In 2023, Scott Wenzel and the late Michael Cuscuna commissioned me to write liner notes for two Mosaic collections of classic 
recordings from the Vanguard label. Produced by John Hammond between 1953 and 1959, the Vanguard Jazz Showcase presented a wide range of jazz musicians performing at peak creativity, and captured with exquisite audio fidelity. Many of these albums were first issued on 10-inch LPs and were never reissued on 12-inch records, let alone on CD. Most of this music was new to me, and the period of researching and composing the essays was a time of profound discovery and renewed love for this music. Through the kind permission of Mosaic Records, I am republishing my annotations for the Mel Powell recordings found on Mosaic 280 “Classic Vanguard Jazz Piano Sessions”. I found these albums particularly inspiring, and my research led me to meet Powell’s delightful and charming daughter, Kati. Both of the Mosaic/Vanguard sets were released in the early months of 2025, and at press time, they are still available for sale. I have no further financial interest in this project, but based on the overwhelming quality of the music I urge all jazz fans to click the Mosaic ad on The Front Page of this site, and purchase these wonderful collections. I am very proud to be part of the creative team for these albums.
–Thomas Cunniffe
MEL POWELL SEPTET/SOLO
NYC; December 30, 1953
There were few musical polyglots as gifted as Mel Powell. Born as Melvin Epstein in 1923, he began lessons in classical piano at the age of four and was eventually proficient enough to study with the noted virtuoso Nadia Reisenberg. His first exposure to jazz came through live performances by Teddy Wilson and Benny Goodman, and by the age of 14, he played professionally in New York City. As an accomplished player in the stride style, he worked with several traditional jazz groups, and while his musical palette expanded over the years, he remained a fan of classic Dixieland. He eventually joined the Goodman band where his compositions and performances won him renewed acclaim. He graduated from Yale University where he studied composition with Paul Hindemith. By the time he recorded for Vanguard, Powell was trying to establish himself as a classical composer, and except for a single big band session with Goodman, he had not recorded jazz in over five years. Powell’s first album was split into two distinct parts: four tracks of traditional jazz featuring Buck Clayton, Henderson Chambers, Edmond Hall, Powell, Steve Jordan, Walter Page, and Jimmy Crawford, followed by a solo piano performance of Powell’s neo-classical composition “Sonatina for Piano”, played by the composer, now identified as Melvyn Powell.
The four jazz tracks from this session are fairly straight-forward requiring little commentary. Despite a rather ominous introduction, “‘S Wonderful” becomes an unfettered jam on the Gershwin standard. The joy and relaxation are evident through all of the solos, and Crawford’s accents invigorate the band. Powell added a small ensemble figure to usher in the final chorus, but otherwise, this track was thoroughly improvised from beginning to end. “It’s Been So Long” opens with a theme statement by the leader with horn backgrounds, followed by Chambers, Hall, and Clayton, all of whom use the melody as a structuring device for their solos. The slow, haunted setting of “I Must Have That Man” offers a preview of the ballads Powell would record on subsequent Vanguard albums. Page bows his bass throughout the first half of the track, presenting a dark contrast to the improvisations of Powell and Clayton. Even when Page changes back to pizzicato, the mood remains somber and mournful. It’s quite a contrast to Billie Holiday’s classic recording (which featured Clayton and Page, alongside Lester Young, Goodman, Wilson, Freddie Green, and Jo Jones). The final track is an up-tempo flag waver, “You’re Lucky to Me”, a tune Powell recorded in a very different setting on “Out on a Limb”. This version is a head arrangement with a collective improvisation on the opening and closing choruses, [with] exuberant solos by Clayton, Hall, Powell, and Chambers. If Powell came into this session with any reservations, they were certainly dissipated by the spirit and power of these performances.
Even with advance warning, Powell’s through-composed “Sonatina” comes as quite a shock after the free-wheeling jazz sides. This three-
movement virtuoso composition has virtually nothing in common with jazz. It predates Powell’s serial (12-tone) works, but it flirts with atonality in the outer movements. The intense counterpoint is reminiscent of Hindemith, and the last two movements have time signatures which alternate with every measure. Listeners who are unfamiliar with this style of music may find it thorny and incomprehensible, but upon repeated listening, the piece becomes more accessible and inviting. The dancing, modulating runs of the first movement are separated into a series of brief episodes. The second movement is a theme and variations piece with the melody clearly heard in the upper register during the opening and closing sections. In between, there is a quiet and disarming variation, which is contrasted with a serpentine rhythmic episode. The third movement features a series of varied themes brought back within a cyclic form. Powell plays this challenging work with great sensitivity and astounding technique. We don’t know why Powell decided to include this piece on a jazz album, but perhaps he realized that it might be hard to sell this work on its own. As it stands, his is the only recording ever made of the work, and it has been out of print since the mid-fifties (and in fact, the unauthorized reissues of Powell’s Vanguard recordings have all omitted the Sonatina, using jazz recordings from other labels to fill out the CDs.)
MEL POWELL/PAUL QUINICHETTE/BOBBY DONALDSON
NYC; August 17, 1954
and
MEL POWELL/RUBY BRAFF/BOBBY DONALDSON
NYC; August 24, 1954
The next two Powell albums “Borderline” and “Thigamagig” share many similarities. A “thigamagig” (alternatively referred to as a “thingamabob”, “doo-hickey”, or “widget”) describes an object whose proper name has been forgotten—or possibly never learned. Meriam-Webster expands the meaning to include “something that is hard to classify,” and that definition comes a little closer to describing the ensembles and the music we are about to hear. What does Mel Powell’s Thigamagig do? Well, a little bit of everything. The unusual instrumentation of horn, piano, and drums is based on the Benny Goodman Trio, in which Powell played many times while working in the clarinetist’s big band. But unlike Goodman’s chamber jazz group (and its one-off successor, the Nat Cole/Lester Young/Buddy Rich Trio) Powell’s trios push the boundaries of jazz harmony and melody. At least, sometimes they do. At other times, their music is traditional and straight-forward. But this music rarely stays the same for very long, and the sudden changes in direction turn these albums into thrilling musical adventures.
“Borderline” combines Powell’s piano with Paul Quinichette‘s and Bobby Donaldson‘s drums. While it might be interesting to speculate on how Quinichette’s primary inspiration, Lester Young would have approached Powell’s music, it is much more rewarding to hear Quinichette explore this challenging repertoire. “Borderline” starts with a whirlwind of improvised and composed sounds. Without a bass instrument, the harmony is dictated by Powell’s left hand. In the opening theme chorus, listen to how the changes differ under the tenor and piano solos. The harmony becomes even more abstract after Donaldson kicks off the four-bar exchanges. “Makin’ Whoopee” starts with a wild piano introduction, but we’re not off to chase another dervish. Instead, the music stops and then it slides into the classic melody, set in a relaxed medium tempo with straightforward harmony. Quinichette evokes Young in his yearning solo, Powell displays his formidable jazz chops, and Donaldson moves from accompanist to soloist (aided by a catchy ensemble riff). Donaldson’s powerful bass drum fuels the energetic closing chorus. “What’s New” is another of Powell’s funereal ballads. In the first chorus, the tenor hews close to the melody over the long, spidery piano lines, and in the second, there is a unique dialogue between the saxophone and the treble lines of the piano. In the second bridge, Powell superimposes contemporary classical lines over the jazz background. He takes a slightly different path in his solo chorus, while revamping the chord progression. Apparently, there was another shorter take of this track, but everyone in the studio agreed that the longer version was better. In preparing this reissue, we have not found a tape of the rejected take.
The second side of “Borderline” opens with another intriguing original, “Quin & Sonic”. The opening and closing choruses have a mysterious air, but listen to how Powell brightens the mood of the piece with a simple transposition of the chords after the melody chorus. The swing era anthem “If Dreams Come True” opens with a Latin rhythm (with Donaldson using his hands on a tom-tom), then reverts to swing time for the tenor and piano solos. Here, the trio simply relaxes to play the song in a straight-ahead manner. “Cross Your Heart” was a tribute to one of Powell’s favorite pianists, Fats Waller, and Powell’s exuberant stride makes this one of the album’s many highlights. The musical experiments are not quite finished, though. Listen to Powell’s solo on the closer, “Avalon” as he appears to overlay a different key over the existing harmony. Unlike his impromptu modulation on “Ain’t She Sweet” (from “Thigamagig,” recorded a week later) Powell doesn’t really change keys here, but he doesn’t emphasize the home key, either.
Ruby Braff appeared on the Vanguard Jazz Showcase’s initial recording session as a member of Vic Dickenson‘s sextet [heard on Mosaic’s 
“Classic Vanguard Small Group Swing Sessions”] and he quickly became one of the label’s brightest stars. While he played regular gigs with the Dixieland band of Eddie Condon, he was eager to display the other facets of his talent—notably his beautiful tone, advanced harmonic sensitivity, and expansive approach to standards. His performances on the Mel Powell albums, “Thigamagig” and “Out on a Limb” revealed those facets to the public and paved the way to his brilliant duets with pianist Ellis Larkins.
“Thigamagig” begins with a rush of energy, and after a quick essay of the melody, Powell has changed keys and shifted the mood. Braff jumps in with a complimentary invention that encompasses the full range of his horn. Donaldson—who plays an even larger role on this album than on “Borderline”—sounds like he is sitting on the edge of his drum throne as he pushes the band to greater heights. Powell delves into the dense harmonies of “You’re My Thrill” with an extended (and adventurous) solo before Braff interprets the melody through the rich velvet tones of his trumpet. Braff opens the sprightly “Button Up Your Overcoat” with a series of dramatic cadenzas, and then enhances the melody with expressive moans and long, arching lines. The first half of the album concludes with Bobby Donaldson’s original mambo, “Don-Que-Dee”. Braff plays the forlorn melody on muted horn, and on the repeat, Powell nearly overwhelms him with the background figures. This track is Donaldson’s feature, and his dramatic solo achieves unity with the exclusive use of tom-toms and tenor drums.
“Bouquet” is a fascinating composition which juxtaposes (but does not combine) the worlds of contemporary classical music and jazz. Set in ABA form, the outer portions sound like part of a classical trumpet sonata with a lonely melody played over a repeated piano motive. The B section makes an unexpected turn into dance music, with Braff improvising extended lyric lines over Powell’s stride piano and Donaldson’s brushes. Then, with the shortest of all interludes, the original melody returns, virtually unchanged. There are no backstories to help us derive the meaning of this remarkable work (my guess is the memory of a love affair) but what a stunning piece to find on a mid-1950s jazz album! The sudden track switch to “Ain’t She Sweet” will doubtlessly bring a smile to the listener’s face, but don’t miss the relaxed approach to the song, and Powell’s inventive modulations. “Take Me in Your Arms” is a German pop song, with English lyrics by Mitchell Parish. Braff clearly knew the lyrics, and like Lester Young, he keeps them in mind as he interprets the melody. Powell’s piano solo is an homage to Teddy Wilson. Braff’s improvisation is a heart-breaker with overwhelmingly powerful lines and heart-on-sleeve emotions. The album closer is a rip-roaring version of “California, Here I Come” based on an old Goodman Trio arrangement. Braff phrases across the bar lines with another choice collection of lyric ideas, and then dazzles us with a pair of stop-time episodes and a thrilling ride-out.
MEL POWELL
NYC; October 19, 1955
The concept album, “Out on a Limb”, was programmed like a composition recital. The program included a diverse collection of original compositions and arrangements, each designed for a specific musicians and ensembles. On October 19, 1955, Powell brought ten musicians into the Brooklyn Masonic Temple to record the album in a marathon session. He split the musicians into two main combos, and then split each group again to feature a drum-less rhythm section. Everything they recorded was created for this album, and none of the tracks appeared elsewhere.
The first side features a fine septet of lesser-known musicians playing music inspired by swing and West Coast jazz. Clarinetist Peanuts Hucko is the probably the most famous of these players, due to a three-year tenure in Louis Armstrong‘s All-Stars, followed by several years as a featured soloist on the Lawrence Welk TV show. Tenor saxophonist Nick Caiazza bounced around several big bands during the 1930s and 1940s before settling into studio work and teaching. Trumpeter Al Mattaliano played in the Stan Kenton Orchestra around the time of this album, and later played in the pit orchestras for several major Broadway shows. Tommy Kay was a member of Jimmy Dorsey’s big band during World War II, and after the Swing Era ended, he free-lanced in several groups, including the studio orchestra on Mildred Bailey’s acclaimed CBS radio series “Music ‘Till Midnight”. Around the time of this recording, Kay wrote a heartfelt appreciation of his fellow guitarists for Metronome magazine. Arnold Fishkin was best-known as the bassist on Lennie Tristano‘s trio recordings from the late 1940s. He was also a big band veteran with tenures in the Bunny Berigan and Benny Goodman orchestras. Bobby Donaldson, such a vital part of the trio albums above, was the only musician—save Powell—who played in both combos. We have no information on how Powell selected this particular group of musicians, but they play well as an ensemble which was a crucial element in these arrangements.
The opening track is a quiet setting of “Gone with the Wind” for the Powell/Kay/Fishkin trio. It alternates between three-way counterpoint in light classical style and understated jazz swing. “Bunny Hug” is a cool Powell original for the septet. The horn blend is attractive and the ensemble figures have an undeniable charm. The solos by Caiazza, Hucko, and Mattaliano are brief and swinging, if not virtuosic. The piano/guitar/bass trio returns for an atmospheric ballad treatment of “Pennies from Heaven”. The introduction is an almost-too-literal imitation of raindrops, but the majority of the track is a straight-ahead jam on the classic standard, featuring a sensitive opening piano solo, a sudden jump in tempo for the guitar improv, and an effective modulation into a second piano chorus. A ritardando brings back the original tempo and more raindrops. “Stompin’ at the Savoy” is much more successful, with a light contrapuntal treatment of the familiar theme, a series of relaxed solos by piano, trumpet, guitar, tenor, and clarinet, and a tidy variation to close the arrangement. “When Your Lover Has Gone” features the most elaborate setting in the septet’s repertoire. It starts in a very slow ballad tempo as a piano meditation, and segues into an eerie variation dominated by clarinet and arco bass. Suddenly, the tempo changes to a medium swing for solos by Caiazza and Powell. A complex ensemble passage separates the two solos, and the piece closes with an abrupt return to the earlier tempo and mood. “Cooch” has a theme that is unusual for its angular melody and brevity. Powell effectively reuses the basic motives to introduce the soloists.
The second side of the LP was credited to “The Quintet”, but the five musicians only appear together on two of the six tracks. Instead, two trios dominate this side, one featuring Powell with Skeeter Best and the redoubtable bassist Oscar Pettiford, and the other including Powell, Ruby Braff and Donaldson. The four tracks featuring Braff and Donaldson should not be considered an extension of the “Thigamagig” sessions since the music is much less adventuresome than on the earlier album. However, they are just as delightful, especially Braff’s soulful lines and hearty growls throughout “Beale Street Blues”, and the spirited solos by all three principals on “Rosetta”. Sandwiched between these tracks are two tracks with Best and Pettiford. First is a sprightly jam on “Three Little Words” with an outstanding guitar solo and an unexpected modulation into a brilliant piano solo. Next comes a densely chorded medium-tempo jump through “You’re Lucky to Me” featuring Pettiford’s outstanding solo and ensemble work. Then the two trios merge for a tightly swinging version of “Liza” and a grooving setting of “The Best Thing for You” (mis-identified on most issues as “The Best Things in Life are Free”). Best remains in the background throughout these tracks, so much that it’s easy to miss his propulsive rhythm guitar. Braff steals the show on “Liza” with an effusive opening solo and an overwhelming ride-out, but stay alert for Powell’s sparkling octaves through his solos and Donaldson’s great brushes on snare.