Ain't It Grand? The Glenn Crytzer Orchestra

I think that lots of folks wanted to get into the act in the 1920's and 1930's. After all, one big hit could put a guy on easy street! So these ditties, novelty tunes with corny lyrics, appeared by the hundreds. And some were well written and destined for a long life. Others were period pieces, but usually full of fun and frolic. Many of them featured better than average singers on board. This two-CD set features a total of thirty selections, most of which are from the obscure arena. Arrangements are all together appropriate but never "campy" or over indulged. Some of the more colorful titles include "Just Like A Broken Record", "When I Get Low I Get High", "The Little Orange Man", "Shorty's Got To Go" and many more. These are authentic treatments of foot tappin' tunes. Nostalgic? No question. Fun? By the truck load.

Self-produced; 2018; 2 CDs; times not indicated.

George's Briefs: "The Ing..." OKB Trio

If you're seeking some straight ahead, unadorned and reliable trio sounds, this will likely fill the bill. Pianist Oscar Perez and colleagues Kuriko Tsugawa, bass and Brian Woodruff, drums, (hence, OKB) are right in the pocket on five originals and five standards ranging from "I'm Gonna Sit Right Down And Write Myself A Letter" to "Please Send Me Someone To Love"; and from "I Remember You" to the ancient rock and roll opus "High Heel Sneakers"! Real deal piano trio music always remains refreshingly relevant. And here's a finely honed example of it.

Queens Jazz OverGround; 2018; appx. 70 min. 

Jubilation! Jim Snidero & Jeremy Pelt

Jubilation! celebrates the 90th birthday of the late alto sax giant Cannonball Adderley. In that role we find a present day gifted alto sax man, Jim Snidero. His co-leader on the date is trumpet sensation Jeremy Pelt who assumes the role of cornetist Nat Adderley. The quintet is completed by three more   of today's all-stars: David Hazeltine, piano; Nat Reeves, bass; and Billy Drummond, drums. Most of the chosen selections were composed and/or performed by the Adderleys. Examples are the familiar "Sack O' Woe" and the feel good melody line of "Wabash", both Cannon's creations, and the jazz mega-hit "Work Song" by brother Nat. The one choice from Songbook America is "Stars Fell On Alabama", played with great feeling by both co-leaders. One of my personal faves, "Del Sasser", is a jazz staple from bassist Sam Jones. Its infectious melody line is a winner, and its odd title is a reference to Irene Del Sasser, a dear friend of the composer. On all these and others, the quintet keeps it straight ahead and purely Adderley all the way. What a delightful tribute!

Savant; 2018; appx. 53 min.

Allan Vaché "It Might As Well Be Swing"

Perhaps you've never given it too much thought, but records like this are becoming a rarity. Think about it: A swinging little jazz quartet, with Allan Vaché's clarinet in a leadership role; and piano, bass and drums helping out on ten etched-in-stone classics, every one of which you know. The synthesizer got locked up; the electronics were unplugged and the singer had laryngitis. So happily we're left with Allan Vaché and three new names in the Arbors Records family---Mark McKee, piano; Charlie Silva, bass; and Walt Hubbard, drums. All work hand in glove with Vaché on these much loved classics. Vaché, it should be noted, doesn't subscribe to the DeFranco/Giuffre bebop school of clarinet players. He's from the swing school, the lineage of Goodman and Shaw. And his tune selections reflect that glorious era of quality songwriting with choices like "Poor Butterfly", "Air Mail Special", "Cheek To Cheek", "You Took Advantage Of Me", "Out Of Nowhere" and lots more. So, in this era of 20,000 sheep storming huge arenas to willingly get their hearing loss underway, there are still a few records like this one. It gives me a ray of hope. And it brightened my day.

Arbors; 2018; appx. 54 min.

Roger Kellaway New Jazz Standards Vol. 3;

New Jazz Standards, Vol. 3; Roger Kellaway, piano

Could it possible be that you don't know the name Roger Kellaway? The only explanation might be that he has quietly worked for more than fifty years with names like Burrell, Rollins, Sims, Webster, McRae, Murphy, Darin, Montgomery, Brookmeyer, Witherspoon and dozens more! He also wrote the "out" theme for All In The Family and well, he can do anything from stride to blistering bebop. I have witnessed him going for a percussive "shocker" by playing whatever notes possible with his entire forearm---elbow to wrist! Kellaway is a virtuoso who can play cascades of notes like a gigantic summer rain and then catch you off guard with a body-slam blues that can simply amaze. On this session Kellaway is joined by esteemed veterans Jay Leonhart on bass and Peter Erskine on drums. The trio takes on fifteen works by another brilliant player you need to know about, trumpet ace Carl Saunders. A major presence on the L.A. jazz map for years, Saunders is a scary presence on trumpet and flugelhorn. He can dazzle on ripping, fast passages and he can also handle dreamy, reflective things like few others. He's worked in nearly every musical context, from leading his own big band to small groups to studio work. He deserves superstar fame as a player, but now shows another side as a composer. It may be old school thinking, but Saunders writes a real melody line combined with a bridge and a return to the melody. I for one am all for that. Many of these songs are simply waiting for a lyric. In fact, one of them, "Is That Asking Too Much", contains a brief lyric which may call Mose Allison to mind. The songs vary in tempos and mood, but Kellaway, Leonhart and Erskine are equal to the task throughout. You may have noticed that this is volume three. Well, judging form this album, I'd love to get my hands on volumes one and two!

Summit; 2018; appx. 72 min.

"Simple Pleasure" Tardo Hammer-piano

• Now and then a recording deserving of a review escapes my attention. This superb 2013 trio session is led by Tardo Hammer and includes Lee Hudson on bass and Jimmy Wormworth on drums. I review it here because, if you're lucky enough to find it, it's worth the search. Hammer is guided by luminaries such as Bud Powell and Barry Harris. He is an absolutely illuminating bebop pianist, entirely devoted to his chosen muse. One listen to his lean lines and savory swing, and you'll get it. Tardo Hammer is a master of his craft. On this eye opening album the trio tackles some rarely heard material by such jazz heroes as Kenny Dorham, Ahmad Jamal, Cedar Walton, Sonny Clark and Horace Silver, among others. The one Songbook standard is Jerome Kern's beauty, "The Folks Who Live On The Hill". This session, to my way of thinking, exemplifies a certain standard for piano trio albums. The recipe is simple: great tunes that mean something from a jazz perspective. Honest dedication and communication among the players, all the while providing pleasure and chops galore to the listener. Tardo Hammer has it all in tact here---and there's more good news. His trio, with Hudson on bass and Steve Williams on drums, will be here in Portland at Classic Pianos, Tuesday, May 8 at 7 PM. I can hardly wait! Cellar Live; 2013; appx. 62 min.

"Tasty Tunes" The Ira B. Liss Big Band Machine

• Through the intense dedication and most likely the frequent struggles of believers, big bands like this one find a way to keep the flame alive. In this case it's through the tireless southern Californiabig band of Ira B. Liss. He's been at the helm of this striking ensemble for nearly four decades, employing the efforts of some exciting and talented soloists and ensemble specialists. The happy, high rung sound of this band makes it clear that these guys love this gig. So if you were a player in this setting, you'd take delight in a repertoire that features American Songbook classics. You'd be lucky enough to give it your all on gems like "You Don't Know What Love Is", "Early Autumn", "Over The Rainbow", "Oleo", "I Didn't Know What Time It Was", and a bunch more. This is, plain and simple, a gathering of first rate players soaring on fresh, stimulating, and often challenging arrangements. A real treat for big brassy band believers. But don't expect Lester Lanin or Freddy Martin!

Tallman Productions; 2017; appx. 57 min.