Ahmad Alaadeen
TIME THROUGH THE AGES
ASR Records #2001

Personnel: Alaadeen, tenor and soprano saxophones; Danny Campbell, trumpet; Marlin Bonds, flugelhorn; Everette Freeman, Reggie Thomas, piano; Tyrone Clark, Matt Pittman, bass; Matt Kane, Montez Coleman, drums

Tracks: ASR, Doin' The Deen, When Love Has, Jeannine, 21st Century Ragg, In the Wee Small Hours of the Morning, The Ringing

Recorded January 1997 at Wheeler Audio Associates, Kansas City, MO; Justin Wright, engineer.

Among many things, the release party for this CD on July 1 at the Mutual Musicians Foundation was a reminder of how there is an unbroken link between the animated jam sessions of the '30s (as portrayed in Robert Altman's "Kansas City") and what can still be heard around town in 1997. The music was intense, the interplay fresh, the solos fiery and from the heart.

Time Through The Ages itself is much more subdued than what was heard at the Foundation, but just as engaging. This is jazz in its most authentic form: conversational and visceral. And it's all been captured to maximum effect.

If there's one word that keeps coming to mind when listening to Time Through The Ages, it's "honest." No punches or overdubs here. Only musical statements of pure spontaneity. One of the album's highlights, "ASR," was born of religious inspiration. "I was inspired to write 'ASR' after reading the 103rd Sura of the Quaran," says Alaadeen. "The opening of the piece describes the Garden of Eden in which Adam and Eve wake up bewildered as to where they are. They slowly begin to discover the wonders of creation."

There are many other highlights in a set well-suited for late-night introspection and/or good listening any time of day. "Doin' the Deen" (by pianist Reggie Thomas) is a swunky original reminiscent of the old Cannonball Adderley Quintet. "When Love Has" (with Alaadeen on a soulful soprano) is one of those turn-down-the-lights-and-pour-a-taste cuts with a distinct "Blue in Green" appeal. Duke Pearson's "Jeannine" swings medium with a three horn front line of tenor, trumpet (Danny Campbell) and flugel (Marlin Bonds). And Alaadeen's "21st Century Ragg" is, in the composer's words, "dedicated to Ernie Williams, the Last of the Blue Devils. I wrote this piece for the 1930s and '40s band leader who we affectionately called 'Little Man.'"

Next to last is the Mann-Hilliard standard "In The Wee Small Hours of the Morning" done completely a cappella by Alaadeen on tenor. (The instrumentation for this rubato ballad could not have been better conceived.) And finally, Alaadeen's "The Ringing" makes good use of the trumpet-tenor sound so successfully employed on previous tracks.

Let us not forget to mention the talented supporting cast Alaadeen has assembled for this recording. Pianists Thomas (from St. Louis) and KC's Everette Freeman not only provide solid comping throughout, but each add excellent solos, as do trumpeters Campbell, another welcome visitor from St. Louis, and Marlin Bonds. And anchoring different yet equally potent rhythm sections are bassists Tyrone Clark and Matt Pittman, and drummers Matt Kane and Montez Coleman (the latter also from St. Louis).

Alaadeen is on a roll. His last release Alaadeen and the Deans of Swing Plays Blues for RC and Josephine Too was the winner in the "Traditional Jazz" category for Musician Magazine's 1996 "Best Unsigned Band Competition." Time Through the Ages is a fitting sequel. It can be found at area outlets, or ordered by calling ASR Records at 913-831-4396.

-- Mike Metheny

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Karrin Allyson
DAYDREAM
Concord CCD-4773-2

Personnel: Karrin Allyson, vocals, piano; Gary Burton, vibraphone; Paul Smith, piano; Bob Bowman, bass; Todd Strait, drums; Kim Park, alto sax, flute; Randy Brecker, flugelhorn, trumpet; Danny Embrey, electric guitar; Rod Fleeman, acoustic guitar; Laura Caviani, piano; Randy Weinstein, harmonica

Tracks: Daydream, Like Someone in Love, My Foolish Heart, So Danco Samba, Corcovado, Show Me, Monk Medley, Everything Must Change, Donna Lee/Indiana, Nothin' But Blues, You Can't Rush Spring

Recorded March 1997 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer

If this fine a pitch had been accessible to the Royals, Bob Boone might still have his job.

Backed by a cadre of superlative musicians, Karrin Allyson's characteristically accordant demeanor is initially an easy listen that becomes increasingly more appealing with each replay.

Heretofore somewhat reminiscent of another singer/pianist whose signature is understatement -- Blossom Dearie -- this Allyson stretches much more, e.g. the head-bobber "Like Someone in Love," which features some spiffy backphrasing, venturesome ideation, and prolific scatting, not to mention Kim Park's virtuosic alto. He should have bumper stickers: Reed This!

She may have had a touch of a cold during the taping but that occasional raspiness serves Allyson well as in the ram speed "So Danco Samba," stylistically her forte showcasing her ability to traverse rapid-fire passages with ease and dispatch.

"Corcovado" is a soft and gentle rendering, a back-to-the-basics when bossa was first Astriduced. Karrin offers an eloquent duet with herself, English lyrics echoing the Portuguese, made that much more perfect with the inclusion of Park's flute and a lyrical Danny Embrey solo.

Above the border, Allyson's self-assured sounds punctuate a smart Laura Caviani chart of T. Monk tunes; and a Laine/Dankworth -- in this case Allyson/Burton/Park -- intro to "Donna Lee" ranks with the best as does the outchorus featuring the same threesome.

Randy Weinstein's haunting harmonica underpins a simplistically beautiful "Everything Must Change," on which Allyson provides appropriately restrained accompaniment. Reflective and indelible, this vocal offered for me the most open-souled view of Allyson's potential. The dynamics shade perfectly, an occasional dead tone accents the prose, and Rod Fleeman's contrapuntal ("The Summer Knows") solo is inspired.

There's much more: "Nothin' But the Blues," wherein Allyson bends, slides and tails off at will. A sensual "My Foolish Heart," during which Randy Brecker eases into an exhausting extempore leaving no note untouched, no rhythm untapped.

Would there were more time/space to adequately praise all of the musicians herein.

Suffice to say that an excerpted instrumental rendering could stand on its own, including Gary Burton's major to minor passages so seamlessly executed on the title tune, Paul Smith's vintage two-fisted fullness on "Like Someone in Love," Bob Bowman's flawlessly etched "My Foolish Heart," Laura Caviani's calculated dissonance on "Monk Medley." And Brecker. And Park. And Todd Strait. And so on.

The headliner here, however, is Karrin Allyson. She's the co-producer, many of the arrangements are hers, and her brand of musicianship deserves full credit. Worldly but not hard-edged, sophisticated but not reserved, clever but not overbearing, effortless but never sloppy, Daydream is a welcome addition to your vocal jazz collection.

And of course, there's that enviable pitch.

-- Carol Comer

(The release date for Daydream is August 19. -- Ed.)

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Wayne Hawkins
TRIO: VOLUME ONE
Hawkins Productions 131997-1

Personnel: Wayne Hawkins, piano; Bob Bowman, acoustic bass; Todd Strait, drums

Tracks: Moment's Notice, Blues For John, My Ship, Love Letters, Moon and Sand, Imagine My Surprise, Berlin November, Chickie Baby, My One and Only Love, Autumn Leaves

Recorded March 19-21, 1997 at BCR Audio Productions, Kansas City, MO; Bill Crain, engineer.

If you've been hitting the Kansas City jazz clubs in recent years, you will recognize the name, and the playing of Wayne Hawkins. As a sideman, he has worked with many of the best players in town. It should come as no surprise, then, that the gifted pianist would eventually produce a recording as a leader.

This recording is classic jazz trio. And it takes off at full speed with a romping version of John Coltrane's "Moment's Notice." Although Hawkins is the session's headliner, from this first cut on it is apparent that he is willing to allow ample space for bassist Bob Bowman and drummer Todd Strait to strut their stuff. Says Todd in his contribution to the liner notes, "When the goal of a recording is to play music with a commitment to the group's interpretation, sense of interplay/improvisation, and collective leadership, some very interesting things are bound to happen."

And some very interesting things do happen. This recording presents a varied selection of standards, not-so-standard standards, and originals from Hawkins, Bowman, and KC's Doug Talley and Stan Kessler.

In Bob Bowman's now-sounding "Blues For John," the group pays homage to its Kansas City heritage. Next comes a rich rendition of the Weill/Gershwin tune "My Ship," a smooth and melodious cruise in which the influence of Bill Evans is revealed in Wayne's extended solo. The Young/Heyman composition "Love Letters" brings us back up to tempo in another romp that is a disk highlight.

Alec Wilder's "Moon And Sand" returns the trio to a ballad mode with wonderful solos by Hawkins and Bowman, and Doug Talley's funky "Imagine My Surprise" will sound familiar to those who have followed Wayne's work with the Doug Talley Quartet. The lyrical drumming of Todd Strait is a high point on this cut as well as on the contemplative and melancholy "Berlin November" by trumpeter Stan Kessler.

Hawkins adds an original of his own with "Chickie Baby" in which he freely quotes Chick Corea, another noticeable influence. And closing out the CD, the trio returns to familiar ground with a tender "My One and Only Love" and an in-depth "Autumn Leaves," the latter featuring Hawkins gently blowing, briskly flying, and ultimately soaring to even greater heights before landing safely with the listener. Yet another stellar solo by Bob Bowman followed by eights with the entire trio leaves us wanting more.

Based on the CD's title, it looks like there will be more! Keep an eye out for future volumes.

-- William Buchanan III

To order this CD by mail, send $15, which includes shipping and handling, to 7325 Quivira Rd., #182, Shawnee, KS 66216. Or look for Trio: Volume One in area stores.

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Steve Million
THANKS A MILLION
Palmetto PM 2026

Personnel: Steve Million, piano; Randy Brecker, trumpet/flugelhorn; Chris Potter, tenor/soprano sax, Michael Moore, bass; Ron Vincent, drums; Mark Walker, congas, shaker; Mark Patterson, trombone

Tracks: Seven A.M., Page Six, Lagoa, Waltz for Yadda, Toe/Knee, My Explanation, Thanks a Million, March of the Sycophants/Minions, Mis'ry Waltz, Situations In and Out of Mind

Recorded September 9-10, 1996 at Sound on Sound, New York City; A.T. Michael MacDonald, engineer.

One of the paradigm elements of quality musicianship is often the element of surprise. ...Great improvisers have it. Listen to Stan Getz, and just when you think you know where he is going with a line, he goes someplace else. And delightfully so. ...Great performers have it. Glenn Gould's recordings of Bach are still, after all these years, often astonishing. ...And great composers have it. By their use of melody and/or harmony and/or form, they take the listener to places unusual and, often, remarkable.

The compositions of Steve Million, one of Kansas City's favorite sons, are consistently of this nature. They are rarely predictable, and are often surprising in what they do, where they go, and what they offer to both the soloist and, more importantly, the listener.
Million's second album, Thanks A Million, is a dandy. As with his first, Million To One, it is a fine display of the wares of a fully developed composer, and one who has the ability within many styles and formats to take his band and his listeners to very interesting places.

It is noteworthy that this new CD features the same band as the first: Million on piano, Randy Brecker on trumpet/flugelhorn, Chris Potter on tenor/soprano sax, Michael Moore on bass, and Ron Vincent on drums. Often, when a relative unknown like Million hires musicians of this stature for a first CD, they are somehow unavailable for future work. But Million's music is such that all involved are happily back, and the results are worth many a good listen.

All compositions are Million's, except for the title track by Gus Kahn. They are a far more eclectic mix of works then was heard on the previous release, running the gamut from samba through bossa nova to swing and featuring a myriad of tempos and meters. Steve explores three, seven and nine beats to the bar, as well as the more traditional four. There is not a weak tune on the album, with "Toe/Knee" -- a fresh-sounding blues with wife Toni in mind -- as the longest (at over seven minutes) and best of the bunch.

Vincent and Moore are again remarkable here. The feel and excitement they bring make for a force throughout, and one is always disappointed that their solos are not longer.

The same can be said of Chris Potter. He consistently provides solos of clarity and power, while demonstrating once again that he is an artist of great magnitude. Randy Brecker, on the other hand, is not as consistent as the others. While he brings some very good playing to several of the tracks, he also is guilty of some thoughtless valve rattling. And the album is flawed by some technical glitches from the horn players as well as some intonation problems between Brecker's flugel and Potter's soprano. The "uncomfortable" line is crossed at times.

Million's piano work is always adequate, though at times a bit hurried and shallow. However, his solo on "Mis'ry Waltz" is as well constructed and fun as any of his compositions. And on the aforementioned "Toe/Knee," he simply roars, proving conclusively that he can play with the best.

Thanks A Million is the second in what is hoped will be a long string of compositional successes for Steve Million. He is a mature and important writer, and he will be at the forefront of jazz composition for a long time to come.

-- John Leisenring

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Diane "Mama" Ray/
Rich VanSant Band
JAM! KANSAS CITY STYLE
Prime Cut Productions CD-010

Personnel: Diane "Mama" Ray, vocals; Rich VanSant, Hammond B3; Jay Eudaly, guitar; Marc Caplan, drums; Larry Van Loon, piano, vocals; Tom "Trashmouth" Baker, blues harp, vocals; George Robinson, trumpet, vocals; Rick Hendricks, guitar; Phil Brenner, saxophone; Stan Kessler, trumpet; Jim LaForte, vocals; Kent Raine, Hammond B3

Tracks: Save Your Love For Me, Blue Monday Blues, Change Gonna Come, Mama's Mood, Down Home Blues, A Song For You, Let the Good Times Roll, The Comeback/Going To Chicago, Taint Nobody's Bizness If I Do, I Wish, When A Man Loves A Woman

Recorded live July 27, 1996 at Harlings Upstairs, Kansas City, MO by Audio Vision, Kansas City, KS.

Diane "Mama" Ray and Rich VanSant need no introduction to music-loving Kansas Citians who have been out to hear live music in the past decade. Their blues jam on Saturday afternoons at Harlings is the longest consecutively running club jam in the city. This CD celebrates that ten (now eleven) year history, and the joyful sound and scene for which it stands.

About ten years ago, during a visit to my boyhood stomping grounds, I was wandering around Westport and heard some wonderful sounds wafting (along with a cloud of smoke) from an upper window at Westport and Main. I travel a lot and try to hear live music wherever I go, but when I passed through those heavy metal doors and trundled up the stairs to Harlings, I found a music scene that was as much fun as any I've experienced. There were city people and country people, old people and young people, people of all shades and stripes, all sipping cold beer on a hot Saturday afternoon, and all having a great time listening to Rich and "Mama" Ray and their regular band (plus the several sitters in that joined in the jam). To this day, whenever I am fortunate enough to be in Kansas City on a Saturday, it's a good bet you will find me at Harlings. Other visitors and musicians from all over the world have made the same discovery and many make regular pilgrimages to listen, sit in, hear Rich and Mama crack wise with each other, and enjoy some of the happiest and most unpretentious music anywhere.

Live albums are suspect. Rarely do they deliver the sound and capture the excitement of a live performance. This one does, and it does so in a big way. From the opening bars of "Save Your Love For Me" to the closing thank you from Rich and Mama, any listener who has ever been to Harlings will feel the energy that attends this live jam. After ten years, Mama Ray's voice is as strong as ever (is that her on "When A Man Loves A Woman?" or did Janis Joplin return to this earth for one more encore?), and Rich VanSant can kick in that explosive Hammond B3 sound like few others.

The other members of the regular band on this recording are Jay ("Doctor J") Eudaly (guitar) and Marc Caplan (drums). Both their rhythm work and their soloing are top notch. The guest appearances, all of which are strong and sincere, are by some of the usual suspects that are rounded up on a Harlings Saturday, with the exception of Larry Van Loon, late of Kansas City and the K.C. Bottoms Band, and on loan for this appearance from his current digs in Nashville. His gravelly voice and gospel-influenced piano add an uplifting dimension to the blues atmosphere of the recording.

If you have been to Harlings to enjoy a Saturday afternoon, I don't need to recommend this CD to you. If you haven't, then you should, and this coming Saturday would not be too soon. I can unconditionally guarantee a great time (and, as there is no cover charge, I can safely make it a money-back guarantee) and many happy returns.

Once you have been to Harlings to hear Mama Ray and friends, this CD will sell itself as a reminder of one of the most enjoyable music scenes around today.

Congratulations, and Happy Anniversary Rich and "Mama" Ray!

-- Gregg Ottinger

(Gregg Ottinger is JAM's Washington D.C correspondent. -- Ed.)

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Claude "Fiddler" Williams
KING OF KANSAS CITY
Progressive Records PCD-7100

Personnel: Claude Williams, violin, vocals; Kim Park, saxophones; Rod Fleeman, guitar; Bob Bowman, bass; Todd Strait, drums; Karrin Allyson, Lisa Henry, vocals

Tracks: Lester Leaps In, For All We Know, St. Louis Blues, Solitude, Smooth Sailing, Nice Work If You Can Get It, Canadian Sunset, Gee Baby Ain't I Good To You?, Exactly Like You, Fine and Mellow, Them There Eyes, Smoke Gets In Your Eyes, East Of The Sun

Recorded May 28-29, 1996 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

Over the course of a career that has spanned 70 years and touched the lives of many of yesterday's and today's finest jazz musicians, Claude Williams has more than earned at least a lion's share of the musical monarchy here in Kansas City. Proving this fact once again is Claude's latest release The King Of Kansas City in which he plays host to some of the finest players currently on the KC scene.

Backed by a guitar-based rhythm section, Claude and Kim Park (on tenor) open the CD with what turns into a spontaneous cutting session on "Lester Leaps In." It isn't difficult to imagine Lester Young himself jamming with Claude somewhere near 18th & Vine during Kansas City's jazz heyday so well have these musicians captured that sound. In fact, all but a handful of the tunes on this recording were written before the 1940s, ensuring the nostalgic feel throughout.

Next "For All We Know," a gentle ballad, cools things off a bit while allowing Park's tenor to shine. And on "St. Louis Blues," Claude puts down his violin long enough to tell a little "story," backed, at first, by only Rod Fleeman's fine guitar. Later he is joined in a beguine by Bob Bowman and Todd Strait before everyone struts into a casual swing. Claude and Rod trade solos, ending with a call and response shout chorus between Claude and the entire ensemble.

"Solitude" utilizes the vocal talents of Karrin Allyson and features another sensitive reading by Kim Park. Backed only by drums and bass, "Smooth Sailing" reprises Claude's 1972 work with Jay McShann on Man From Muskogee, a recording that recreated interest in their music and, thankfully, extended their careers well past the age at which most people retire.

Lisa Henry is the next Kansas Citian to join in on the fun with an Ella-esque vocal on "Nice Work If You Can Get It;" nice work indeed. "Canadian Sunset" and "Gee Baby, Ain't I Good To You?" bring us back to the four piece setting where we are rewarded with a pair of fine solos from Rod Fleeman's guitar. Kim Park then returns, but this time as part of a trio on "Exactly Like You." As Todd cooks, Claude and Kim work through another cutting jam in which each gently steps aside as the other takes a chorus.

Back to the four piece and curtain calls for Lisa Henry on Billy Holiday's "Fine And Mellow," and Karrin Allyson with "Them There Eyes," the latter allowing the entire band to trade fours after Claude and Karrin engage in a small cutting session of their own. And wrapping things up, one final chance for the quartet to shine with a swinging "Smoke Gets In Your Eyes" before finishing with "East Of The Sun (And West Of The Moon)" for which Kim Park again rejoins the band.

Claude Williams has said he "wanted to honor the players of the town he has called home" for 70 years by making this album. And that he certainly has done. King of Kansas City also succeeds in capturing much of what this reviewer loves about Kansas City jazz, a music full of vitality.

Long live Claude Williams. Long live the King.

-- William Buchanan III

(The above CDs are either currently or soon to be available in area retail outlets. -- Ed.)

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CLASSICS: FOR THE RECORD

Miles Davis
KIND OF BLUE (reissue)
Columbia/Legacy CK 64935

Personnel: Miles Davis, trumpet; Julian "Cannonball" Adderly, alto saxophone; John Coltrane, tenor saxophone; Bill Evans and Wynton Kelly, piano; Paul Chambers, bass; Jimmy Cobb, drums.

Tracks: So What, Freddie Freeloader, Blue in Green, All Blues, Flamenco Sketches, Flamenco Sketches (alternate take)

Recorded March 2 and April 22, 1959 at Columbia's 30th Street Studio, New York, NY.

So many words have been written about Kind of Blue that any further comments might seem superfluous. This timeless, trend-setting music, featuring Miles Davis and his great sextet, has been justifiably praised as one of the great accomplishments in jazz. Recently, however, Sony has reissued these sessions as part of their Columbia/Legacy line. And this is one edition not to be missed.

For starters, it's the first version of this music where the initial three performances, those that were always pressed a quarter-tone sharp -- even on earlier CD releases -- have finally been corrected to the "real" pitches (as played in the studio). A genuine relief!

Particularly enjoyable is Sony's latest art direction/design, which restores the original cover, reproduces Bill Evans' original essay -- his classic "Improvisation in Jazz" -- and includes (for the first time) many historic photographs of the musicians. The CD itself is a facsimile of the old Columbia LPs (with the solid red sheen). Also included is an interesting new commentary by critic Robert Palmer. A very attractive package.

Sonically, Mark Wilder (the remix engineer), did a marvelous job enhancing the recording quality. Paul Chambers' bass lines are much clearer, for instance. And despite the late-'50s penchant to record with too much reverb, Wilder and his team have managed to mitigate even this, making the group sound more "true." One hears the difference immediately.

Naturally, these enhancements clarify the bad as well as the good -- in this case, the out of tune piano. It seems amazing that Davis (and Evans) tolerated this; it's bad enough dealing with this sort of thing in clubs! Throughout most of his fabled career, Miles was in command of his world as few artists were, or are today. Surely he could have demanded the strings be tuned. Examples of this abound in jazz; for some reason, many sessions Bobby Timmons contributed to featured horribly maintained pianos. How remarkable, then, that here Evans was able to successfully concentrate on making such great music.

About forty years ago, a new phrase entered the jazz lexicon: Modal Music. Briefly, this referred to playing/writing whose emphasis was scalar (horizontal) as opposed to chordal (vertical). Kind of Blue has often been referred to as "the first modal jazz record." This is a misconception. Not only are there prior examples (by Miles and others) of modal jazz, in this case musicians and listeners alike have consistently misapplied the term. Scalar improvisations do dominate this project, yet traditional Western harmonies undergird much of it as well.

The opener, "So What," certainly is a modal tune, and soon became the basis for Coltrane's "Impressions" one year later. After a complex, notated introduction from Evans and Chambers, there are but two harmonies in this piece, and no standard harmonic progressions. Notable is Evans' uniformly sparse, scalar playing.

"Freddie Freeloader" follows. It is an infectious, straight-ahead blues with a twist: the substitute chord heard during the final two measures of alternate choruses. At the end, the expected harmony (heard intermittently) resolves things nicely. Adderly turns in a stellar solo, drenched in the funky vocabulary of the blues. His playing throughout Kind of Blue represents, like Wynton Kelly's here, the epitome of this school of playing.

For those of us who recall the vinyl era (!), Side 1 concludes sans Cannonball as Bill Evans returns for his magnificent "Blue in Green," an uncommonly gorgeous ballad. The arrangement features ideas Evans employed frequently throughout his career, and the tune is played "in various augmentation and diminution of time values" (from Evans' essay). The rubato restatement of the closing theme is another such device. And while this piece does feature a descending scalar melody, all its harmonies are derived from the traditional V-I progression. Miles and Coltrane play particularly beautifully here.

"All Blues," a cool 6/8 swinger, features the sextet again playing the blues. It quickly became fashionable to consider this an example of "playing mixolydian modes." One wonders why; modes aside, it makes more sense to hear "All Blues" as a prototypical blues performance. And the groove is strictly from the Hard Bop manual. Miles takes charge on the memorable ending, repeating notes one wishes might last forever. The ending fade seems so sudden...

Kind of Blue closes with the exotic "Flamenco Sketches," its opening measures stylistically reminiscent of Evans' more recent composition "Piece Peace." Although scalar playing is again featured prominently, well-placed V-I chord progressions are positively identifiable. The title notwithstanding (there's little or nothing overtly "Spanish" about this piece), Miles' playing -- in particular, his tone -- does prefigure his haunting performances on Sketches of Spain, the orchestral masterpiece he was to record with Gil Evans within a year.

One of the more impressive feats throughout Kind of Blue is the consistently sensitive playing from the rhythm section, especially their not interfering with the soloists. This helps the project's overall cohesion immensely, and is an important lesson that could stand revisiting today. And the relaxed tempos of the tunes (two unhurried mood pieces, three medium-tempo swingers) contrast favorably with what was to come. In subsequent years Miles was to perform "So What" (and similar pieces) at a frenetic pace, thus foregoing the calm sophistication heard here. By comparison, listening to Davis' later versions evokes images of forests ablaze, whereas these originals suggest the sonic equivalent of less frantic musicians maintaining a steady, blue flame.

Some might think it odd that Chambers, one of the premier soloists in the history of jazz, is limited to a single bass solo on this record ("Freddie Freeloader"). But there are no drum features either, not even any trading of fours or eights. On every track, Chambers and Cobb stick to the important role of keeping rock solid time. All this, no doubt, is by design; the record certainly doesn't sound like it "lacks" anything!

Finally, an exciting surprise: Sony's inclusion of a stunning alternate take of "Flamenco Sketches." Simply put, this is a unique and valuable performance, even considering its minor flaws (the substandard piano tuning is particularly noticeable, and Adderly does play a few notes that appear to clash with the harmonies). And for some reason the recording level is noticeably higher than on the other tracks. Perhaps these factors led producer Irving Townsend to dismiss it. But in other ways, this interpretation is possibly better than the master. Dig the marvelous group cohesion, and the special poignancy of the solos. Dig Miles playing at his absolute peak. And Coltrane's solo is so very well constructed with notes that are unpretentious yet profound. He's obviously listening very carefully, letting the music unfold and taking great care not to "overplay." What an achievement!

Heartiest congratulations to the team at Sony. This new edition of Kind of Blue belongs in every serious music lover's collection.

-- Paul Hofmann

(A former Kansas Citian, pianist Paul Hofmann is currently living and performing in the Rochester, NY area. -- Ed.)


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