The Philadelphia Inquirer from Philadelphia, Pennsylvania • Page 70

NEW RECORDINGS 6-E Thursday, March 17, 1988 The Philadelphia Inquirer RECORDINGS Jazz CDs are playing to the past Tangos; Muti leads Mozart; more Nick Lowe variations Top classical albums Top jazz albums vault frequent sins of jazz sessions recorded especially for CD. And while it's nice to hear music without the ticks and pops we've learned to live with on our older LPs, digitally remastered CDs don't represent au improvement in all cases. Whatever flaws are in the master tapes are there to stay, and trying to camouflage them only makes matters worse. And as jazz critic Stanley Dance has pointed out, whereas the engineers who worked with Duke Ellington in the '50s and '60s endeavored to give listeners the sense that they were hearing Ellington's orchestra from the front row center of an acoustically perfect concert hall, the engineers charged with remastering Ellington's records for CD frequently place listeners in the center of the orchestra itself. The effect is far from ideal.

Still, jazz record collectors who haven't yet bought a CD player are going to stop putting it off. If you want a copy of Ellington's And His Mother Called Him Bill, you're going to have to buy it on CD, the only format in which it is currently available. What follows is one man's Top 10 (plus a bonus) of CD-only reissues, all of which include previously unissued bonus tracks from the original sessions. DUKE ELLINGTON And His Mother Called Him Bill (RCA Bluebird) James Lincoln Collier, in his recent Ellington biography, ignores Elling JAZZ, from I the; items turning up on CD haven't sees the light of day in the United Slats5ince their original LP release 20 or 30 ears ago. And RCA, Polygram and Blue Note three labels with bplging back catalogues arc reissuing -many of these treasures only on THisis a strange turn of events because the albums in question are of more interest to the avid collector than, to! the casual record buyer.

If we can say that the larger one's LP collection is, the more reluctant one will be to switch over to CD (imagine the cost of replacing, say, 5,000 albums), it would seem that the jazz buff looking for a copy of Leapin' and Lopin' to complete his or her Sonny Clark collection would be the consumer most impervious to the charm of CDs. On the other hand, since the price of a CD is roughly twice as much as an album or cassette enough to limit casual buyers to a few select purchases maybe record companies are finally realizing that the jazz collector who thinks nothing of spending $15 for a Japanese import of Leapin' and Lopin' reprcsehts an untapped domestic market. In tefms of jazz, many of the advan-tagesclaimed for CDs have proved to be-ilUisory. Longer playing time isn't, anfcsSet when it encourages improvisations that go on past the point of endurance and the release of sloppy material that should have stayed in the EMPRESS SPA 29" Op Loongf 35" Dp Lounger REQ. M3WI save tim MOW I PRINCESS SPA NOW Octagon SAVE '900 Reg.

J23S9 DuchetsRTwin Lounger Spa .29 peep mm all wood skirt I SAVE '500 mVwSrmmwm tMW ficrrr mm mm-m irwmosn into. Km 77 777 a Lll'f PI "Stl4T COSTTKOLl ton's output after 1941, except to point to it as evidence of pretension and artistic decline. This emotionally charged program of tunes by Ellington's aide-de-camp Billy Strayhorn, recorded in 1967, a few months after Strayhorn's death, proves that you can't believe everything you read especially in Collier's mean-spirited bio. This is a masterpiece, pure and simple, just one of the countless ones that Ellington produced in the final three decades of his life. GIL EVANS The Individualism of Gil Evans (VervePolygram) There Comes a Time (RCA Bluebird) Evans arguably the master jazz orchestrator after Ellington was given a hand in preparing these two albums (the first from 1963-64, the second from 1975) for CD, and the result is that these reissues are far superior to the originals.

In both cases, the key is greater detail in the mix, but the wealth of added material is also a factor. For the first time, we get to hear all 20 gripping minutes of "The Meaning of the Blues," which was edited by more than two-thirds on the original LP of There Comes a Time. And the swaggering arrangements of John Lewis' "Concord," Bob Dorough's "Nothing Like You" and Willie Dixon's "Spoonful," which were left off the Individualism LP in favor of more moody (and admittedly beautiful) tone (Continued on next page) "LADY ESTHER POOL" ANCltruoM Altantnajiii iari Pkg )irac iFt, $8399 8WIM PLAY Omni Pool Pock ago Deluxe 6" Top8Ml 12' 1 48' Pkg. 15' 48" Pkg. 18' 48' Pkg.

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Pool Paefcaga Indixwr Safety Fane A Fan Dack IS ft. Pkg. 224t IIFIiiS-ptg. (2449 21 Fl 4T Pkg. S2SW 27Ft4-Pkg $2Mf AMERICAN MADE POOL LINERS 15 x48" 79" 27'x48" 21 18'x48" 99" 12x18'x48" 99" 21x48" 133 15x24x48" 164" 24x48" 134" 15x24 x48" IS)" We loek ever 30 different tin linen Ctae" 20 PC tan N' Jazz Reviewed by Francis Davis 74 as ItKOHOCmAMtSaBHim "The New Tango" ASTOR PIAZZOLLA AND GARY BURTON The New Tango (Atlantic Piazzolla is a controversial fig ure in his native Argentina some credit him with revitalizing the tango, others decry him for polluting the tango by introducing it to alien influences.

This puts Piazzolla in a position remarkably similar to many contemporary jazz musicians, and his brand of tango has obvious rhythmic affinities with jazz. This album, recorded at the 1986 Montreux Jazz Festival and featuring vibraphonist Burton as special guest soloist with Piazzol-la's band, underscores these affinities, although Piazzolla is frequently guilty of softening his music's edges to accommodate the introspective Burton. This is bewitching stuff, but for an example of Piazzolla at full thrust, get a hold of his earlier albums on American Clave. "The Thundering Herds 194S-194r WOODY HERMAN The Thundering Herds 1945-1947 (Columbia Like many entries in Columbia's Jazz Masterpieces series, this Herman retrospective comes across as too little too late. Digital remastering brings out the classic Herds' full power, and "Wild Root," "Four Brothers," "The Good Earth" and "Apple Honey" are all here, as well they should be.

But where is Ralph Burns' four-part "Summer Sequence," far and away this band's masterpiece and still one of the best-realized jazz tone poems? For a full appreciation of the great swing band that absorbed bebop, anticipated cool and spawned such soloists as Stan Getz, Zoot Sims and Serge Chaloff, you need a copy of the three-record set Columbia released in the mid-'60s under the same title. Long out of print in the United States, it's still available as an import at jazz specialty shops. ADAM MAROWICZ Naughty Baby (RCA Novus Interface (Gazell The presence of two bassists (Charlie Haden and Dave Holland, no less) on some of Naughty Baby's tracks is surprising, given that Makowicz has always been one of those pianists whose overactive left hands make even one bassist superfluous. But the bassists and drummer Al Foster coax Makowicz into a more streamlined approach than one has come to expect from him on a spirited program of George Gershwin compositions, including a miniaturized "Rhapsody in Blue" and the never-before-re corded title tune. Playing his own compositions with bassist Pane Danielsson and drummer Jon Christenson on Interface, Makowicz reveals his lyrical, re flective side.

This is a good record, but Naughty Baby has a slight edge on the strength of its superior material you can't beat Gershwin. "Requiem; Ave Verum Corpus" MOZART: REQUIEM; AVE VERUM CORPUS Riccardo Muti, Patrizia Pace, Waltrud Meier, Frank Lopardo, James Morris; Swedish Radio Chorus, Stockholm Chamber Choir; Berlin Philharmonic (EMI CDC 7 496400 2 Muti conducts a powerful account propelled by orchestral clarity and dominance. The solo- ISSEliJii Classical Reviewed by Lesley Valdes 'f 1. DIANE SCHURR, COUNT BASIE D. Schurr-Count Basie (19 weeks at No.

1) 2. JOE WILLIAMS Every Night 3. WYNTON MARSALIS Standard Time 4. BRANFORD MARSALIS Renaissance 5. HENRY BUTLER The Village 6.

BILL WATROUS Reflections 7. MIKE METHENY Kaleidoscope 8. GERRY MULLIGAN Symphonic Dreams 9. HENRY JOHNSON Future Excursions 10. DAVID GRISMAN Svingin' With Svend From Billboard Magazine 31988 1988 Top compact discs 1.

GEORGE MICHAEL Faith 2. INXS Kick 3. DIRTY DANCING Sound track 4. ROBERT PLANT Now and Zen S. STING Nothing Like the Sun S.

JOHN COUGAR MELLENCAMP Lonesome Jubilee 7. GOOD MORNING, VIETNAM Sound track 8. DAVID LEE ROTH Skyscraper 9. JAMES TAYLOR Never Die Young 10. MICHAEL JACKSON Bad From Billboard Magazine 31988 1988 his baritone is big and full of personality.

Mesple's characterizations vary, but she still has 8 formidably secure top and the cultivated wobble that enhance some of the more syrupy songs; Gedda, who recorded most of these in 1970, masters Satie's wry wit, but his voice is strained. The sonics are realistic, the program notes confusing. Pop Reviewed by Ken Tucker NICK LOWE Pinker and Prouder Than Previous (Columbia Nick Lowe's seventh album doesnt offer anything you havent heard from this shaggy-dog wit before, just more exceptionally witty variations on rock, country and English pub-rock. Among the irresistible songs that radio stations will probably resist are the lovely "You're My Wildest Dream" and "Crying in My Sleep," as well as rockers such as "Big Hair" and "Big, Big Love," the latter offering the best double-en-tendre of the week. PAT MCLAUGHLIN Pat McLaughlin (Capitol McLaughlin is probably known as the author of "Lynda," a No.

1 country hit for Steve Wariner. But as that of a Midwesterner who takes influences from both coasts, McLaughlin's debut album isnt really a country record. With Jim Keltner playing drums on most cuts and Mitchell Froom producing, McLaughlin taps into a rock tradition that includes everyone from Delbert McClinton to Derek and the Dominoes. Stand-out songs include "Is That My Heart Breakin'?" and "You Done Me Wrong." IAN MATTHEWS Walking a Changing Line (Windham Hill This is being touted as Windham Hill's first non-new-age-music release, but it's lulling enough to pass as one. The idea was to have Matthews record a whole album's worth of songs by Jules Shear, whose own.

recordings of these excellent compositions have never brought him much success. But Matthews' voice, is only a more tuneful instrument than Shear's he doesn't bring as much feeling to the work as its perennially hoarse author can. Still, an undeniably pretty album. THE DYNATONES Shameless (Warner Bros. Shamelessly derivative, this Los Angeles party band is also awfully good.

Borrowing from any number of '60s soul, rhythm-and-blues and rock acts, lead singer C.C. Miller and lead guitarist Larry Dunn provide the soundtrack to a great evening-out that you can spend at home. NIXON'S HEAD Traps, Buckshot and Pelt (Groove Disques, Head House, 4432 Silverwood St, Philadelphia 19127' This local quintet, led by miitarist' John Quincy Nixon, comes up with its second strong album in a row, full of catchy melodies and the baleful vocals of Andy Rosenau. "Four Corners" and "The Same Thing" deserve to be heard on the radio. SERIAL KILLERS Roadside Rendezvous (Plus Records, 5436 Discher St, Philadelphia 19124 These local fellows are perfectly good players of what they describe in one of their song titles, "Blood and Guts Rock and Roll" straightforward, concise, mindful of rhythm.

So why cant I recommend the album more heartily? Could it be songs like "Love Letter to Jamie Lee Curtis" and "Teenage Blood-' lust," whose psycho-killer senti- ments aren't lightened by irony or humor? Yep. RATINGS: XX ft XX I. TO! 1 1 UVH7J rW TOOT Classical albums rated on performance and sound. 1. VLADIMIR HOROWITZ Horowitz Plays Mozart (14 weeks at No.

1) 2. WYNTON MARSALIS Baroque Music for Trumpets 3. VLADIMIR HOROWITZ Horowitz in Moscow 4. LONDON CLASSICAL PLAYERS Beethoven: Symphony No. 9 6.

NADJA SALERNO-SONNENBERG Mendelssohn: Violin Concerto 6. MURRAY PERAHIA Beethoven: Piano Concerto No. 7. STUTTGART STATE OPERA Glass: Akhnateri 8. ACADEMY OF ST.

MARTM-IN-THE-FIELDS The Academy Plays Opera 9. MURRAY PERAHIA, SIR GEORG SOLTI Bartok: Sonata for Two Pianos 10. VLADIMIR FELTSMAN American "Live" Debut From Billboard Magazine 31988 1988 Top pop albums 1. DIRTY DANCING Sound track (11 weeks at No. 1) 2.

GEORGE MICHAEL Faith 3. INXS Kick 4. MICHAEL JACKSON Bad 5. TIFFANY Tiffany 6. DAVID LEE ROTH Skyscraper 7.

DEF LEPPARD Hysteria 8. DEBBIE GIBSON Out of the Blue 9. JOHN COUGAR MELLENCAMP The Lonesome Jubilee 10. RICK ASTLEY Whenever You Need Somebody From Billboard Magazine 31988 1988 ists, if not rivetingly characterful, are satisfyingly sensitive and strong. It is a muscular, dramatic Requiem bolstered by well-balanced choruses, the "Dies Irae" is movingly commanding and the always troublesome quartet comes off well.

This is a good reading of the brief Ave Verum Corpus, although it does not match the quiet translucence of Muti's recent live performance here with the Philadelphia Orchestra and Westminster Choir. Salerno-Sonnenberg album NADJA SALERNO-SONNENBERG Mendelssohn's Concerto in minor; Saint-Saens' Havanese and Introduction and Rondo capric-cioso; Massenet's Meditation (EMI CDC 49276 In this impassioned, somewhat overwrought account of the popular concerto, violinist Sonnen-berg attacks the brisk finale with a rough regularity that can be unpleasant, but elsewhere she and the New York Chamber Symphony (the house orchestra of New York City's 92d Street Y) offer a well-matched bravado approach. The Massenet "Meditation" the second-act intermezzo from his opera Thais could use a little refinement, but strength lies in its lush intensity. The harp soloist sounds pedestrian and seems too closely miked. Otherwise the sonics are good.

FOLK SONGS, HYMNS AND PSALMS New York Russian Chorus (Price-Less D13450 This is a modest but satisfying introduction to some of the secular and sacred vocal traditions of the Cossacks. The a cappella male group is a Manhattan spinoff of the Yale Russian Chorus, which is still in existence. The low voices are especially sonorous, the intonation sometimes flattens and the entries are not especially polished, but director Bruce Lieberman has a nice command of mood and motion. SATIE: MELODIES Mady Mesple, soprano; Gabriel Bacquier, baritone; Nicolai Gedda, tenor; Aldo Ciccolini, piano (EMI 749-1672 Satie's song output, 32 works spanning his quirky career, is somewhat disappointing, a number being more traditional or music-hall than one might have imagined from the inventive Da-daist. Still, this is a worthwhile disc, with some of the vocal results quite distinguished.

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