Author name: Thomas Cunniffe

When Art Pepper was released from Synanon in 1972, he was hesitant to resume his playing career. He realized that the music he loved to play was also the conduit for his substance abuse. Yet, with the encouragement of his wife Laurie, Pepper gradually started playing again. Thomas Cunniffe reviews a brilliant 1976 concert recording from the Paul Masson Winery, recently issued by Laurie’s Widow’s Taste label.

For years, Art Pepper proved that being white and a Californian were not detriments to being a great jazz musician. However, even near the end of his career, Pepper believed he had to prove himself yet again. A newly released nightclub performance from New York’s Fat Tuesday’s finds Pepper performing exciting and emotionally ripe solos in front of an explosive rhythm section with Milcho Leviev, George Mraz and Al Foster. Thomas Cunniffe reviews this important recording in this month’s Retro Review.

Under-appreciated by the jazz public, but beloved by musicians, Duke Pearson recorded seventeen albums in just under 11 years. Michael Verity singles out Pearson’s 1968 Blue Note LP The Right Touch as his crowning achievement in this month’s Retro Review.

The exclusive recording contract between Charlie Parker and Norman Granz was beneficial to both parties. Signing Parker was a coup for Granz, who did not yet have the large stable of recording artists. Under Granz, Parker recorded with a wide range of musicians, and was able to realize a long-held dream of recording with strings. A new 2-CD collection of Charlie Parker with Strings includes nearly a full disc of unissued alternate takes. Thomas Cunniffe reviews the new collection in this month’s Retro Review.

Known as the Wildman of Rhythm, Cuban singer and bandleader Beny Moré was beloved by fans and musicians. In a solo career that lasted just over a decade, Moré accumulated several hit records, 40 of which are compiled in RCA’s Lo Mejor de Lo Mejor. Jazz History Online’s Latin jazz expert Janine Santana revisits this music in this Retro Review.

The music of Charles Mingus was always ahead of its time, and on his album Pre-Bird he presents compositions that he wrote before hearing Charlie Parker. In this Retro Review, Ellen Johnson discusses all of the music and how it related to Mingus’ life.

Recorded in June 1976, Carmen McRae’s live album …At the Great American Music Hall is one of the singer’s least-heralded masterpieces. Featuring the outstanding rhythm section of Marshall Otwell, Ed Bennett and Joey Baron, plus four tracks with guest artist Dizzy Gillespie, the album finds McRae creating one memorable performance after another. In this Retro Review, Thomas Cunniffe writes that McRae benefits from the enthusiastic response of the young San Francisco audience.

In the mid-1970s, Eddie Jefferson finally received the popular and critical acclaim that was long overdue. His 1977 Inner City LP The Main Man has long been considered his finest work, with Jefferson singing definitive versions of his greatest vocalese pieces, backed by a remarkable all-star band. Thomas Cunniffe takes another listen in this month’s Retro Review.

During seven recording sessions in August 1956 and January 1957, Billie Holiday recorded three albums which represented some of the best singing of her later years. Several years ago, these three albums, All or Nothing at All, Body and Soul and Songs for Distingué Lovers were combined on a 2-CD set. To commemorate Holiday’s centennial, Thomas Cunniffe listens again to these superb albums, finding Holiday’s voice and interpretive powers at their peak.