Louis Armstrong-Dave Brubeck: The Real Ambassadors (Jazz Wax Records JWR 4640)
When this 1961 LP was reviewed in Jazz Journal in 1963 by then editor Sinclair Traill he was distinctly underwhelmed, judging it “a bit of a drag”. Although commending Dave and Iola Brubeck for their musical foray into jazz diplomacy, Sinclair felt that “the music is not strong enough and the lyrics too contrived to enable any of the talented performers to really get off the ground”.
Of the other participants in this ambitious enterprise, he singled out Armstrong’s two duets with Carmen McRae, and Trummy Young’s earthy trombone. He might have added that the vocal trio of Dave Lambert, Jon Hendricks and Annie Ross sound bored with the banal and top-speed lyrics they had to contend with. Pianist and composer Brubeck himself is rarely heard. Louis’s vocal and solo on Since Love Had Its Way is probably the best track. In They Say I Look Like God, he asks “Could God Be Black? My God!” (Amen to that).
This high-quality vinyl reissue has an essay by Iola Brubeck, who relates that “here was no question in our minds that the central figure of our play had to be Louis Armstrong”. It also includes two bonus (but unremarkable) tracks – Lonesome and You Swing Baby [The Duke]. Originally, The Real Ambassadors was intended as a Broadway stage show, but the only live performance was given at the 1962 Monterey Jazz Festival (although there have been subsequent adaptations). This ill-fated “musical” is discussed at length In Keith Hatschek’s book The Real Ambassadors: Dave And Iola Brubeck And Louis Armstrong Challenge Segregation, which I reviewed for Jazz Journal in 2022.
Miles Davis Quintet: Live In Berlin 1969 (Donna Lee 71010)
Although there is some confusion about the location(s) and dates of these live recordings, they are a valuable introduction (if needed) to Miles’ transition from straight bop to fusion. After brief introductions by a German MC, Miles, Wayne Shorter (tenor and soprano sax), Chick Corea (electric piano), Dave Holland (bass and electric bass), and Jack DeJohnette (drums) launch into Directions, followed by an extended work out on Bitches Brew.
In his autobiography, Miles recalled:“I wish this band had been recorded live [it was] because it was a really bad motherfucker.” Organised by George Wein, this European tour took place in October-November 1969. This short-lived quintet attracted and disappointed his listeners in almost equal measure. Miles later reflected that “the sound of my music was changing as fast as I was changing musicians, but I was still looking for the combination that could give me the sound that I wanted”.
All of these tracks (now on “180 gram Virgin Vinyl”) leave the distinct impression of a group trying to find its way through complex (if sometimes incoherent) compositions. It’s About Time lasts for over 14 minutes, and to this Gil Evans/Miles Davis disciple is of little real merit, only lifted into semi-coherence by Wayne Shorter, Holland and DeJohnette. Whatever, the audience audibly lapped it all up, so what do I know?
B.B. King: In France – Live At The 1977 Nancy Jazz Pulsations Festival (Elemental Records DD003)
Making a rare appearance in Jazz Journal, this “live” performance by B.B. King (1925-2015) and his seven-piece orchestra was unearthed (and restored) by the indefatigable Zev Feldman, founder of Elemental Records, and his colleagues. Although I have never been and still am not a B.B. fan, this concert is not without its minor merits. The addition of a highly competent orchestra, including brass and reeds, plus an organ give some substance and strength to the songs. They include such B.B. hits as Sweet Little Angel, I Like To Live The Love, I Need My Baby, and The Thrill Is Gone.
Organist James Toney, tenor saxophonist Walter King (B.B.’s nephew), Cato Walker III, altoist, trumpeter Eddie Rowe and guitarist Milton Hopkins inject some much-needed colour into the proceedings. B.B. introduces them after their solos and quickly establishes and maintains contact with his audience, who applaud and enthusiastically participate throughout.
My reservations mainly concern the almost total absence of any jazz content in the proceedings apart from a fleeting and surprising rendition of Blue Monk at the outset which then moves on to a spirited Caldonia. I also find King’s hoarse, monotonous and repetitious vocals progressively tedious. Think instead of Jimmy Witherspoon.
Again, and unfortunately, my CD copy has several flaws in sound which no amount of cleaning could resolve. Attractively packaged, the disc has introductory comments by Zev Feldman who confesses to have “been a lifelong fan of B.B. King” and an enthusiastic essay by French jazz critic Jean Buzelin. By all means, check it out – but mark my words.
Cliff Korman Trio: Urban Tracks (SS)
Previously unknown to me, pianist, arranger, composer and teacher Cliff Korman recorded this vibrant album in New York City, with Brazilian drummer Rafael Barata and fellow New Yorker bassist Harvie S. Korman now lives in Rio de Janeiro, where he teaches at the Villa-Lobos Institute. The programme includes a well-chosen selection of Brazilian tunes – Manha De Carnaval, Cheio De Malicia, a sensitive solo performance of Caetano Veloso’s Trilhos Urbanos, and Korman’s own composition, a joyous Saudade Do Paulo. There are also more straight ahead but “jazzy” and cogent interpretations of jazz standards – Benny Golson’s Whisper Not, Wayne Shorter’s Fall, and Jerome Kern’s incomparable All The Things You Are.
There is little to choose between the nine tracks on this well-recorded studio session. My only complaint concerns its CD packaging and format. A sickly and faintly orange-coloured sleeve makes the tune titles and other details extremely difficult to identify, while Korman’s own comments quickly induce eye strain. I did, however, manage to decipher a sentence thanking Paulo Moura, “my partner, friend and first guide through the multifaceted and delicious universe of Brazilian popular music”. The “Artwork” (sic) is attributed to Darius Korman. He needs to go back to the drawing board.