| Whether you're a straight-up punk or a hepcat jazz fan, there are several reissues out now to tickle your musical fancy.
Admittedly, it’s a bit of a stretch to call Oscar Peterson Trio – Vancouver 1958 a reissue. After all, the live performance it documents has never been released to the music-buying public before, making this disc from Montreal’s Just A Memory Records "new" to most listeners. But since the concert took place 45 years ago, it doesn’t really count as a "new" release, either. Let’s call it "undiscovered," for the sake of argument.
I don’t think it will remain undiscovered for long, though. This is an outstanding performance by the quintessential Peterson combo, featuring guitarist Herb Ellis and bassist Ray Brown. It’s also one of the last recordings the trio made together, as Ellis left later in 1958. These musicians are on top of their game – they’re energetic, tight and respectful of one another. Peterson can frequently be heard scatting and stomping over his piano parts, especially on the Rodgers and Hart-penned "I Like To Recognize The Tune." Ellis shines on the Clifford Brown composition "Daahoud," as well as on his own pieces "Patricia" and "Pogo," and Brown nails the standard "How High The Moon." But the old adage "the whole is greater than the sum of its parts" is demonstrated on every track – these are masters at work. A must for any music fan, whether you were at the Orpheum Theatre that August night or not.
Just A Memory’s parent label, Justin Time, has recently re-released Worth Waiting For, the 1991 album from Alberta’s star saxophonist, P.J. Perry. The Edmonton-based jazz musician has only released a few albums over the course of his career, so fans should welcome this addition to his catalogue. In particular, you’ll appreciate the inclusion of two tracks, "My Ideal" and "Never Let Me Go," that were recorded during the original sessions but never released.
Perry is backed by a solid combo featuring Kenny Barron on piano, Chuck Deardorf on bass and Victor Lewis on drums, each of whom takes their turn in the spotlight (check out Barron’s take on Duke Ellington’s "Star Crossed Lovers"). Perry himself spends most of his time on the alto sax, but switches to tenor for a few pieces. I tend to like his tenor work better, as on the Count Basie classic "Blue and Sentimental," but the alto sparkles on "My Old Flame." A worthwhile way for Alberta music fans to support their local scene.
Having chilled out with some Canadian jazz legends, how better to heat back up than with 1980s punk stalwarts The Dead Milkmen and their collection Now We Are 20 (Rykodisc)? If you bought the collection Now We Are 10 in 1993, you might not think you need this disc, as 28 of the 31 tracks were released on that album. But then again, I don’t think the original had liner notes quite like this album does, with insightful blurbs from all the musicians as well as from hardcore DM fans like Wil Wheaton (Star Trek: The Next Generation).
Although there are tracks from as late as 1993 ("Shapes Of Things"), Now We Are 20 primarily documents the early history of the Philadelphia quartet, including songs recorded "live at Stephanie Rowley’s barn dance" in 1983. Most of the tracks are taken from a live broadcast on a Philadelphia radio station in 1984, which was originally released on cassette as Dead Milkmen Take The Airwaves. It’s a terrific snapshot of a young band just hitting its stride – they’re tight, funny and thoroughly enjoying themselves. It can be pretty low-fi at times – the Milkmen have very kindly included two versions of "Beach Song" and "Labor Day" for those of us who didn’t catch the lyrics the first time around. But gosh-dang, it’s fun. The Milkmen are Dead, long live the Milkmen! |
Copyright ©2003 FFWD. All rights reserved.