Concept albums were all the rage back in the late Fifties, and jazz music was no exception among genres. Popular within this certain niche was the notion of featuring instruments uncommonly featured in lead roles. The result was a flood of records fielded by everything from French horns to accordions to harps. One album cut for the Savoy label featured four of the former instruments in a winsome frontline combination. The modest flute might not seem like such an oddity by today’s standards, but back when this recent reissue was waxed the most lithesome of wind instruments was quite rare, particularly as principle voice in jazz ensembles. This album attempts to do the above-mentioned strategy one better by featuring to accomplished flautist in tandem on the two opening tracks. Joined by the tasteful ivory tickling of Tommy Flanagan and the flexible rhythm team of Puma, Marshall and Donaldson the two leaders tackle a lengthy, if somewhat whimsically titled blues and a faster paced, but equally mellow 24-bar excursion. The easy lope of Marshall’s walking solo framed by Donaldson’s lightly brushed cymbals on the first delivers one of the most sublime sections of the record. Puma’s delicate statement on the second paves a path for each flute in succession, but each chooses a course that seems a shade too laidback.
The album’s second half trades Puma’s plectrum for Costa’s mallets and finds the redoubtable Doug Watkins weighing nimbly in on the double bass. A complaint can easily be lodged in the at times lackadaisical work of the leaders. Rarely does their playing rise above the rote and as a consequence few improvisatory sparks fly from their respective flutes. Jaspar sounds slightly more energized on the tracks where he’s left alone out front, but it’s still a rather tame ride. Fortunately the others in the ensemble pick up part of the slack and make some interesting progress with the remaining solo space. Watkins’ deep oaken throb on the simply titled “Flute Bass Blues” is one solid example. But as concept albums go this one follows the mold rather typically with little to distinguish it other than some solid musicianship from the sidemen.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.