One of the benefits of the revival of vinyl albums is that a ton of classic lps from the 50s and 60s are getting a chance to be heard by a new set of ears. This 1958 classic from alto saxist Benny Carter is a case in point, as I’m willing to bet most modern jazz fans have never even heard of this guy, even though he was one of the most important pre-bop alto players around.
His relentless sense of swing, combined with his warm and classy tone, set the standard for an entire generation, and even after Charlie Parker came around to shift the paradigm, Carter adapted to the times, as he shows here teamed up with modern cats like Barney Kessel/g, LeRoy Vinnegar/b, Shelly Manne/dr, Jimmie Rowles-Andre Previn/p and Frank Rosolino/tb while bringing in fellow Swing Era vet Ben Webster/ts to the front line. The material goes back to even pre swing as on a fun filled take of James P. Johnson’s “Old Fashioned Love” and Carter blowing smoke rings with Webster on “I’m Coming Virginia”. The band digs in for a fun “Blues My Naughter Sweetie Gives To Me” and struts through “Blue-Lou”. The gents make is sound so easy, and for them it probably was, but how come no one these days can do this?
The renaissance of vinyl albums has resulted in some very intriguing albums resurfacing. This obscure 1973 Impulse! release from Gary Saracho is a case in point. It’s the only album ever released by the keyboardist/composer, and it’s a richly ambitious affair, with a mix and match of artists and instruments including saxes, violins, guitar, bass, keyboards, and percussion, percussion, percussion. The core team of Carmelo Garcia/congas, Bruce Morganthaler/eb, Jamie Herndon/g, Owen Marshall/perc, and Jeffey Hassan/dr support the leader/keyboardist in a true fusion of plugged in jazz funk, Latin Psychedelia and expressive modal grooves, sounding at times like something Miles Davis would be envious if he grew up in East LA instead of East St. Louis.
The group digs deep on the opening “Sunday’s Church” and sizzles on “Conquest De Mejico”. The rhythm sections percolate and are well recorded. This album was actually recorded for the-then technical experiment of Quadrophonic Sound, namely having the music come out of four speakers instead of just two, so the separation is as clean as a whistle This is an overlooked treat. Put on your wide wale chords!