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Orrin Keepnews' Collection
An astonishing study in longevity and ingenuity, the multiple facets and accomplishments of Keepnews' career as label maverick, writer and producer need no rehearsal in these pages. His insight, wit and engagement with the music, its participants and history, so evident in his numerous writings, come through with even more clarity in the exhaustive and endlessly entertaining liner notes to these new Riverside and Milestone reissues.
"To me," Keepnews muses in a recent phone conversation, "the fascinating thing is that I'm not having trouble finding things that were previously unsaid." He then goes on, succinctly and perfectly, to sum up a major accomplishment of the Keepnews Collection: "You know, when you start out writing liners as a kid, its advertising copy; now, it's history!"

The early days of Riverside saw many reissues, a few ethnomusicological releases from Alan Merriam's fieldwork and, of course, the first flowerings of Monk, Cannonball Adderley, Wes Montgomery and Bill Evans, all of these seminal jazz artists being represented in the Keepnews Collection. After Riverside folded in the summer of 1964, the masters all but languished until Keepnews moved out west in 1970. "Thinking about it now, I really went out there in pursuit of my past," he says matter-of-factly, but the statement rings true. Fantasy Records had struck it rich, taking a chance on a kid that worked in the mailroomJohn Fogerty. Fantasy also wanted Keepnews to work for them and his condition was that the company "Make a legitimate offer" to buy his second label, Milestone, which he actually did not own at the time. Coincidentally, Fantasy had acquired the Riverside masters in the wake of Creedence Clearwater Revival's success and Milestone eventually began to reissue Riverside product while still producing new music, all under Keepnews' direction.

Keepnews is justly proud of his accomplishments, but he does not over exaggerate them, as is perfectly clear in the frankly humorous notes to Jimmy Heath's Really Big. He reports well-laid plans and synchronicities with the same conviction. Almost 40 years down the road, he is aware of what his label accomplished, but he is always quick to point out the trials and tribulations that enabled achievements to occur. Clearly, despite huge musical and chronological disparity, Keepnews sees this collection as the personal documentation of a continuum.
It would be impossible to sum up, with anything approaching clarity and cohesion, the music offered on the first ten releases. The above-mentioned Flora Purim album, originally an early '70s Milestone disc, boasts stunning keyboard work from George Duke; it also contains a gorgeous version of Stanley Clarke's "Light as a Feather," made famous by Chick Corea's seminal Return to Forever. Clarke's bass playing is vibrant and full, obviously benefiting from a good recording and the remastering treatment. The same is true of Everybody Digs Bill Evans, one of the best of the pianist's early albums, if such a qualitative choice can really be made in light of so much fine material. "Peace Piece" shines brighter than ever, each meditative gesture fading into the never-quite-silent warmth an analogue source provides.
Special mention must go to Cannonball Adderley Quintet in San Francisco, here presented with a crackling alternate version of "This Here" that has never seen the light of day. "Yeah," Keepnews agrees, "That's a damn good take." He is justly proud of the alternates scattered throughout the series, presented, whenever available, to shed more light on the processes behind these formative albums.
There's something in the Keepnews Collection to suit every taste, from hard bop to electric fusion; here's hoping that this welcome project will be continued with the same high standards.
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