Volume three of the Kern songbook series concentrates on instrumental versions of 16 of the revered composer's songs; and again, the Verve, MGM, and Mercury archives prove to be a nearly inexhaustible resource. Annotator Dan Morgenstern claims that due to their harmonic sophistication, Kern's songs did not become ripe vehicles for jazz improvisation until shortly after his death in 1945 when the beboppers were in full cry. After that, the deluge began, and boppers of several stripes dominate this collection. Among the blue ...
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Volume three of the Kern songbook series concentrates on instrumental versions of 16 of the revered composer's songs; and again, the Verve, MGM, and Mercury archives prove to be a nearly inexhaustible resource. Annotator Dan Morgenstern claims that due to their harmonic sophistication, Kern's songs did not become ripe vehicles for jazz improvisation until shortly after his death in 1945 when the beboppers were in full cry. After that, the deluge began, and boppers of several stripes dominate this collection. Among the blue-chip performances are Charlie Parker doing an Afro-Cubanized "Why Do I Love You?," a pert, percolating "Pick Yourself Up" with the George Shearing Quintet, the majestically husky tenor of Gene Ammons coupled with that of Sonny Stitt in "Long Ago and Far Away," and the easy swing of Buddy DeFranco's sextet in "A Fine Romance." Stan Getz is the only one who gets two selections ("Nobody Else but Me," "The Folks Who Live on the Hill"); others who get one include Benny Carter, Clifford Brown (with strings), Oscar Peterson, Joe Thomas, Jimmy Giuffre, Erroll Garner, Roy Eldridge, Tal Farlow, and Bud Powell. The superhumanly quick, harmonically audacious solo piano rendition of "Yesterdays" by Art Tatum at a Hollywood party is a showstopper that stands by itself in almost freakish isolation; no one can follow it (maybe it should have been placed at the end). ~ Richard S. Ginell, Rovi
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