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The best of jazz?
The Very Best of Peggy Lee Virgin Records; Rs 135
THE RELEASE last year of `The Very Best of Peggy Lee' ironically became timely when she died in January. Although the obituaries called her a jazz singer and her career started in 1941 with the jazz bandleader Benny Goodman, most of her later work was as a pop vocalist and occasional actress.
The over one hour of music here features not much jazz or even jazz-influenced pop, which she moved into when the distinction became clear early in her career.
A listener who hopes to get an idea of the work of a jazz singer would do well to remember that much of it is lively finger-snapping pop, dating from after the line of distinction was drawn.
Several pieces on the album feature her first husband, the jazz guitarist Dave Barbour. These, or those on which she is backed by a small group (piano, bass, drums) are the most satisfying for someone with jazz tastes.
For example, the opening number "Fever'' starts off with a jazz rhythm set up by just bass and drums. "Caramba, It's the Samba'' and "Ma$ana is Good Enough For Me'' both have a lively Latin beat and guitar solos.
``Black Coffee'' is a good sample of Lee's famous misty voice, set off by the prominent bass and trumpet enhancing the dark mood. "Walking Happy'' and "Why Don't You Do Right'' are two more catchy numbers with good instrumental backing, both featuring guitar, for Lee's lively voice, which elsewhere is frankly sentimental.
The Very Best of John ColtraneUniversal Music; Rs 125
For much of John Coltrane's brief career as a leader of his own small group, he worked for Impulse Records, from whom Universal has inherited the material, which this anthology from the early '60s is based. For once, therefore, there is little hyperbole in the title `The Very Best of John Coltrane', and there's plenty of it (some 75 minutes).
Coltrane developed a distinctive style in the late '50s with his "sheets of sound'', notes pouring out in a torrent without pause from his tenor saxophone. He then went on to revive the soprano saxophone.
The two most famous compositions for which he chose the soprano are featured here, "Afro Blue'' and "My favourite things''. Vigorous drumming sets the pace for over 10 minutes of "Afro Blue'', while a long piano solo and an even longer saxophone solo take the number to its end.
"My favourite things'' lasts a record 17 minutes, again featuring long solos on piano and soprano sax remarkable both for the virtuosity and the stamina of Coltrane and his pianist McCoy Tyner.
``In a Sentimental Mood'', from a session with the great Duke Ellington, although shorter, has a delightful interplay between Coltrane on tenor sax and Duke on piano. Other highlights of an album from which it is nearly impossible to pick a few numbers for special mention are the intensely emotional "A Love Supreme, Part I: Acknowledgement'' and the very lively "Impressions''. Most of the tracks have superlative support from Tyner on piano and Elvin Jones on drums.
JAZZEBEL
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