Retro Reviews

Neglected among Duke Ellington’s classic albums of the late 1950s, Ellington Indigos contains definitive versions of standards by Ellington and his contemporaries. In this Retro Review, Thomas Cunniffe offers a fresh interpretation of this album and sorts out its various releases.

While Duke Ellington was one of Columbia Records’ signature artists, the company (now owned by Sony) has not always been an ideal custodian of Duke’s recordings. As a whole, Ellington’s 1932-1940 Columbia, Brunswick and Master big band sides have been out-of-print for years, with Columbia providing two outstanding collections in the 1960s, and little else since then. Mosaic Records has again stepped up to correct this problem, and in his Retro Review, Thomas Cunniffe notes the wide variety of Ellington treasures in this 11-CD box set.

From its iconic cover to the groundbreaking music within its grooves, Eric Dolphy’s Out To Lunch is one of the classic free jazz albums of the 1960s. In this Retro Review, Thomas Cunniffe examines this complex masterpiece.

The names Erroll Garner and Shirley Horn do not usually appear side-by-side in jazz histories. Yet in a vintage interview, Horn said that Garner was her first jazz influence. Both Garner and Horn created unique styles that were difficult for others to copy, specifically Garner’s idiosyncratic approach to rhythm and Horn’s intimate way with ballads. Thomas Cunniffe reviews newly released recordings by Garner and Horn in this month’s Retro Review.

To celebrate the 100th anniversary of Frank Sinatra’s birth, Sony Music and the Smithsonian Institute have released a total of 5 CDs featuring radio performances spanning the first two decades of the legendary vocalist’s career. In this month’s Retro Review, Thomas Cunniffe reviews both the Sony 4-CD set and the Smithsonian single disc package, noting that the recordings offer a rare opportunity to hear Sinatra performing songs he never officially recorded.

As the quintessential summit meeting between American and Brazilian artists, Getz/Gilberto was both an artistic and commercial success. For the 50th anniversary of its release, Verve has issued an new CD edition. Thomas Cunniffe writes that the original stereo album sounds better than ever, but finds the supplemental section lacking in imagination.

Following his 1961 big band masterpiece, Out of the Cool, Gil Evans defied expectations with his next album, Into the Hot. Evans acted only as producer, allowing John Carisi and Cecil Taylor to showcase their music. Amy Duncan reviews this classic album which contrasts Carisi’s progressive big band charts with Taylor’s avant-garde ensemble.

Herbie Hancock called his 1970 LP, Mwandishi his “favorite record of all the records I have ever made, and the loosest I’ve ever done.” Marissa Dodge examines this pivotal album which expanded the ideas explored in Miles Davis’ Bitches Brew.

During the 1920s, James P. Johnson’s career developed in four distinct areas: stride pianist, vocal accompanist, songwriter and sideman. A new set from Mosaic features Johnson’s recordings in all these areas during his peak years of 1921-1943. Because the recordings are presented in chronological order, the music of those distinct areas get mixed together. In his Retro Review, Thomas Cunniffe suggests that listeners use the programming function on their CD player to separate the styles and omit some of the less artistic tracks.

Jazz history textbooks will all tell you that Miles Davis’ 1959 masterpiece Kind of Blue was important because of its extensive use of modal improvisation. Thomas Cunniffe agrees wholeheartedly with that statement, but wonders if the modes were simply a means to an end. He traces the history of the album through its immediate predecessor, Jazz Track and finds a simple reason for the album’s artistic and popular successes.

Jazz and politics might seem strange bedfellows, but no one merged the two better than Charlie Haden. With brilliant arrangements by Carla Bley, Haden’s 1969 LP, Liberation Music Orchestra captured the turbulence of its era, and led to three more albums by this landmark ensemble. Thomas Cunniffe examines the original Impulse album in this Retro Review.

Resonance Records, a non-profit record label run by George Klabin and Zev Feldman, usually produces a handful of historic jazz releases each year, but this year–in the span of six weeks–they have issued five remarkable albums. In this expanded Retro Review, Thomas Cunniffe reviews the CDs by Thad Jones/Mel Lewis, Stan Getz, João Gilberto, Larry Young and Sarah Vaughan.

When Shuffle Along premiered on Broadway in May 1921, it ended a 12-year drought of black shows on the so-called Great White Way. With a new version of the show about to premiere on Broadway, Thomas Cunniffe examines a 1976 LP and a new CD which reconstruct the show’s proto-jazz score, written by Noble Sissle and Eubie Blake. Cunniffe also examines a new solo piano recording by Ehud Asherie of songs from the score.

Bulee Slim Gaillard was a man of many gifts–songwriter, singer, multi-instrumentalist–but his greatest gift may have been as a linguist of both real and invented languages. Gaillard’s recordings for JATP, MGM, Mercury, Clef and Norgran have been collected in a new Verve collection, Groove Juice and Thomas Cunniffe provides his input on how Gaillard’s music and humor have traveled through the years.