While I have cut back on music purchases, I nonetheless have a few new titles to report on for this month’s The Vinyl Beat. There are some tasty treats ahead!
New(er) Grooves
Donald Byrd: Royal Flush (Blue Note Classic Vinyl Series)
Poking through earlier titles in Donald Byrd’s catalog using Qobuz, I was drawn to Royal Flush, which is one of his prime hard bop records from 1961. While Byrd worked with fellow Detroit area native Pepper Adams (bari sax), his quintet included bassist Butch Warren, drummer Billy Higgins, and a young pianist named Herbie Hancock, who had yet to make a recording debut under his own name (which he would do in 1962 with Takin’ Off). Already quite the accomplished player, Hancock’s recognizable piano is as much a highlight of this record as the playing of Byrd and Adams is. He also contributes his composition “Requiem” to the project, while Byrd composed all but one of the remaining songs (a cover of “I’m A Fool To Want You”).
I will admit to not being a major fan of hard bop (I find many of the records to be tedious listens), but the way Donald Byrd can write and arrange a jazz piece to be melodic and memorable is something I can relate to. It is similar to how I appreciate so much of Horace Silver’s work – his songs will stick in my head for days at a time, given his talent for writing melodic songs with an unusual flavor of exoticism that is rare in hard bop. At any rate, Byrd’s Royal Flush is a keeper.
Bill Evans: You Must Believe in Spring (Craft Recordings 2-LP 45 RPM)
Despite being a fan of many of Evans’ recordings for Riverside and Verve, I didn’t expand much beyond that until I explored this album. And I am glad I did, as there are plenty of new songs here that are not covered on his numerous prior albums. Some are absolutely lovely, like “B Minor Waltz (for Ellaine)” which opens the album. Other highlights for me are “Gary’s Theme” (composed by Gary McFarland), Jimmy Rowles’ “The Peacocks,” the title track, and his thoughtful take on “Sometime Ago” (Sergio Milhanovich). Evans’ trio at this time included Eddie Gomez and Eliot Zigmund. This was recorded in 1997 but only released in 1981 following Evans’ passing in 1980.
The sound is exemplary, thanks to Kevin Gray’s mastering, but the pressing is not the quietest I’ve heard; there are a few faint ticks between tracks. However, I have not yet run it through the record cleaner. I’ll chalk this up to a fluke, as all the others from Craft Recordings have been dead silent. Copies of this 2022 reissue are still available.
Wes Montgomery: Boss Guitar (Riverside/OJC reissue)
Wes Montgomery: Bumpin’ (Verve Acoustic Sounds series)
I’ve been a casual fan of Wes Montgomery and own a few of his records, but these are two recent discoveries of mine. Boss Guitar is completely new to me; only recently did I find time to dig back into Montgomery’s catalog (as I listen to many different things). What really attracted me to this 1963 record was Wes being accompanied by Jimmy Cobb (drums) and Mel Rhyne (on organ), the latter being a bit of a surprise as the Hammond B3 works quite well with Montgomery’s guitar. “Besame Mucho” is taken as an up-tempo 3/4-time arrangement, while “The Trick Bag” (a Montgomery original) and “The Breeze and I” are both given brisk workouts. It’s a treat to hear his lyrical playing in a simple trio format on songs like “Canadian Sunset.” This I feel is a must-have straight ahead Montgomery record. And OJC’s presentation, with Kevin Gray’s mastering, takes it over the top.
Bumpin’ is a completely different story. This was recorded during his tenure with Verve Records, and falls under the Creed Taylor umbrella which arguably in some cases could be either a good or bad thing. But this is all good, and Don Sebesky’s string arrangements here support the guitar without being overbearing or sappy, as some strings could be. What Montgomery created here is a perfect late-night jazz album. Even the midtempo numbers are smooth and laid back. The strings are not omnipresent either – Montgomery original “Tear It Down” features a quartet setting with Roger Kellaway (piano), Bob Cranshaw (bass), and Grady Tate (drums). The Latin-flavored arrangement of Dizzy Gillespie’s “Con Alma” is quite tasty. Overall, this makes for some mighty nice listening. And kudos to Verve and Acoustic Sounds for another fine presentation – this record comes in a tip-on gatefold jacket, and the mastering here is via the careful touch of Matthew Lutthans of The Mastering Lab. The sound of this record is superb!
Preorder Grooves
Given the passing of Latin jazz piano great Eddie Palmieri last year, I have been revisiting a handful of favorite albums on CD which I had ripped to my server years ago. The only two titles I ever found on vinyl were Azucar Pa’ Ti, and his Bamboléate album with Cal Tjader (in mono), both on the Tico Records label and honestly not sounding all that good. (The CD reissue of Azucar Pa’ Ti adds digital reverb, which doesn’t help matters.)
Craft Recordings has been giving attention to the Fania, Tico and Vaya labels, but up until recently they have overlooked Palmieri’s albums. On March 20, they will finally be reissuing Vámonos Pa’l Monte on vinyl, of which the title track and “Revolt/La Libertade” were hits in the Latino/salsa community. Most stores will have this record but, as with other Fania/Tico/Vaya releases, limited edition colored vinyl releases are available directly from the Craft online store.
Others I would like to see Craft reissue are Azucar Pa’ Ti, Mozambique, Bamboléate (admittedly a longshot), and Harlem River Drive. The latter was originally a Roulette reissue, but Roulette at one time distributed Palmieri’s label Tico Records so I’m not certain if it falls within Craft’s control or not.
A “surprise” (to me) Tone Poet reissue was announced by Blue Note Records recently – Frank Sinatra’s iconic Songs for Swingin’ Lovers is going to be reissued on vinyl on March 27. While it will be released in the standard Tone Poet configuration with a gatefold tip-on jacket with mastering by Kevin Gray, the attention to detail is notable. The record label itself is the original dark gray, and the jacket image is the originally-released version with Frank looking away from the couple on the jacket, as opposed to looking at them in later releases.
In the Wee Small Hours was reissued last year on Tone Poet and sold out. It is also getting a second pressing run and will be available again in mid-March. While I won’t go out on a limb and say that Blue Note will be keeping all of their Tone Poet titles in print over time (I have seen a few Tone Poets and Classic Vinyl titles get restocked over the years), don’t hesitate to get either of these Sinatra titles while they are available if you want them.
Next month’s The Vinyl Beat may once again poke the “demo music” bear, as I often do prior to the AXPONA audio show. I’m looking through my collection right now and taking notes. See you next month!
Header image courtesy of Pexels.com/cottonbro studio.
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