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Notes of the classic kind
The Classic Lena Horne
IN COMPARISON with "One for My Baby", reviewed in these columns not long ago and also an anthology of Lena Horne's music, "The Classic Lena Horne" is much more satisfying for fans of classic vocal jazz. It has very little of the irritatingly plaintive singing that the earlier album had. (In fact, the two worst offending tracks on this count were also on that album!)
Apart from these two ("Stormy Weather'' and "One for My Baby'') the most sentimental sounding piece is "Darn That Dream'', but it is the string accompaniment much more than Horne's singing that gives it the sentimental feel. The majority of the numbers show Horne's voice in a bright, perky mood, matched very well by good strong jazz instrumentation and solo improvisations.
``Come on Strong'', "I Hadn't Anyone till You'' and "Get out of Town'' are lively pieces on which Horne's singing is set against big band jazz accompaniment, marked especially by trumpet and trombone solos. On other pieces, such as "Love Me or Leave Me'' and "The Rules of the Road'', the quieter sound of piano, bass and drum support and improvisation is more prominent, although there is no clear-cut distinction between numbers dominated by big band and small group orchestration. Many of the pieces also have a string ensemble participating, though mostly not obtrusively, unlike on "Darn That Dream''. On the whole, this album does much to justify Horne's reputation as one of the great mid-century, jazz-influenced vocalists.
The Very Best of Christmas Jazz
Universal Music; Rs. 100
Blending jazz and Christmas might sound somewhat far-fetched, but in fact, jazz musicians have a long tradition of recording in the Yuletide spirit. Although a few numbers on "The Very Best of Christmas Jazz" have a tenuous connection with Christmas and a couple of others are forays by jazz musicians into straight pop on the Christmas theme, most do combine Christmas and jazz well.
Ella Fitzgerald's lusty voice starts the anthology brightly with "Rudolph the Red-Nosed Reindeer''. That other great jazz singer, Louis Armstrong, puts in a matching performance with "Zat You Santa Claus'' Joe Williams's virtuoso singing on "Let It Snow!'' is backed by a big band featuring beautiful solos on trumpet and alto saxophone.
The Count Basie band's offering "Good Morning Blues'' is another great combination of virtuoso singing and big band jazz improvisation. Shirley Horn's husky voice on "Winter Wonderland'' is well supported by guitar, bass, drums, and solos on trumpet and a delectable piano, probably her own.
The instrumentals are even better showcases of Christmas jazz. Oscar Peterson and Bill Evans, giants of modern jazz piano, are in top form with "A Child Is Born'' and "Santa Claus Is Coming to Town''. John Coltrane's beautiful soprano saxophone solos alternate with the pianist's and bassist's on "Green Sleeves'', while Kenny Burrell's guitar stars on "Merry Christmas, Baby''. Finally, the hoary "Jingle Bells'' gets virtuoso treatment from Jimmy Smith on the Hammond B-3 electric organ, a staple instrument of gospel, blues and jazz.
JAZZEBEL
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