Duke Ellington And His Orchestra
The Treasury Shows; Volume 15
Storyville Records
www.storyvillerecords.com

Sir Roland Hanna
Solo Piano: Free Spirit
Storyville Records
www.storyvillerecords.com
By George W. Harris

Big band and solo piano. What could be more divergent approaches to jazz? Yet, in the right hands (as in these two releases) jazz itself is personified, glorified and even transcended to life affirmation.

There is simply no such thing as enough Duke Ellington. Just when you think you’ve heard it all, out comes another of the Storyville Treasury broadcasts that feature Ellington’s band, and the Duke himself, playing and pitching for “Victory Bonds” to help support the war. What a concept! Are you listening, Mr. Obama?!?
There are also some MBS broadcasts from the Hurricane Restaurant in NYC from 1943, which differ mostly in that Ben Webster’s tenor is present, which was later replaced by Al Sears for the 45 collection. He’s absolutely wonderful on “Perdido,” as is Lawrence Brown on an intimate “As Time Goes By.” A couple of tunes by the Golden Gate Quartet and a hip “Caldonia” by The Mellotones” keep the mood changing, while Johnny Hodges sets the standard for alto sax soloing on “The Mood To Be Wooed.” The real question that needs to be answered at some time in the future has to be if Ellington made Harry Carney, or vice versa. It’s just unimaginable to picture Ellington’s band without the supreme king of the baritone sax. Like the sunrise, or God’s sovereignty, he’s just always there and an influence, whether you acknowledge it or not. From his foundational texture on “Johnny Come Lately” to hot solos on “Ring Dem Bells” Carney just overwhelms the senses. This music simply spoils you for anything else you’re going to hear afterwards.

Sir Roland Hanna made his name with Charles Mingus way back when, but it’s his solo discs that will be remembered 50 years from now. He’s got the style of piano playing that is timeless; the heart of strider, the head of a modernist, and the soul of a romantic. These sessions were recorded in various studios in NYC, New Jersey, Stockholm and France in 1973, 74 and 79, but the music is for all period on earth. His own compositions like “Swing Me No Waltzes” or “Perugia” have a mix of blues, Tin Pan Alley and wistfulness, which Hanna explores to greater depths like an abdominal surgeon. His reflective lyricism on standards like “Where Or When” or “Autumn Leaves” has the patience of an elder statesman, while his bop leanings on “Miles Ahead” sound like someone who lived it, a missing quality from most present day players. Sort of a piano version of the movie Grand Torino-tough on the outside, but a heart of gold under the next layer. Wonderful music.