Kenny Drew
Undercurrent

Stanley Turrentine
The Spoiler

Duke Pearson
The Right Touch
Blue Note Records RVG


The latest group of Blue Note Rudy Van Gelder reissues both reinforces and contradicts a few long held concepts about jazz in the 60s.

Pianist Kenny Drew's "Undercurrent" confirms my theory that you could purchase any jazz release from 1959-61, and come up with a completely satisfying disc. Originally issued in 1961, this classic hard bop disc features torrid soloing by the likes of trumpeter Freddie Hubbard and tenorist Hank Mobley. The fiery title piece is as fresh as this mornings croissants, with hummingbird-like cymbal work by drummer Louis Hayes. Mobley's round tenor is as lyrical as ever, particularly on "The Lion's Den". Hubbard is crisp and bright, and gets done to the marrow on "Groovin' the Blues." This is by far the strongest release by the underrated Drew.

Recorded in 66 and 67 respectively, Turrentine's "The Spoiler" and Pearson's "The Right Touch" clearly show that late sixties jazz was not lost in self indulgent incoherent free jazz solos. Both discs feature "larger" small bands presenting pieces, all well arranged by Pearson. "The Spoiler" has Turrentine at his glorious best. There is no tenor in jazz's history that can capture the gospel wail like Mr. T. His work on the mournful "When the Sun Comes Out" is a jaw dropping gorgeous. McCoy Tyner, James Spaulding, Pepper Adams and Blue Mitchell provide excellent support, and get some cameo solo space. Hearing Tyner play gospel blues on "The Magilla" is worth the price of admission itself!

"The Right Touch" is generally considered pianist/arranger Pearson's magnum opus, and for good reason. The compositions, all originals, are well crafted and thoughtfully arranged. The solo work, provided by BN regulars Freddie Hubbard, Barnett Brown, James Spaulding and Turrentine, fit within the charts with enough space for some inspired blowing. Turpentine is at his bluesy best on "Scrap Iron", and Hubbard is zestfully insouciant on the supercharged "Los Malos Hombres". It's overlooked gems like these that still set the standard for jazz to this very day.


-George W. Harris