that’s clear in every note they play here.

As is the utter joy that Monk and his men take in performing for their young audience. More than five decades since it was recorded, this music simply bounces out of the speakers, the spring in its step only heightened by time. ~ Mac Randall https://jazztimes.com/reviews/albums/thelonious-monk-palo-alto-impulse-sony/

Palo Alto