Chega de Saudade.
Hailed as the first ever bossa nova record, the debut album of Brazilian musician João Gilberto, Chega de Saudade, is the epitome of easy-listening. The sound of Gilberto’s intimate vocals, gentle acoustic guitar and soft samba beat elicit an overwhelming sense of nostalgia and soothing calm, conjuring images of a tranquil bike ride through the early morning, late Spring streets of Madrid… or Paris… perhaps Rome. It is an escapist fantasy into a time now almost forgotten, with the record lasting only 23 minutes it’s a voyage that ends far too abruptly, but the impact and memory of which will continue long after you’re back home and returned to the mundanity of the existence.
Moanin’ in the Moonlight.
As much as I like jazz, it does come as a bit of a relief to listen to something different for the first time in a while; this musical diversification comes in the form of blues icon Howlin’ Wolf’s debut album, Moanin’ in the Moonlight. With the exception of the blues standards “Evil” and “Forty-Four”, all tracks are written by Wolf, the standouts of which are the legendary “Smokestack Lightnin’” which became a standard itself after the album’s release, and “How Many More Years”, a pioneering track through guitarist Willie Johnson’s use of the first ever power chord. Moanin’ is a, possibly the, classic blues record: memorable whaling guitar riffs, somber harmonica licks, the occasional bluesy piano (from Ike Turner among others) and the imposing, powerful, raspy vocals of the wolf himself.
Little Girl Blue.
Something slightly different again from the traditional jazz of recent weeks is Nina Simone’s debut album. Accompanying Simone’s soulful vocals and prodigious piano are Jimmy Bond on double bass and Albert “Toothie” Heath on drums. On Little Girl Blue, Simone takes inspiration from a variety of influences: “Mood Indigo” being a Duke Ellington written jazz standard, “I Loves You, Porgy” from the Gershwin opera to which the title hints, “Little Girl Blue” a melancholic solo piano interpretation of a Richard Rogers piece, as well as many others covers of songs taken from Broadway musicals and popular jazz standards. Simone et al’s talent and creativity is on full display in this cracking soulful jazz album.
Newk’s Time.
Recorded in 1957 but released in early 1959 shortly before a musical sabbatical that would result in no music being recorded for three years, Sonny Rollins makes a welcome return following last week’s Saxophone Colossus with Newk’s Time. Only bassist Doug Watkins remains in Rollins’ quartet from his 1956 album, joining him are journeymen Wynton Kelly on piano and Philly Joe Jones on drums. Among the tracks on the record are Miles Davis’ “Tune Up”, a song of lightening fast improvisations that ensure the instruments are working properly as soon as humanly possible; “Asiatic Rose”, a far-Eastern inspired Kenny Dorham composition that he would later release himself in 1960 as “Lotus Blossom”; and “The Surrey with the Fringe on Top”, it would appear as though Nina Simone isn’t alone in taking inspiration from Broadway musicals as Rollins and Jones offer their saxophone-drum-duet interpretation of this Rogers and Hammerstein tune from Oklahoma!. Newk’s Time may not be a classic, and lacks some of the memorability of Saxophone Colossus, but it is still an enjoyable and important record by a quartet of quality jazz musicians.
Mingus Ah Um.
The final jazz album for now, following on from his 1957 album last week, The Clown, is Charles Mingus’ Mingus Ah Um. The services of Shafi Hadis’ saxophone, Jimmy Knepper’s trombone and Dannie Richmond’s drums have all been retained, while additional saxophonists John Handy and Booker Ervin are included, along with Willie Dennis and Horace Parlan on trombone and piano respectively. These extra musicians provide a richer, fuller, grander sound to the ensemble, heard especially in the gospel-inspired opening track “Gotta Git It in Your Soul”. Among the other tracks, all of which are Mingus originals, is one of his most famous and popular compositions “Goodbye Pork Pie Hat”, a melancholic elegy to saxophonist Lester Young who died shortly before the recording of the album; and “Fables of Faubus”, a politically charged piece criticising the Arkansas Governor who, in September 1957, called on the National Guard to prevent nine African American teenagers from enrolling at a Little Rock high school. Through the combination of superbly crafted tight compositions and just the right amount of spontaneous improvisation, Mingus creates a special record that is accessible to jazz beginners as well as appealing to experts of the genre. An all-time classic.
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