198. Frank Wess / Opus in Swing (1956)

This pianoless quintet led by the flute of Frank Wess also lacks his other instrument, the alto sax. Accordingly, he's in top form whether it's pounding high notes in the blue gloom of "Southern Exposure" or adding harmonic color to the serpentine leads of "Somewhere Over the Rainbow." Also moonlighting from the Basie Band are Eddie Jones and Freddie Green who keep time with Kenny Clarke so tight it's telepathic. The quintet excels in the same music that Basie's bands made famous. Like Basie's, their combo has an undeniable group dynamic, but every man is heard as his own solo artist. Together, they drive the music with one mind, then shine forth as individuals during the moments when one man stands alone. It's impossible to appreciate one quality without noticing the other. Kenny Burrell is notable. Listen to "East Wind." Green trades chording for a more pianolike approach that walks, while Klook keeps time with the cymbals and Wess sketches the heavy mood with dense vibrato. When he lays out, Burrell bursts the seams with bluesy runs and relevant single note phrases that underscore the character of the melody and polish the rhythm. It's choice stuff, a potent brew of Kansas City swing that has been seasoned with the developments of postwar New York.

157. Gene Harris Quartet with Frank Wess / It's the Real Soul (1995)

Recorded live across two nights in March of 1995, these eight tracks feature the Gene Harris Quartet (Ron Eschete, g; Luther Hughes, b; Paul Humphrey, d) in the company of Frank Wess. Wess divides his time between four tracks, playing tenor on "Menage a Bleu" and "Estoril Soul," then flute on "Straight No Chaser" and "My Funny Valentine." He is as expressive on the flute as Harris is on the piano, unleashing a diverse assortment of perky phrases and exciting techniques that frame the Monk tune in a perfectly jaunty way, and adding lots of personality to "My Funny Valentine." Nice as it is to have him around for the proceedings, the core band plays with such a big sound and heavy swing that I don't miss him on the other half of the record. Harris works well with guitarist Eschete. Their cooperation in splitting the breaks of "Lady Be Good" turns the old tune into a memorable affair, their choruses developing patiently until the mood reaches a fever pitch. "That's All," which is the last tune on the album, is a fitting closer. Harris teases "Rhapsody in Blue" before really pounding into fully chorded statements, with the crowd loving it. His style on the keyboard is often described as being rooted in a gospel tradition and tracks like "You Don't Know Me" clearly substantiate those descriptions.  

129. Hank Jones and Frank Wess / Hank and Frank (2006)

Requiring no introduction, Hank Jones and Frank Wess have one of the best jazz albums of the past 20 years. Aside from Jones and Wess, bassist John Webber (try "You Made a Good Move") guitarist Ilya Lushtak, and drummer Mickey Roker make an appreciable impact, too. This is uber classic jazz with universal appeal. The joy in listening, for me, comes from how together the group is. Playing this music is beyond natural to the co-leaders and on the record, the product of their skills sounds as easy as breathing. Wess doubles on tenor and flute. To make a play on that line about "breathing," try listening to his beautiful lines on ""The Very Thought of You." There is a wide variety of material from blues to bossa nova, and don't miss the four originals by Wess or the tune by Mr. Parker like "Barbados." Best of all, if you can't get enough of Hank and Frank then you can always buy the second volume. Yes, there is a second volume.

56. Count Basie / Count Basie at Newport (1957)

This set is a giant. Basie already has a power packed orchestra with Thad Jones, Frank Foster, Frank Wess, Sonny Payne, Freddie Greene, and a handful of others. But he invites superstars from his past bands to join them. Lester Young, Jimmy Rushing, Jo Jones, Joe Williams, and Illinois Jacquet all have a few moments to play with the current band. It's powerful music that is energetic, exciting, inspired, and obviously enjoyed by everyone on the stand and in the crowd. The tracks with Basie's reformed orchestra -- sleek and modern, young but steeped in swing and the blues -- are a nice contrast with older, swing-based musicians like Lester doing "Polka Dots and Moonbeams" followed by a frenetic "Lester Leaps In" and Jimmy Rushing singing the jaw dropping blues "Sent for You Yesterday and Here You Come Today." Rushing's gigantic voice demonstrates what it takes in terms of volume and stage presence to stand out in front of the most motley orchestra in the business. The old chemistry is still there, and this album, like Duke's record from Newport '56, demonstrates that big band wasn't dead yet.

43. Thad Jones / The Fabulous Thad Jones (1958)

This LP is collated from two sessions recorded by Rudy Van Gelder in 1954 and 1955. Group 1 is Jones, Charles Mingus, John Dennis and Max Roach. Although Jones leads the session, it feels strongly like Mingus is at the helm. The group is rhythmcally direct, playing a mixture of standards and Thad Jones originals. The spotlight is on Jones for every track, although "I Can't Get Started" stretches out with some interesting interplay between Jones and Mingus, and has tempo changes that lean the way Miles Davis did with his "Basin Street Blues." Jones plays evocatively with and without a mute, and shows off a only a little bit. Group 2 is Jones, Mingus, Hank Jones, Kenny Clarke, and the tenor sax and flute of Frank Wess (a la Hank Jones with Frank Wess). It's a somewhat softer, lush and casual small-group swing that excels in the ballads. This band sounds gelled and confident due to the players' associations in the Basie band. Together, the two bands make a good album that doesn't sound disjointed or uneven, although their differences are plain.