The revived Candid Records has just reissued another five albums from its archives. Founded in 1960 as a subsidiary of Cadence Records, the label was overseen by jazz author and critic Nat Hentoff, who served as Candid's A&R director. This meant he chose what to record and how to produce the records. The last time I posted about Candid in April, the label had just re-issued Charles Mingus Presents Charles Mingus (1960), Max Roach's We Insist!: Freedom Now Suite (1960), Abbey Lincoln's Straight Ahead (1961), Otis Spann Is the Blues (1960) and Lightnin' Hopkins's Lightnin' in New York (1961).
Last Friday, Candid released Clark Terry's Color Changes (1960); Booker Ervin's That's It (1961); Booker Little's Out Front (1961); Pee Wee Russell and Coleman Hawkins' Jazz Reunion (1961) with Bob Brookmeyer and Jo Jones; and Cecil Taylor's The World of Cecil Taylor (1960). All are superb, but Clark's Color Changes is the standout. The album features Clark on trumpet and flugelhorn; Jimmy Knepper on trombone; Julius Watkins on French horn; Yusef Lateef on tenor saxophone, flute, English horn and oboe; Seldon Powell on tenor saxophone and flute; Tommy Flanagan on piano; Joe Benjamin on bass; Ed Shaughnessy on drums and Budd Johnson on piano on Nahstye Blues. All have been remastered by the legencary Bernie Grundman. CD and streaming are available now, vinyl is on its way later this year.
As Nat writes in his notes, Clark chose all the musicians, the songs and the arrangers. Bob Wilbur's Blue Waltz was arranged ad hoc in the studio by the musicians. Clark's Brother Terry and Flutin' and Fluglin' were arranged by Yusef Lateef; Duke Jordan's No Problem was for the French Film Laisions Dangereuses and arranged by Al Cohn; La Rive Gauche by Clark was arranged by Cohn; and Clark's Nahstye Blues and A Cat That Fishes were arranged by Johnson.
There's a casual uniformity to the playing overall. Clark's playing is relaxed and warm throughout, and Yusef's and Powell's flutes are beautiful and swinging. The added coloration of Watkins' French horn and Knepper's trombone provide a powdery punch. Yusef on English horn on Nahstye Blues is wild. The rhythm section is top-knotch, especially Shaughnessy's busy brushes.
Not a songbook standard in sight. What made Candid special was that the musicians were in charge. Nat simply was there to turn on the lights and listen to friends and musical heroes record. He had he best seat in the house.
JazzWax clips: Here's the entire album courtesy of Candid Records, starting with Blue Waltz. To listen to all of the tracks, you need to go to YouTube here...
Last Friday, Candid released Clark Terry's Color Changes (1960); Booker Ervin's That's It (1961); Booker Little's Out Front (1961); Pee Wee Russell and Coleman Hawkins' Jazz Reunion (1961) with Bob Brookmeyer and Jo Jones; and Cecil Taylor's The World of Cecil Taylor (1960). All are superb, but Clark's Color Changes is the standout. The album features Clark on trumpet and flugelhorn; Jimmy Knepper on trombone; Julius Watkins on French horn; Yusef Lateef on tenor saxophone, flute, English horn and oboe; Seldon Powell on tenor saxophone and flute; Tommy Flanagan on piano; Joe Benjamin on bass; Ed Shaughnessy on drums and Budd Johnson on piano on Nahstye Blues. All have been remastered by the legencary Bernie Grundman. CD and streaming are available now, vinyl is on its way later this year.
As Nat writes in his notes, Clark chose all the musicians, the songs and the arrangers. Bob Wilbur's Blue Waltz was arranged ad hoc in the studio by the musicians. Clark's Brother Terry and Flutin' and Fluglin' were arranged by Yusef Lateef; Duke Jordan's No Problem was for the French Film Laisions Dangereuses and arranged by Al Cohn; La Rive Gauche by Clark was arranged by Cohn; and Clark's Nahstye Blues and A Cat That Fishes were arranged by Johnson.
There's a casual uniformity to the playing overall. Clark's playing is relaxed and warm throughout, and Yusef's and Powell's flutes are beautiful and swinging. The added coloration of Watkins' French horn and Knepper's trombone provide a powdery punch. Yusef on English horn on Nahstye Blues is wild. The rhythm section is top-knotch, especially Shaughnessy's busy brushes.
Not a songbook standard in sight. What made Candid special was that the musicians were in charge. Nat simply was there to turn on the lights and listen to friends and musical heroes record. He had he best seat in the house.
JazzWax clips: Here's the entire album courtesy of Candid Records, starting with Blue Waltz. To listen to all of the tracks, you need to go to YouTube here...
This story appears courtesy of JazzWax by Marc Myers.
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