Kenny Cox
Introducing Kenny Cox and the Contemporary Jazz Quintet

Frank Foster
Manhattan Fever

Andrew Hill
Change
Blue Note Connoisseur Classics


My nephew is a viticulturist; which means he is learning to make wine. How that relates to these reissues is that these three latest Blue Note releases are on the Connoisseur Series label, meaning that they are of a special vintage, and for discerning tastes, just as if they were a select choice of wine. The comparison fits, as these three rarities have exquisite taste, and will get better with age with each sampling.

Pianist Kenny Cox lead a band for a very short time in the late sixties, and quickly dropped from the scene. There is no evidence for his band’s demise on this disc, which consists of his two Blue Note releases. The band had a heavy debt to the 60s Miles Davis Quintet, but don’t let you think that this band was a pale impoesonation; it had it’s own sound, with a bit of extra soul dashed in for distinction. The band goes through a seires of original compositions that all sound fresh and vibrant; Cox’s rhythm section with Ron Brooks (b) and Danny Spencer is snapping like a whip, as on the hard blowing “Eclipse”. Tenorist Leon Henderson (can anyone find this guy?!?) is amazing, particularly on his creative work on the delightful “Number Four”. Cox’s “Trance Dance” was originally performed and recorded by the Jazz Crusaders, but this version, with some clever work by the leader, gets the nod. Hard bop fans will love this discovery.

Frank Foster’s two recordings of a sextet and septet back in 68 and 69 will almost make you think that he missed his calling. Instead of being a key tenorist, arranger and writer in the most famous swing band in the world, he could very well have given up the security of Basie’s band and made recordings like these delightful gems. The only problem being, these two recordings sold abysmally when they were initially released. The music, while a commercial flop, is an absolute sonic wonder. Foster’s small band, with the likes of Jimmy Cleveland, George Cables, Marvin Stamm, Buster Williams and Mickey Roker, s sounds like a mix of Miles Davis/ESP, Herbie Hancock/Maiden Voyage and Art Blakey/Big Beat. The music varies between modal spaciousness and hip shaking hard bop. Unforgettable pieces like the seductive title track or the pungent “Seventh Avenue Bill” feature incendiary horn work by Stamm and trombonist Garnett Brown. The rhythm section is able to float or sting on command. Foster himself is simply astonishing on tenor, sounding like no one but himself, as on the luscious “Loneliness”. Where has this disc been all my life?

Andrew Hill’s release has been hidden in the cellar for a long time as well, and it’s time for it to be uncorked. Originally released in 1966, the first 6 tracks didn’t see the light of day until they came out on a Sam Rivers release (Involution) in 1976. The other two cuts have only been available on the now long out of print Mosaic set. Hill’s other recordings of the same period have already been released on the 3CD Mosaic Select set from last year. This release puts together a one of a kind quartet, with Hill and Rivers being joined by Walter Booker (b) and JC Moses (drums). The music is a thought-provoking mix of advanced bop and free, just having the toes touch the line of the outer limits. This is what Rivers and Hill were best at: going to the limits, but only hinting at going too far. Explorative, dark, pungent, songs like “Illusion” and “Hope” mix melody and mournfulness. “Violence” features a startling duet with the two leaders. Free, but also easy.


-George W. Harris