197. Steely Dan / Gaucho (1980)

Gaucho is the last album before the Dan's 12 year hiatus. It's the capstone of the original run, a grooving foil to Aja's majestic sophistication, and the proverbial semibreve rest in the ongoing saga of the Becker/Fagen partnership. Instead of trying to reinvent the wheel, Gaucho swaps Aja's complexity for simple charts and chill vibrations that recall classic rock, rhythm, and soul. Here, the down tempo is on tap and the beats play straight ahead.  Hear "Babylon Sisters" shimmer with rich sonority, lush background vocals and immaculately layered overdubs, and you get the picture. Gaucho is also notable for the drum machine (engineer Roger Nichols' "Wendel") lending additional consistency to the already smooth track sequence. If you like Steely Dan, then chances are you won't be disappointed by the fare on Gaucho. But at the same time, while these are unmistakably "Steely" tunes, I think it is also the most stylistically distinct album in the catalog. As always, make of that what you will.

194. Louis Jordan & His Tympany Five / Choo Choo Ch'Boogie (1999)

Choo Choo Ch'Boogie is another terrific compilation of golden era R&B from the ASV/Living Era imprint. Jordan was a versatile vocalist whose act ran the gamut from vaudeville to jump to gut-busting blues. His smooth delivery and expertise with turning a phrase took dancers from cutting figures on the floor to falling down laughing. He was also an altoist with a nimble technique whose reserve of power drew comparisons to Earl Bostic. The set is a good representation of his repertoire from 1940-1947. In crisp audio, it includes famous numbers like his own "Caldonia," "Five Guys Named Moe," or "Let The Good Times Roll." But the playlist also has novelties like the hilarious calypso with Ella Fitzgerald (both ex-Chick Webb), "Stone Cold in de Market" or "What's the Use of Getting Sober (When You're Gonna Get Drunk Again)?" No stranger to the drink whose wife Fleecie twice tried to kill him by stabbing, Jordan sings these with confidence! His blues are followed by his alto, with nary a breath between verse and chorus. "Ration Blues," "Somebody Done Changed The Lock on My Door" and "Ain't that Just Like a Woman," show Jordan working his charm with sly double meaning and steamy intent. Fans of early rock and roll or Chicago blues will appreciate Jordan's work, and this is a fine place to start. Babs Gonzales, Slim Gaillard, King Pleasure, all similar.

189. Donald Fagen / Morph the Cat (2006)

Morph the Cat is a good representative of the Donald Fagen solo catalog. It is every yard a Fagen product whose pristine sonics and glossy group choruses recall the perfectionist grandeur of Aja and underplayed soul vamps of Gaucho or Nightfly. I prefer the guitar on Morph by Wayne Krantz, his variety of techniques and effects, to the guitars heard on Sunken Condos. Fagen also rocks the Fender Rhodes, ringing in that classic Steely Dan sound. Some lyrical themes nod in the direction of the aged, slyly morose matters explored further on Condos. But at this stage, our heroes, perhaps, aren't as willingly resigned to their fates as they will be in 2012. Some of these characters make the best of the New World Order, however, swaggering into the 21st century as if it were still 1975. Like the guy who picks up the TSA girl in "Security Joan." Fagen is the only living writer other than Murakami who can write a guy into a one night stand at the airport. But they're not all success stories. Former showbiz kids make jaundiced appearances in songs like "The Night Belongs to Mona," or the the unwitting pokes whose night vices all lead them to meet the man in the "Brite Nightgown." You'll be in familiar company with the motley assortment, and all nine tracks are rendered in sparkling audio.

177-185. Music for St. Valentine's Day?

173. John Coltrane / Coltrane For Lovers (2001)
As long as you don't accidentally mix this up with Stellar Regions, it's ready-made for a date. A posthumous release on the Impulse! label, Coltrane For Lovers showcases Trane's work with the ballad. Included are tracks with Johnny Hartman (like "My One and Only Love") and Duke Ellington ("In a Sentimental Mood"), as well as the superb "After the Rain." This set would be even better if it included things from the Prestige catalog like "I Want to Talk About You" or "Lush Life" -- a homebrew playlist solves that, or just purchase The Gentle Side of John Coltrane, also on Impulse! The album serves with distinction as the one I see for sale most often at the mall.

 
174. Derek & the Dominoes / Layla and Other Assorted Love Songs (1970)
The tortured "Layla" has become iconic of blues rock and a radio staple, but its arresting power, continued through the rest of the epic set recorded in Miami, Florida, reaches every high and low possible in a romantic relationship -- loving, leaving, missing, cooing, trash talkin'... whether "I Am Yours" or you've got the "Keys to the Highway," it's all in there. Duane Allman is on hand (and on bottleneck) to press the point.

175. Al Green / Let's Stay Together (1972)
The ultimate R&B record. The songs are concise and earnest. Green's velvety delivery and rich emotional timbres drip from these soulful grooves, easily the best record that Green made with producer Willie Mitchell. It's sexy, it's strong, it's beautiful. It's Al Green.

176. Otis Redding / The Ultimate Otis Redding (1986)
Classic tracks, sufficiently casual but with intimacy compelled by Redding's yearning vocal. This easy to find compilation contains some of my favorites like the wrenching "That's How Strong My Love Is," "Pain in My Heart," as well as "Try a Little Tenderness." If you can't warm up to Otis, you must have no heart at all.

177. Frank Zappa / Cruising with Ruben & the Jets (1968)
Hunh? Love comes in many forms. Zappa's Ruben allows you to get your "Cheap Thrills" on the backseat, or maybe opine how wronged you were when snookums threw your best shark skin suit out on the lawn. Humor aside, you have the unmistakable nice-guy touch of "Sweet Baby Ray" Collins. And one starts to get the impression that this is really Zappa's love letter to the malt shop pop music that he loved.

178. Marvin Gaye / Let's Get It On (1973)
No introduction required..

179. Duke Ellington / Indigos (1958)
1958, the Ellington band runs through some popular blues like "Solitude," "Where or When" and "Autumn Leaves." Surprisingly, there are more covers than originals. Low and slow is the tempo, leading some overeager critics to condemn it as a snoozer. My take? Such listeners obviously missed the point. Indigos is probably as close as Duke and Company ever got to a record of slow jams. But they steer wide of the saccharine, the commercial, the banal, or outright schmaltz. Something about these stately renderings continues to captivate me.

180. John Scofield / A Moment's Peace (2011)
No space jazz here. Scofield is a remarkably fluent guitarist, capable of reaching the outer fringes of musicality in jams that recall the Grateful Dead in 1970 more than the jazz clubs of New York. Here he attempts, and succeeds in crafting a sleek and modern ballads-only set that are specifically not easy listening. The band really plays, as Sco describes, which makes all the difference. There are five fine originals, but check out the blissful cover of Carla Bley's "Lawns," or the Lennon-McCartney favorite "I Will."

 
181. Terence Blanchard / Wandering Moon (2000)
I've already described Wandering Moon in this blog, so I won't add too much to it here, except that it strikes me as one of the most effectively melancholy jazz dates I have ever listened to. Talk about deep and blue. Grooves by Dave Holland, a tribute written for Sweets Edison, and more than enough minor key lamenting for a whole bus of heartsick musicians, the music herein also retains a confidence brought by superior musicianship.
 

169. Ronnie Cuber / Live at the Blue Note (1986)

Live at the Blue Note is fine hard bop by a very strong quartet featuring Cuber on barisax, with Dr. Lonnie Smith on organ and the outspoken Randy Brecker on trumpet. Drums are by Ronnie Burrage. The lineup says it all. Brecker is outstanding, assertive and brassy but so is everyone else. Listeners will recognize Cuber and Smith as an old team. From behind the organ Dr. Smith gives the music a robust buoyancy, working the draw bars like floodgates. Along with Burrage, he bounces between playing his own steely choruses and pointed interplay with Brecker and Cuber. The date is memorable and stands head and shoulders above Cuber's studio dates on Projazz, like Two Brothers. The set is a mix of bop, rhythm, and blues. It gets pretty hot, as with "Philly Blues," or "Blue 'n' Boogie," but practically the whole disc has the same feel. If you can find a copy and the price is reasonable, buy it. The audio is great, too.

155. Earl Bostic / Flamingo (2002)

Flamingo is a double disc compilation by the UK's Proper Records label, covering 1944 to 1951. The audio quality is very good. These groups are like many of the transitional orchestras of the 40s and early 50s. They feature veterans alongside torchbearers from swing to bop and beyond. In the early sides, we hear Bostic with Rex Harris, Cozy Cole, Don Byas, Tiny Grimes, and Lionel Hampton. Later, in his stripped down R&B orchestra, we hear a sampling of Jimmy Cobb, Wilbur Campbell, and Jaki Byard. Listen for the transition from gut busting alto to what became Bostic's trademark technique. In the 1949 sextet, tracks like "Filibuster" show repeated riffing with huge tone, but also a nimble fingered aptitude for clean, double-time runs through the scales, colored here and there with reed buzz. The lovely "Serenade" (Gene Redd on vibes) has a similar feel. Like Ben Webster, Bostic could play with arresting power, or sublime gentleness. "Flamingo," probably his best known track, has become the archetypal rendition, although it isn't much different in structure or appeal than other sides recorded by the group. I like the later sides best, but the early ones are priceless, too. 

146. Wes Montgomery / Smokin' at the Half Note (1965)

Smokin' is the second collaboration between Montgomery and the Wynton Kelly Trio. They played on a couple of his other albums, too, and they make a solid group. The trio is Kelly, Chambers and Cobb. Having said as much I shouldn't have to say more because the names, let alone the music, practically say it all. I'll listen to anything with these guys. Only two of the five tracks on the original LP are actually live from the venue, "If You Could See Mee Now" and "No Blues." The other three are from (where else?) Van Gelder's studio. It doesn't really matter because both dates are terrific. Our opener "No Blues" pushes 13 minutes in length, marked by Montgomery's fat tone and heavy right hand. It's also an interesting piece as far as Miles covers go, dating from his 'casting around' period before the second great quintet formed up. But getting back to Wes, his melodic constructions in "Unit Seven" are something to marvel at. It's refreshingly cogent jazz thinking, replete with strong musicality and inventive spirit. For both live and studio material, Chambers and Cobb are the bedrock while Kelly is probably the perfect pianist for this group, having both the technical facility and bluesy swagger necessary to enhance the brew. If you want to learn what jazz guitar is all about, this is a good entry point.

138. Roy Eldridge / The Nifty Cat (1970)

Roy Eldridge as leader? Has the moon come down? He didn't lead much, didn't even record much after 1960, and I wasn't aware of this disc until spotting it at my library. The personnel is interesting. There's Budd Johnson whose skills in arranging, tenor and soprano sax are the perfect fit for Eldridge's brand of jump and small group swing. The bass is by Tommy Bryant, a musician of great skill and style, and one who seems underappreciated today. On drums is perennial session man Oliver Jackson, piano is 'Countalike' Nat Pierce, and perhaps my favorite man on the album is Benny Morton on trombone. His inventory of different sounds and licks is inexhaustible and the 'bone brings a touch of old school class to the proceedings (check him out on the lazy "Jolly Hollis," or "Ball of Fire"). "Cotton" is a deep and stormy blues carried by an appealingly mysterious piano and bass figure. Eldridge sings the humorous blues "Wineola," also getting a nice solo in the tune, and things really cook with Eldridge's "Ball of Fire," filled by a lot of riffing and Eldridge showing off his famous range. The closer is the title track with solid work from everyone. I especially enjoy Eldridge's first solo. There's a good mood throughout the set, and I'm thankful for this disc given how much the trumpeter worked but did not record. It's definitely worth finding.

137. Arnett Cobb and Eddie "Lockjaw" Davis / Blow, Arnett, Blow! (1959)

This Prestige date was something of a 'return' for Cobb, who had been recently injured and was retired during recovery. Fans of Mr. Davis should enjoy the album thoroughly because it's exactly the same band as the Cookbook sessions, plus Cobb. Every cut is a wild give and take between Cobb and Davis, a battle for sure. Shirley Scott, making heavy use of the drawbars and tremolo, throws gasoline on the fire more than once. The choice of an organist over a pianist makes a big difference in the total sound and Scott definitely has some good licks. The quintet setting is almost too small to contain the horns, and it does get noisy, but the arrangements are tight. It's well worth seeking out for fans of early soul jazz, or Texas tenor, or anyone studying the small group work of Cobb or Davis who were also well known as big band soloists. The opening chestnut "When I Grow Too Old to Dream" is very nice, also take a look at "Dutch Kitchen Bounce" and "The Eely One." I wonder, is that title a reference to Bud Freeman? Maybe someone in the blogosphere can tell me. One word for this album? Hot!

123. Wilton Felder / Forever, Always (1993)

Felder is a hard working session man on the bass and tenor who is deeply reverent of his roots in straight ahead jazz, soul, blues, and R&B. I'm down with that. But on the other hand, this funky, (thanks, Dwight Sills on bass) soul-influenced smooth jazz session is a snoozer. I'm not going to pan it because it's a very slick product with some uncanny melodies and remarkable consistency. Don't take me the wrong way because I like smooth jazz, soul jazz, and fusion. But when I turn on Forever, Always, from the very first note, I find myself looking toward the television for the weather forecast. You feel me? It's one of those records, and a very good one, at that. I find it to be good for the background, good music to listen to if I just want to relax because there aren't many surprises and rhythmically it's all at one depth. Felder's tone is very solid and downright enjoyable, but the music is thin on ideas and while it isn't uninspired, it comes off as routine. Sonically speaking, the mix is creamy and sounds equally at home on speakers or headphones. Did I mention I've retained this album in my iPod? There's a time and a place for everything. So if you're into smooth jazz, 80s soul jazz, or fusion groups without horns, this is the record for you. 

101. Buddy Tate / The Texas Twister (1975)

Tate was with Basie in the early days but has many dates to his own name and was a leader whose career lasted well into the '90s. His sound on The Texas Twister is large and assured, with occasional wailing outbursts, but it's less assertive than some other horns associated with the Count, like Eddie Davis or Illinois Jacquet. And I like that, too. But the music on Twister swings close to the Basie band in more ways than one. To start with, there's the addition of Paul Quinchette on tenor. The first number "The Texas Twister" is an uptempo 32-bar intro to the proceedings that showcases both horns (Tate on the left, Quinchette on the right), and has game piano work by Cliff Smalls. I thought it could easily go a few more rounds but the leaders opted to be concise and it's off to the next tune once the front line gets back to the head. Further in the Basie vein of blues-based small group swing, we also get Tate singing a la Jimmy Rushing in several cuts, including two installments of "Take Me Back Baby" that showcase Tate's sweet vocal and the impact of opposed horns. The arrangements feature some expected dueling, a mature and more relaxed but no less exciting form of the stylistic counterpoint from the old days. It happens between Tate and Cliff Smalls, too, as in "Talk of the Town." Tate opens the tune in a whispering voice that is soon hammered by Smalls' angular piano statements directly on top of the beat. Tate returns to state his piece every bit as eloquently and reserved as before, endowing the ballad with some very poignant sensibilities. Tate also plays clarinet, on "Chicago" and the closer "Gee Baby," adding further depth to the quintet. It's a good session and thoroughly enjoyable listen with a few hidden surprises.

93. Etta James / At Last! (1961)

In James' debut long player, the young vocalist demonstrates her versatility in a variety of related musical forms (pop, soul, rhythm and blues) while bringing her strongest suit (the blues) to make an impact in all. Raw ballads ("A Sunday Kind of Love" and "Stormy Weather") or songs approaching bubblegum if not for James' gravely vocal ("Tough Mary") are rendered as justly as the pair of Willie Dixons ("Spoonful" and "I Just Want to Make Love to You"). Her style combines different vocal techniques, vacillating between the heartbroken spoken-word to a gut-wrenching growl, or thin, girlish whisper. She is really exciting in tunes like "Trust in Me" when she careens through the whole arsenal in the span of a few seconds. It's an emotional roller coaster, a wild ride. Leonard and Phil Chess had the wherewithal to see James' crossover potential, and invited Riley Hampton to add strings to the session. This gives Ms. James an eloquent backdrop that frames her voice in stately beauty. The CD reissue includes several singles not issued on the LP, like the above "Spoonful." 

82. Eddie "Lochjaw" Davis Cookbook, Vol. 2 (1958)

The second installment of the Jaws Cookbook is a hot and steamy affair, steeped in the deep blues magic of the proprietor and soulful organ fury of Shirley Scott. She really works those draw bars! The intensity pulses and swells when Jaws takes a chorus, and the floodgates really open when he yields the floor to her. The Side 1 opener "The Rev" and followup "Stardust" really benefit from this treatment. As if to cool things off, or reel them back in, Jaws occasionally hands it over to Jerome Richardson on flute, which adds an additional texture that sounds as natural as the organ and tenor. After the wait, "Skillet" brings out the uptempo mode. Again Arthur Edgehill and George Duvivier take timekeeping duties, and their performances are the cord that hold the whole thing together, playing tightly and concisely . "The Broilers" raises the roof in Basie fashion, Jaws and Scott blowing huge choruses that seem to beg for the brass of a big band. The OJC CD includes "Willow Weep for Me," previously released on the Prestige sampler, The Soul Jazz Giants. Nice disc, overall.

81. Cliff Jordan / Cliff Craft (1957)

Here a truly swinging rhythm section (Sonny Clark, George Tucker, Louis Hayes) plays in support of leader Cliff Brown, who shows his versatility as a composer (the entire first side bears his name) and soloist on tenor sax. The phrases of his choruses, like those on "Soul-Lo Blues" and the exquisite "Sophisticated Lady" (therein, also listen to Tucker) are long and fluid, sometimes developed across several bars with thoughtfully timed. His front line includes Art Farmer on cornet, adding a layer of glossy professionalism to the session. The two horns sound great in unison or offsetting each other, as in "Cliff Craft" trading fours while Louis Hayes fills in between. Sonny Clark gets plenty of room in fresh, bluesy single-note solos that echo those of Jordan or Farmer. The session is a relaxed one, a good example of the hard bop quintet commonly purveyed by Blue Note during the 1950s. I can't overemphasize that rhythm section enough, the or the comfortable fluidity of Jordan's tenor. Those qualities jump out at me the most on this date, and what a great date it is.

80. Jimmy Smith & Wes Montgomery / The Dynamic Duo (1966)

The arrangements by Oliver Nelson are assertive but don't sound as if they're intruding on the small group which is at the core of this session. Nelson's robust charts quickly give way to the main attraction, a reactive meeting of the Smith and Montgomery schools. If you liked the big band on Smith's The Cat then you'll appreciate this album's similar vibe. There's intense, crispy drumming from Grady Tate, occasionally complemented by Ray Barretto. Montgomery on rhythm is as impressive as he is on lead, like the high-octane percussive comping in "Down by the Riverside." There's a huge contrast between the two leaders. Montgomery's smooth, melodic lines are the ideal foil for Smith's fiery, organ revival. They play off each other well. Things appear to cool off with "Night Train," but a relaxed tempo only stokes the flames! The second side is more standards, first the dark chart of "13," followed by a lighthearted "Baby it's Cold Outside." If I listen to this too soon after Bags Meets Wes, I invariably wish Smith and Montgomery could have called Bags to join them. What if...

77. Nat Adderley / Work Song (1960)

Some corners of hard bop were already getting funky by 1960 but Nat's classic album still sounds ahead of the curve. Selections are like a hard bop stew, highly inspired music expressed in various forms of funkified rhythm and blues, bop, gospel, and truly aching ballad work. Sam Jones makes an impression on me. He slides all over the place and plays his choruses as if he has a guitar sitting on his lap. His doubling on cello and movement to the front line boldly pays big dividends. Wes Montgomery was in on the session, and between these two there's enough bluesy gumption to hold down that part of the fort. This doesn't stop everyone else from contributing, though. The early "Work Song" and Cannonball's "Sack of Woe" are a fine one-two punch, except they're separated by three equally impacting tracks. At times, Adderley breaks the sextet down to a trio or quartet so there's evidence that this group could be effective hitting on all six or with just half its compliment. It's an album with levels that has staying power for a reason, fine music thoroughly worth its salt.

73. The Eddie "Lockjaw" Davis Cookbook, Vol. 1 (1958)

This first installment of the Cookbook is a treat for rhythm and blues fans, but holds sophisticated playing between its grooves and stays aloof from cliches, leaning closer to hard Chicago R&B than the half-cooked tunes I typically associate with items stamped "soul jazz." I should expect as much from the former partner of Johnny Griffin. Here, Jaws is joined by the talented Shirley Scott, who veritably steals the show in pulsing, impassioned choruses and wise use of the draw bars. George Duvivier plays solidly with deft Arthur Edgehill in a concise and unpretentious fashion that adds a feeling of security. There are several of the uptempo numbers in which Jaws excelled ("Have Horn, Will Blow," "Three Deuces") but the big tenor, along with a game Scott, really make their mark in the ballads. "But Beautiful" (pushing 13 minutes and sweating) and "In the Kitchen" are like love letters to the Hawk school, eloquent and hard swinging. You can tell these two get along, especially when Davis steps in after Scott, practically finishing each others sentences.

61. Grant Green / Grant's First Stand (1961)

Green's debut for Blue Note, his first disc as leader, frames him in a swinging organ trio with Baby Face Wilette and Ben Dixon. It's a good crew to support Green, two players who are very much in the same frame of mind. It's not a crowded sound, although everyone is busy, but when one member takes a chorus, the inherently sparse nature of the trio puts the soloist front and center for your enjoyment. Wilette's organ gives bluesy grooves like "Miss Anne's Tempo" or "Blues for Willarene" a heartier texture and emotional urgency that Green balances with velvety smooth and bop influenced melodic runs on the guitar. He's not a chord freak, so his music has a different feel than some other jazz guitarists. Dixon is very active, fleshing out the trio's overall sound and making his presence loud and clear. He's a great drummer who is no stranger to the format, and does an admirable job here, his affinity for the work of Art Blakey rumbling loud and clear. While it isn't really fair to call a guy's first record his best, especially when he made so many others after it, this album may be just that good.

48. Don Wilkerson / Complete Blue Note Sessions (2001)

A nice release from Blue Note, culling tracks from the four LPs they released for Wilkerson from 1960-63. It's a double disc and the remastered sound is on par with the other excellent Blue Note re-releases. Wilkerson was a tenor who worked with a variety of artists including Ray Charles and Cannonball Adderley (no surprise) and was at home playing blues-based and danceable soul jazz that was easily related to ("Senorita Eula," "Drawin' A Tip,"). With a sophisticated sense of melodic variation and good use of legato dynamics, he steps beyond the prereqs for soul jazz and creates a unique blend that rewards if you listen closely. He's also fond of repeated, motivic phrases that carry the groove. The bands he plays with, especially the combo with Graham Greene, know right where he's at, and turn up the heat when he finishes a chorus. Wilkerson's "San Antonio Rose" (with a cooking solo by Greene) stands out to as a particular good take, so does the interesting "Pigeon Peas" which has me listening a few times over to catch what Wilkerson is doing with the drums. It's fine stuff, top to bottom.

07. Johnny Griffin / Johnny Griffin (1958)

This very early Johnny Griffin disc has me under its spell. Griffin imparts the music with a distinctive, bluesy swing that stands out among other luminary reedmen, a serious, down-to-earth style that speaks equally to the heart and gut. His roots in Chicago R&B are prominently displayed in the bouncing "Lollypop" and tough swing of "Satin Wrap," but a gentle finesse with the ballad is displayed in "These Foolish Things," a modly oldie that, surprisingly, does not sound one bit worse for the wear. Throughout the proceedings, Little Giant articulates his affection for musical fireworks by executing blazing runs with superhuman acuity, and fleshes out his phrasing with vibrant splashes of harmonic color. Junior Mance supports on the piano with blocks of chords and twinkling right hand forays, while Wilbur Ware (who gets a spot in "Riff-Raff") and Buddy Smith keep the whole thing afloat, rhythmically. Dear Verve, please put this CD back in print.