Benny Carter
In Copenhagen
Storyville

Kenny Drew
In Copenhagen
Storyville

Harry “Sweets” Edison and Eddie “Lockjaw” Davis
In Copenhagen
Storyville

Bud Powell
In Copenhagen
Storyville
By George W. Harris

Storyville’s latest releases emphasize what is missing with most of today’s musicians: an individual sound. Grab these four and see what it was like when you could identify a musician within two bars.

Altoist Benny Carter is caught in a 1980 studio session with Kenny Drew (p) Ed Thigpen (dr) and Jesper Landgaard (b) on a date that must have just seemed like “just another date” at the time, but highlighted the gorgeous tone of Carter’s horn. While the emphasis is on midtempo swingers, which Carter and company handle with aplomb, it is the ballad “Blue Star” that will stick to your brain. Carter’s horn is at it’s penetrating and lilting best on this jaw dropping gem. A sound like this should be the goal of every horn player; forget digital dexterity, Carter proves that tone triumphs over all.

Pianist Kenny Drew is probably most known for being on session for John Coltrane’s classic “Blue Train” album, but he had a respectable solo career in Europe. This disc collects solo, duo and trio recordings from 66, 78 and 83, mixing originals with bop standards. His tone and style was all his own, most notable on the oblique solo readings on tunes like “Yesterdays” and “Whisper Not”. He could also swing with the best of them, as demonstrated on the rolling “Bluesology.” Definitely an overlooked and underappreciated genius.

How many musicians sound like their nicknames? If you have any doubt how “Sweets” Edison is going to play a solo, just put it to rest. No one could play the same note over and over, yet put more feel into it, than the man who made his name with Sinatra and Basie. Likewise, “Lockjaw”, on this 76 gem, is wooley and foggy like a day at Fisherman’s Wharf. His treatment of “Angel Eyes”, with just Kenny Drew’s piano and Hugo Rasmussen’s bass, will have you looking over your shoulder in fear. Together with Edison, tunes like “Lester Leaps In” and “Candy” never sounded better. These are guys that didn’t imitate anyone, they made music for others to imitate.

Recorded in 1962 with Niels-Henning Orsted Pedersen (b) and William Schiopffe (dr), Bud Powell goes through bebop tunes like Tadd Dameron’s “Hot House” and Monk’s “Straight, No Chaser” like he invented the stuff. Wait a minute! He DID invent this stuff! Usually forgotten about because of his personal demons and inconsistent recordings midway in his career, Powell was at his returned to prime at this session, playing with joy, command and authority on this set of Bebop’s Best. In this day and age, it’s easy to forget how fresh this music can be, as it is so often played by impersonators. In the hand of it’s sculptor, this music is on a level of Michelangelo’s “Moses”. Guaranteed to renew your joy of jazz.