By Melissa Fossum
By Lauren Wise
By New Times
By Amanda Savage
By Jason P. Woodbury
By Troy Farah
By New Times
Making up for the losses is a load of new jazz from mostly unfamiliar female faces. Sultry vocalist Carla White's seventh album, The Sweetest Sounds, appears stateside via a Japanese release on DIW. White scats through a set of standards in the company of tenor saxophonist Lew Tabackin. Good but not particularly memorable. The more demonstrative Julie Kelly bounces from cuts by Sonny Stitt and David Frishberg to the Brazilian fare of Ivan Lins and Djavan on the top-drawer Into the Light (CMG). Just as impressive is flutist Abby Rabinovitz, whose We Used to Dance (Yamuna Records) dips into free jazz, classical and Eastern styles with a distinct foundation in klezmer music. Her kosher approach is a hell of a lot more interesting than the average cooing luv-jazz flute rubbish. Pianist Beegie Adair dresses up 14 Cole Porter cuts on Dream Dancing: Songs of Cole Porter (Hillsboro), her light touch making for that rare collection of standards worth repeated listening. Bassist Mary Ann McSweeney plants herself between sax and trombone on Thoughts of You (Jazz Magnet), where she references influences as diverse as mentor Roy Brown and Jaco Pastorius. The disc features a killer version of the dreadfully overplayed, numbingly boring hymn "Amazing Grace," which leads us to pray for an equally inspired follow-up album.
Two more jazz women and a Chick: Brazilian belter Flora Purim's heyday was as fusion warbler with hubby/percussionist Airto in Chick Corea's Return to Forever, which she references on Perpetual Emotion (Narada Jazz) by revisiting "Crystal Silence." Though her adventurous yelping doesn't stretch as far as it used to, this'll do as an intro to a unique post-bossa nova Riodiva. A better Corea move is Dakini Land (Two Beans Music) by singer Barbara Montgomery, who sings the seldom-heard lyrics of the pianist's fusion-era "500 Miles High" and "Crystal Silence." Montgomery the Buddhist interprets Corea the Scientologist. Everybody hold hands and chant.
Fancy Frenching an organ? Parisian Eddy Louiss does. He and his Hammond B-3 lead a quintet through a progressive set of intentionally unfunky material on Recit Proche (Dreyfus Jazz), which is français for: If Woody Allen filmed himself peeing in a bucket, we'd applaud it. Speaking of the land of the Awful Tower, Jacky Terrasson's A Paris . . . (Blue Note) hands over a prime collection of moody French music associated with figures as diverse as Jacques Brel, Edith Piaf and Francis Poulenc.
Play nice together, boys: The Gerry Mulligan Quartet in Concert (Pablo) unearths some fine piano-free pontificating from the late baritone saxman, dating back 40 years to the time when he was ping-ponging off fellow low-ender/trombonist Bob Brookmeyer rather than his better-known earlier foil, Chet Baker. Unique tenor stylists Zoot Sims and Eddie "Lockjaw" Davis bounce off each other on The Tenor Giants Featuring Oscar Peterson (Pablo), a conservative but worthwhile set recorded in 1975, with Peterson oddly subdued in his supporting role. Dave Brubeck's Double Live From the USA & UK (Telarc Jazz) is an edgeless but acceptable two-disc set featuring two versions of "Take Five" (totaling out at more than 23 minutes) with Paul Desmond wanna-be Bobby Militello. Freddie Hubbard and Jimmy Heath blow hard-core from the very first notes of the previously unreleased 1965 set Live at the Left Bank (Label M), only later granting the audience mercy with the no less gutsy ballads "Lover Man" and "Autumn Leaves." Johnny Griffin and Steve Grossman also lock horns on the impressively fierce Quintet (Dreyfus Jazz), recorded last year in France. Either Griffin has somehow defied the aging process or they put speed in the water supply over there.
There's some caffeine fueling at least the audience on Ray Brown Trio's Live at Starbucks (Telarc Jazz). Though the mainstream bassist generally sticks to what you'd expect, he throws in a frustratingly brief piano take of "This House Is Empty Now" by Burt Bacharach and Elvis Costello. Elsewhere, fellow bassist Ron Carter, who's an omnipresent figure but seldom records under his own name, flashes that unmistakable signature sound on When Skies Are Grey . . . (Blue Note), decorating the middle-of-the-road song selection with lines so Ronishly Carterian that your dog could match the CD case with the disc.
Though Chicago jazz is currently better known for its wild-ass, face-painted AACM movement, its deeper roots lie in having breast-fed the offspring of Louis Armstrong as the music swam upstream from New Orleans. The city's Delmark label honors that connection by reissuing some significant trad New Orleans jazz recorded between '53 and '79: You might want to sink those false teeth into Saturday Night Function by Jim Beebe's Chicago Jazz, Albert Nicholas with Art Hode's All-Stars on Albert's Back in Town (Delmark) and George Lewis' Hello Central . . . Give Me Doctor Jazz (Delmark).