Between 1960 and 1961, jazz author and critic Nat Hentoff worked for Candid Records as its A&R chief and in-studio producer. During that two-year period, he recorded 34 albums. What made the albums special is that they were without commercial constrictions, meaning artists were free to record originals and with groups of their choosing. [Photo above of Charles Mingus and Nat Hentoff]
Many of the albums produced by Nat were released soon after they were recorded while others sat on the shelf for decades before the label's ownership changed hands and they surfaced in record stores.
Now, the new owner of Candid is remastering and reissuing the Candid catalog. I previously posted on notable titles here and here. Now, five more are out. What they have in common are lots of powerful originals composed by the albums' leaders and music shaded by the emerging avant-garde of the early 1960s. Best of all, the sound is great and you can really hear the special qualities of each artist, since the musicians were able to record what other labels probably had nixed.
Here are the five new releases:
Don Ellis—How Time Passes (1960). Don Ellis was a trumpeter, drummer, composer and leader best known for his adventures in the classical-influenced Third Stream and his unusual time signatures, tempos and free feel. He's probably best known for scoring and recording the soundtrack for The French Connection (1971) and The French Connection II (1975). The personnel on How Time Passes includes Don Ellis (tp), Jaki Byard (p,as), Ron Carter (b) and Charlie Persip (d). This album has a restless, Mingus feel, with ballads suddenly turning into uptempo pieces, only to slow down again. You'll find the album here.
Here's Sallie...
Phil Woods—Rights of Swing (1961). In the middle of his U.S. studio recordings with the Quincy Jones Big Band following its disastrous European tour in 1960, alto saxophonist Phil Woods recorded Rights of Swing. He brought in Benny Bailey (tp), Curtis Fuller (tb), Julius Watkins (fhr), Sahib Shihab (bar), Tommy Flanagan (p), Buddy Catlett (b) and Osie Johnson (d). Phil breaks with his bop underpinnings here and delivers one of his finest and most beautiful albums as a leader and composer. If you listen carefully, you can hear Quincy Jones's influence. You'll find the album here.
Here's Part II (Ballad)...
Steve Lacy—The Straight Horn of Steve Lacy (1961). Steve Lacy is barely known today when talk turns to the soprano saxophone. Though he began as a Dixieland player, he was soon captivated by the avant-garde in the mid-1950s. Yet his soprano playing always remained fluid and deeply influenced by the clarinet. His originals here are melodic and highly structured, but there's an experimental feel as well. Lacy's soprano dances and elevates and rarely lingers long on notes. He's backed by Charles Davis (bs), John Ore (b) and Roy Haynes (d). It's also worth listening carefully to Roy's drums. His polyrythms are fascinating. You'll find the album here.
Here's Played Twice...
Charles Mingus—Mingus (1961). Only three songs were recorded on this album by the bassist.The first and last were by Mingus, with the middle one by Harold Arlen. The tracks are M.D.M. (Monk, Duke and Me), Stormy Weather and Lock 'Em Up (Hellview of Bellevue). The first and third tracks featured Mingus (b), Ted Curson and Lonnie Hillyer (tp), Jimmy Knepper and Britt Woodman (tb), Charles McPherson (as), Eric Dolphy (as,fl,bass cl), Booker Ervin (ts), Nico Bunink and Paul Bley (p), and Dannie Richmond (d). Stormy Weather featured Mingus's pianoless quartet—Dolphy, Curson and Richmond. You'll find the album here.
Here's Lock 'Em Up...
Toshiko Akiyoshi and Charlie Mariano—Toshiko Mariano Quartet (1961). Akiyoshi and Mariano married in 1959, and this album is among their finest as a jazz-playing couple. Joining them were Gene Cherico (b) and Eddie Marshall (d). All of the tracks except Deep River are by Mariano or Mariano and Akiyoshi, and all are compelling and driven. Deep River, an Americana song, was in the public domain but gives Mariano a chance to show off his blues approach and stinging delivery. Akiyoshi is still with us, and it's a shame she isn't more widely celebrated. Here's my last post on her. You'll find the album here.
Here's Little T...
