JazzWax

Michael Weiss: Soul Journey

In March 2000, pianist, composer and arranger Michael Weiss went into New York's Avatar Studios on West 53rd Street and recorded a masterwork. The album was Soul Journey and featured Michael Weiss (p,Fender Rhodes), Steve Wilson (as), Ryan Kisor (tp,flghrn), Steve Davis (tb), Paul Gill (b), Joe Farnsworth (d) and Daniel Sadownick (perc). Engineered by Joe Ferla, Soul Journey was released only on CD in 2003. [Photo above of Michael Weiss]

Now, 20 years later, Sintra Records has reissued Soul Journey on a double-LP vinyl album. Michael tells me the original master tapes were in pristine condition, and only 500 copies have been pressed. The album also is available in the reel-to-reel format through a special order. Bernie Grundman Mastering will dub the original master tapes onto a set of two 10.5" 2500' reels at 15ips.

Seems pretty fussy for music recorded in 2000, but that's Michael. And you know what? Soul Journey is terrific. I hadn't heard the album when it originally came out. But listening to it now, the work is majestic, brash and dynamic throughout. All compositions and arrangements are by Michael, and the playing is spectacular and supersized, with zero fat or wheel-spinning. [Photo above of Steve Wilson courtesy the City College of New York]

Born in Dallas and schooled at Indiana University, Michael moved to New York in 1982. I first heard him at Barry Harris's Jazz Cultural Theater in 1984. Michael has toured with Jon Hendricks and has worked with George Coleman, Art Farmer, Johnny Griffin, Slide Hampton and Gerry Mulligan, among others. In 2000, Michael was the grand prize winner in the BMI/Thelonious Monk Institute's Composers Competition. [Photo above of Ryan Kisor]

On the double LP, there are two songs per side, with three songs on the last. In order, the tracks are Optimism, El Camino, Soul Journey, Orient Express, Atlantis, The Prophecy, The Cheshire Cat, La Ventana and Second Thoughts. [Photo above of Steve Davis]

What makes the music exciting is the intricate feel and shifting mood of each song and the tightly wrapped arrangements. Then there's Michael's dagger-sharp playing on both the piano and Fender Rhodes. Songs have a sophisticated, '70s flavor, and the thunderous execution by the pros on the session is exhilarating. The arrangements are intricate, but they are splendidly melodic, and these guys dig in and chew away, especially when soloing. [Photo above of Paul Gill courtesy NJ.com]

Interestingly, the group sounds much larger than a septet. That's due to Michael's arranging skills. And on many songs, in the middle of the musical traffic, Michael flies in with a piano solo that raises hairs. What's especially rewarding about the album is that it plays like a seamless suite. You put on the first track and listen all the way through, as if the album were one long thought. [Photo above of Joe Farnsworth courtesy of YouTube; photo below of Daniel Sadownick courtesy of Drummerworld.com]

JazzWax tracks: The newly issued vinyl version of Soul Journey is available here (click on "numbered" or "unnumbered" and you'll be taken to your Paypal account. An unnumbered LP with shipping is $52, while a numbered LP is $72).

If you'd rather have the CD, mp3 or stream, you'll find them here.

Sample tracks are here.

JazzWax tracks: Here's Optimism...

Optimism

And here's Orient Express...

Orient Express

Thad, Hank and Elvin Jones

It's not overly surprising that Thad Jones, Hank Jones and Elvin Jones were all jazz musicians. What is astonishing is that all three were exceptional, each with a distinctive and accomplished playing and recording career. By my count, the three brothers recorded together five times—on Keeping Up With the Joneses (1958), Herb Geller's Gypsy (1959) and Elvin Jones's Elvin! (1961-'62), And Then Again (1965) and Midnight Walk (1966). [The cover photo above features, from left, Thad Jones, Hank Jones holding Thad's daughter Thedia, and Elvin Jones holding Thad's son Bruce]

The first album was their best, or at least is a savory starting point. Recorded for Metrojazz, an MGM subsidiary, in May 1958, the three Jones brothers added Eddie Jones (no relation) on bass. Thad played trumpet and flugelhorn, and Hank played piano and organ, with Elvin on drums. [Photo above of Thad Jones by Francis Wolff (c) Mosaic Images]

The first four songs—Nice and Nasty, Keepin' Up With the Joneses, Three and One and Sput 'n' Jeff—were by Thad. The remaining three were by Isham Jones (also no relation): It Had to Be You, On the Alamo and There Is No Greater Love. [Photo above of Hank Jones by Francis Wolff (c) Mosaic Images]

What's remarkable about this album is how quiet it is. Thad plays mostly muted, and all of the players execute in a gentle, hushed fashion. As a result, Thad is out in the open, and we get to hear his playing and technique without interference. His beautiful round tone and fleshy notes are terse and stacatto, without much lingering sound. [Photo above of Elvin Jones by Francis Wolff (c) Mosaic Images]

As brothers, the Joneses playing together were more about listening and working as one rather than competing for attention or showing off. They were more in awe of each other's abilities than stepping on toes. What I love most about this album is that they left space for each band member to do his thing, which is what makes this album special. Even on the Isham Jones standards, the brothers play with refined elegance and taste, steering clear of elbowing or crowding.

Herb Geller's Gypsy is a half-baked jazz take on the Broadway show; Elvin! finds the three brothers in a sextet with Frank Wess and Frank Foster; And Then Again veers avant-garde; and Midnight Walk is funky. [Photo above of Thad Jones by Francis Wolff (c) Mosaic Images]

Of the five albums, Keeping Up With the Joneses is a great entry point for the music of Thad, Hank and Elvin Jones and a starting point for hearing what made each one sparkle with grace.

JazzWax tracks: You'll find Keepin' Up With the Joneses here.

JazzWax tracks: Here's Nice and Nasty...

And here's Sput 'n' Jeff...

A special thanks to Bill Kirchner.

Ed Sullivan: Jazz and Pop

Yesterday I posted a new YouTube video clip of Carmen McRae on The Ed Sullivan Show. Today, here are a nine more recent jazz and pop additions to the Sullivan YouTube channel [photo above of Ed Sullivan courtesy of The Ed Sullivan Show]:

Here's Nancy Wilson singing Face It, Girl It's Over in 1968 Nancy told me when I interviewed her that she was pregnant when she sang this song on Ed Sullivan and had this dress specially made. As with all Nancy Wilson clips, watch how she arches her mouth...

Here's Peggy Lee singing The Best Is Yet to Come in 1962...

Here's Duke Ellington playing a medley of Beatles songs in February 1970. Two months later, Paul McCartney announced the group's split...

Another Peggy Lee video, this time singing (You Make Me Feel Like a) Natural Woman in 1969...

Here's Ella Fitzgerald with Duke Ellington in 1965 performing It Don't Mean a Thing...

Here's Nancy singing Out of This World in 1968...

Here's Pearl Bailey singing You're Nobody Till Somebody Loves You in 1969...

Here's Dionne Warwick singing I Say a Little Prayer in 1968...

And here's Louis Armstrong singing Hello Dolly in 1964...