German label MPS has been reissuing from their archives a cache of classic sessions from the 1970s, a time when acoustic jazz was trying to figure out how to hold on against the Philistines of rock and jazz fusion. These four remastered albums, all sounding amazingly clear, demonstrate that the guardians at the gates still had the desire and fortitude to
guard the citadel.
Joe Pass’ 1970 album was one of his few departures from his lengthy stay at the Pablo label, just before his legendary Virtuoso series. This one has him in a sleek trio setting with Eberhard Weber/b and Kenny Clare/dr, sticking mostly to standards, but producing a cleverly Latinized groove of the then-pop hit “Ode To Billy Joe”. He’s rich and patient on the Basie-associated “Lil’ Darlin’”, and sambas softly to the delicate “Meditation”, while his own “Joes’ Blues” is a tasty delight. This is how a guitar is supposed to sound.
Not known to many in the jazz world, Art Van Damme was a jazz accordionist, mostly popular in Europe and Japan, but he was also quite innovative in the swing and bop field. This 1967 recording has him with Greddy Rundquist/g, Heribert Thusek/vib, Peter Witte/b and Charly Antolini/dr serving up cocktail lounge takes of “Satin Doll”, “Swanee” and “Autumn In New York”. Thusek’s vibes are stately on “Love Walked In”, Rundquist’s guitar is clean and clear on “Since I Fell For You” and van Damme is sophisticated and understated throughout on the trip to uptown and upscale neighborhoods.
Uk-based pianist John Taylor was a sideman for the likes of Cleo Laine while also carving out a niche as a post bopping trio leader. Here, on this 1973 session, he’s with Chris Lawrence/b and Tony Levin/dr on a collection of self-penned pieces. He tears into “Cipher/Wait For Me” and “White Magic” with the intensity of vintage Herbie Hancock, with Levin getting a workout as he’s spotlighted on “Leaping”. Tasty interplay with Lawrence is heard on “Speak To Me” with the leader showing his wares on his aria of “Song For A Child”. An overlooked modal gem.
Ellington and Basie alumnus Clark Terry plays flugelhorn on this “easy listening” album with an orchestra lead by Nat Peck. There is a healthy supply of jazzers in the scene like Gordon Beck/p, Tony Coe/ts and Martin Kershaw/g, all who get a bit of solo space here and there. But it’s Terry that is the star, and he keeps this album from delving into background music with some gorgeous and creative solos as on “November Song”, “Misty” and “Emily”. He hits all the blue spots on “Yesterdays” and an impressively dark “Angel Eyes”, while the title piece is a rich and sumptuous adventure. Sophisticated gentleman.