Johan Budi
The global jazz community has recently seen a resurgence in the release of archival recordings, a movement that provides essential historical context to the evolution of the genre. Among the most significant of these recent "excavations" is a previously unreleased concert recording titled So Many Lovely Things, featuring the formidable trio of pianist Kenny Barron, bassist Ray Drummond, and drummer Ben Riley. Recorded in August 1995 at the Brecon Jazz Festival in the Christ College Auditorium in Brecon, Wales, the release is a collaborative effort between producer Zev Feldman and jazz archivist Jordi Suñol. This recording captures a period of high artistic synergy for the trio, offering a document of their technical precision and improvisational fluidity.
The Brecon Jazz Festival Excavation: Context and Chronology
The Brecon Jazz Festival, established in 1984, has long been a cornerstone of the European jazz circuit, drawing international luminaries to the small Welsh market town. By 1995, the festival had reached a peak of prestige, and the appearance of the Kenny Barron Trio represented a highlight of that year’s programming. Kenny Barron, a 2010 NEA Jazz Master, is widely regarded as one of the most influential pianists of the post-bebop era. At the time of this recording, Barron was frequently collaborating with Drummond and Riley, creating a rhythm section that many critics considered the gold standard of the mid-1990s.
The release of So Many Lovely Things is part of a broader industry trend led by Zev Feldman, often referred to as the "Jazz Detective," who specializes in locating and restoring high-quality live recordings that were previously confined to private archives or radio station basements. The 1995 Brecon performance is presented as a two-CD set, featuring a mix of standards, original compositions, and tributes to jazz legends such as Thelonious Monk and Freddie Hubbard.
Technical Analysis of the Brecon Performance
The repertoire on So Many Lovely Things demonstrates the trio’s range, from intricate bebop patterns to sensitive, lyrical ballads. The opening track, "Oh, Look At Me Now," spans over ten minutes and serves as a masterclass in trio dynamics. The recording quality preserves the spirited exchanges between Barron and Riley, whose drumming style—rooted in his long tenure with Thelonious Monk—provides a crisp, melodic foundation for Barron’s harmonically dense improvisations.
Barron’s solo contributions are particularly noteworthy. His rendition of Monk’s "Shuffleboil" and his original piece "Silent Rain" highlight a contrast between rhythmic playfulness and fleet-fingered elegance. Ray Drummond’s role in the trio is characterized by a "solid" time-keeping ability and a resonant, woody tone that anchors the ensemble. This is most evident on the 16-minute rendition of "Canadian Sunset," the longest track of the set, where the empathy between the three musicians allows for extended exploration without losing the core groove.
The archival package is bolstered by commentary from jazz historian Ted Panken, who provides a contemporary perspective on the trio’s legacy. Panken’s analysis emphasizes Barron’s ability to "redeploy melody in complex ways," a sentiment echoed by Ray Drummond in retrospective interviews. The release serves not only as a high-quality live album but as a historical record of a trio that Barron himself recalled as having "no sour moments."
The Smithsonian Jazz Masterworks Orchestra: Preserving the Ellington Legacy
Parallel to the release of archival trio recordings is the continued work of institutional ensembles dedicated to the preservation of the big band tradition. The Smithsonian Jazz Masterworks Orchestra (SJMO), established by an Act of Congress in 1990, remains the primary vehicle for the public dissemination of the Smithsonian Institution’s vast jazz collections. Based at the National Museum of American History in Washington, D.C., the SJMO has a mandate to perform and record the works of foundational American composers.
The orchestra’s latest release, Ellington Masterworks, recorded live at MCG Jazz in Pittsburgh on April 6, 2024, focuses on the repertoire of Duke Ellington and Billy Strayhorn. Under the direction of saxophonist and Howard University professor Charlie Young, the ensemble recreates some of the most complex arrangements in the Ellington canon. The SJMO’s mission is distinct from a "ghost band"; while it performs the music of a deceased leader, it functions as a scholarly and artistic entity designed to maintain the technical standards of the original scores.
Repertoire and Personnel of Ellington Masterworks
The 2024 recording includes a diverse selection of Ellington’s output, ranging from the 1940s "Blanton-Webster" era to his later, more experimental suites. "The Tattooed Bride" (1948) is a standout track, featuring a sensitive clarinet solo and cohesive section work from the brass. The inclusion of "Ad Lib On Nippon," inspired by Ellington’s 1964 tour of Japan, showcases the orchestra’s ability to handle extended forms and evocative tonal colors.
A notable aspect of the current SJMO lineup is the inclusion of female instrumentalists, such as bassist Amy Shook, trombonist Jennifer Krupa, and trumpeter Barbara Laronga. This represents a modern evolution of the ensemble, as the original Duke Ellington Orchestra was almost exclusively male. The performance of "Jack The Bear," which originally featured the revolutionary bass work of Jimmy Blanton in 1940, is here handled by Shook, whose performance pays homage to the original while asserting a contemporary technical proficiency.
The SJMO’s approach to these "second-hand reproductions" is rooted in accuracy. By utilizing the original charts housed in the Smithsonian archives, the orchestra ensures that the nuances of Ellington’s "jungle sound" and Strayhorn’s sophisticated voicing are preserved for modern audiences. The recording serves as a vital educational tool and a testament to the enduring relevance of the Ellington songbook.
Wes Montgomery: The Enduring Impact of The Incredible Jazz Guitar
While new live recordings and orchestral tributes provide fresh perspectives, the reissue market continues to be dominated by definitive editions of classic studio albums. One of the most significant recent reissues is the "180 Gram Crystal Clear Virgin Vinyl" edition of Wes Montgomery’s 1960 masterpiece, The Incredible Jazz Guitar of Wes Montgomery. Originally released on the Riverside label, this album is widely cited as the recording that established Montgomery as the most influential jazz guitarist since Charlie Christian.
The album has been reissued over 110 times since its initial release, a testament to its commercial and artistic longevity. The latest edition from Waxtime aims to provide the highest fidelity possible, offering a balanced mix that highlights the contributions of the rhythm section: Tommy Flanagan (piano), Percy Heath (bass), and Albert "Tootie" Heath (drums).
Historical Significance and Technical Innovation
Wes Montgomery’s impact on the guitar cannot be overstated. His unique "thumb-picking" technique, which eschewed the use of a plectrum in favor of the fleshy part of the thumb, resulted in a warm, rounded tone that became his signature. Furthermore, his use of octaves and block chords during improvisational climaxes set a new standard for the instrument.
The Incredible Jazz Guitar was recorded in New York in January 1960, during a period when Montgomery was transitioning from a regional Indianapolis musician to an international star. The album includes several of his most famous compositions, such as "Four On Six" and "West Coast Blues." In 2017, the Library of Congress recognized the album’s cultural importance by inducting it into the National Recording Registry, a distinction reserved for recordings that are "culturally, historically, or aesthetically significant."
The reissue includes the original liner notes by producer Orrin Keepnews, who famously stated that Montgomery was "the best thing to happen to jazz guitar since Charlie Christian." This sentiment was echoed by critic Ralph J. Gleason, who identified Montgomery and Christian as the "two bosses" of the genre. Despite Montgomery’s later move toward more commercially oriented "pop-jazz" projects in the late 1960s, this 1960 recording remains the definitive document of his pure jazz credentials.
Implications for the Jazz Recording Industry
The simultaneous release and promotion of these three distinct projects—an archival trio live set, a modern orchestral tribute, and a high-fidelity classic reissue—underscore the multi-faceted nature of the contemporary jazz market. There is a clear demand for "discovery" (as seen with the Barron trio), "preservation" (as seen with the SJMO), and "perfection" (as seen with the Montgomery vinyl).
From an economic perspective, these releases highlight the importance of physical media in the jazz world. While streaming dominates the broader music industry, jazz listeners continue to value high-quality vinyl pressings and multi-disc CD sets accompanied by extensive scholarly liner notes. The work of producers like Zev Feldman and organizations like the Smithsonian ensures that the history of jazz is not merely a static collection of old records, but a living, breathing archive that continues to grow.
Conclusion: The Continuity of Jazz Excellence
The recordings of Kenny Barron, the Smithsonian Jazz Masterworks Orchestra, and Wes Montgomery represent three different points on the timeline of jazz history, yet they are united by a commitment to technical excellence and emotional depth. The Brecon 1995 tapes offer a glimpse into the organic "telepathy" of a master trio at work. The SJMO’s Ellington tributes demonstrate how institutional support can keep complex historical arrangements vibrant and relevant. Finally, the Montgomery reissue reaffirms the foundational principles of jazz guitar that continue to influence musicians today.
Collectively, these releases provide a comprehensive view of the genre’s past and present. They serve as a reminder that the "lovely things" found in jazz—be they a perfectly executed thumb-picked octave, a growling trumpet solo in an Ellington suite, or a pensive piano solo in a Welsh auditorium—remain essential components of the global cultural landscape. As the jazz archive continues to be excavated and reimagined, the legacy of these masters remains secure, offering both a roadmap for future musicians and a source of "pure joy" for listeners worldwide.
