Dancin' to the Words
Peter Blanchette: Had Miles Met Maurice
(Peter Blanchette, 11-string alto archguitar; Charlie Schneeweis, trumpet; Jean Chaine,
bass guitar, 13-string tenor archguitar.
Dorian DOR-93198 CD. Peter Blanchette, prod./eng. DDD. TT: 58:06.)
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 Dorian is
one of those labels that hardly ever seems to produce a disc that is less than superb
sounding. In fact, casting my mind back over the last five years or so that I’ve been
on their mailing list, I can’t recall any sonic clunkers. Not one.
Musically, Dorian doesn’t seem to follow anyone
else’s muse, either. They put out an intriguing mixture of music which includes a
great smattering of Medieval and Baroque, a phenomenal series of Latin/American classical
music, previously unissued repertory featuring various solo instruments, and strange
blends of musical forms or types.
Remarkably, I find a lot of it perfectly matches my own
tastes, but who actually buys this stuff? Maybe you, if I’m convincing enough. Had
Miles Met Maurice falls into the "strange but beautiful" category ("In
everything beautiful is something strange," Baudelaire wrote), and it is haunting
stuff.
Actually, there’s no Maurice and no Miles here. The
premise is a mood -- the meeting point where the sensibilities of Miles Davis and Maurice
Ravel intersect. According to Blanchette, that’s a colorful, somber crossroads that
encompasses the music of Nina Rota, John Dowland, Igor Stravinsky, Eric Satie, Luis de
Milan, J.S. Bach, and Antonio Carlos Jobim, among others.
As played by Charlie Schneeweis on trumpet and Peter
Blanchette and Jean Chaine on 11-string alto archguitar and 13-string tenor archguitar
respectively, it’s a pretty convincing piece of real estate. Both Miles and Maurice
always did like to hang out in interesting neighborhoods and the three musicians make
theirs awfully inviting.
This is mellow music, but it’s not pabulum. Even the
overplayed "Gymnopdies Nos 1 and 3" have bite to them -- especially when
presented, as here, separated by the andante from Bach’s Gamba sonata in G.
Somehow, it all works; the pieces all fit together.
And sonically? It’s a slice of heaven.
Schneeweis’ trumpet is composed of equal parts breath and brass. He’s got great
chops -- and a velvet embouchere. The archguitars sound like – well, I’ve never
heard anything quite like them before. They have a rich woody sound without a tremendous
amount of sustain. It’s somewhere between a lute and a guitar, but without sounding
perzackly-like either. But that’s the (ahem) general neighborhood.
So who the hell did they think would buy this album? I
still haven’t got a clue. It’s intelligent music, beautifully played, and
remarkably recorded. It’s not like anything else I’ve heard -- ever. Give it a
chance and you might find that it fills a vital gap in your record collection. I sure hope
so. You probably deserve a record this good -- it certainly deserves an audience.
...Wes Phillips
wes@onhifi.com
Jay McShann: What A Wonderful World
(Jay McShann, piano, vocals; Gerald Spait, bass; Todd Strait, drums; Ahmad Alaadeen, tenor
saxophone; Sonny Kenner, guitar. Groove Note GRV 2005-2 CD. Joe Harley, prod.; Michale C.
Ross, eng. AAD. TT: 50:47.)
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 Jay McShann is a genuine jazz legend. You might know of him primarily as the
leader of the band that spawned Charlie Parker, but he’s been performing as musician,
band-leader, and vocalist for the better part of seven decades -- and he’s been
rippin’ it up the whole time.
I don’t know who we have to thank for this session,
but thank you! McShann may not have the flash he had even twenty years ago (oh, to
be seventy again), but he’s about as solid a performer as you’re going to hear.
His stride piano and vocals still cut the mustard and, after a lifetime of headlining, he
still has what it takes to be the center of attention. This is good stuff, done right.
Not the least of this disc’s charms is its
extraordinary sound. As is usual for Michael C. Ross, it just sounds right.
McShann’s vocals and piano are featured, as they should be, but they aren’t
isolated out front -- the integration of the rhythm section of Spait and Strait is
remarkable. The bass has body and an almost perceptible heft, while the soft, but oh so
colorful brush and bass drum work of Todd Strait is a marvel to behear.
In McShann’s last few recordings, he seemed
overwhelmed by the backing musicians -- it’s almost as though the producers
didn’t have the faith that he still has what it takes. What A Wonderful World
proves them wrong. Whether playing piano or singing, McShann is a national treasure, to
use Producer Joe Harley’s description.
Joe’s such a fan. "What can I tell you about Jay
McShann?" he asked me. "Only that he is without question the coolest individual
I have ever met ... I wanted to really focus in on Jay’s playing and singing for
these sessions. Sure, the man at 84 is not quite as fleet- fingered as he once was, but
his spirit is still powerful."
Amen to that.
...Wes Phillips
wes@onhifi.com
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