Tito Puente & His Orchestra (1977)

One of the world’s most revered and the longest-running jazz festival, the Monterey Jazz Festival celebrated fifty years in 2007. In addition to a star-studded event worthy of this milestone, the Monterey Jazz Festival and Concord Records collaborated to form Monterey Jazz Festival Records, releasing the first group of seven historic, never-released recordings in conjunction with the 2007 festival. This first releases included Louis Armstrong (caught headlining the first night of the festival in 1958); Miles Davis (introducing to the West Coast his soon-to-be-classic '60s quintet rhythm section in 1963); and Thelonious Monk (his quartet augmented by bassist Steve Swallow and an expanded five-piece festival workshop in 1964), plus sets by Dizzy Gillespie (1965)) and Sarah Vaughan (1971) as well as a 50th anniversary compilation.  Continuing the series, Monterey Jazz Festival Records has released six more discs in time for the 51st festival getting underway this weekend.  

The new releases include two “best of Monterey” collections, Fifty Years of Dave Brubeck (1958-2007) and The Best of Cal Tjader (1958-1980), along with performances from Art Blakey and the Giants of Jazz (1972),  Shirley Horn (1994), Tito Puente (1977), and Jimmy Witherspoon with Robben Ford (1972). 

Fifty Years of Dave Brubeck (1958-2007)

The recording tracks Brubeck’s festival appearances chronologically, beginning with the 1958, 12+ minute performance of Dave’s “Two-Part Contention” and the beautiful, breathy sound of Paul Desmond, soon in harmony with Brubeck’s lower register piano lines. “Someday My Prince Will Come” from the same ensemble in 1962 captures the simpatico interplay between Wright and Desmond, counterpoint in both time and melody that continues nearly 3 minutes before Brubeck enters. By now the tune has been dismantled, leaving the pianist plenty of room to explore with his trademark single note lines and chord patterns. From 1966, “Time Out” of course is the signature of this quartet, with a furious Morello grinding away as a bright Desmond runs through his most famous theme. No matter how often the Brubeck Quartet played “Time Out,” it never seemed to grow stale, a good example of how jazz is “never the same way once.” 

Gerry Mulligan’s bari sax gave the Brubeck band a very different sound, here preserved via Dave’s “Sermon on the Mount” and Mulligan’s own joyful “Jumpin’ Bean.” “Tritonis” features the 80s group with Bobby Militello providing agile flute at the 1985 festival, yet another set of colors for Brubeck’s canvas. In 1998, Dave presented his requiem for the late Gerry Mulligan, in duet with Stan Poplin (“Goodbye Old Friend”), an exquisite solo piano over a bassline so sublte you don’t even notice Poplin’s presence. On the other hand, Christian McBride asserts himself quite audibly, in swinging fashion, on a serendipity appearance with a Brubeck, Militello and Jones on “I Got Rhythm” (2002). The album concludes with two samples of the current, 21st century quartet--the boiling over “Sleep” (a tune never recorded before) and “Margie,” a funky swinger with a crowd-pleasing bass solo from Michael Moore. 

Anyone looking for a concise retrospective of Dave Brubeck will find this CD a great place to start, or finish. 

The Best of Cal Tjader (1959-1980)

The 1974 sample of “Afro Blue” features am energetic sextet with Mongo Santamaria providing the opening master class in African percussion before Tjader burst on the scene, working his repeating phrases into the theme. In 1977, Tjader returned to Monterey with a Modern Jazz Quartet configuration including pianist John Lewis, represented here by the beautifully conceived and executed “If You Could See Me Now.” This collection closes with the sultry, bossa-like track, “Speak Low,” a sextet with Poncho Sanchez from 1980. Tjader died too young at 56, just two years later. 

Art Blakely and the Giants of Jazz (1972)

On his own “Round Midnight,” Monk introduces the theme in his usual jagged, percussive style, majestic in its off-centered tilt. Stitt’s alto then picks up the gauntlet, soaring above Monk’s raucuous chords, handing off to Winding who adds more mournful tones, then returning the lead to Monk, whose efforts are buoyed by McKibbon’s solemn pulse. Stitt solos more forcefully, more beautifully as Blakely adds the final touches. Blakey is the firebrand of an extended “A Night in Tunisia,” driving his cohorts into a frenzy of horns led by Terry. Stitt riffs through along the way, but the centerpiece is Blakey’s volcanic solo. It was an electrifying “night in Monterey.”  

Jimmy Witherspoon Featuring Robben Ford (1972)

A few highlights from 1972 include the slowly simmering “Ain’t Nobody’s Business If I Do,” with Ford sumptuous on guitar and an “incomplete” track of “Reds and Whiskey” featuring twangy cool interplay among Ford and Poplin. But perhaps even more incendiary is that bonus track from 1959 with the giants of 20th century music....”When I Been Drinkin’”—not only a seminal example of Witherspoon’s story telling, but filled with riffs from some of the greatest horns (and crowd response) ever and the elegantly, (mostly) understated support of Hines. We have to wonder, where is the rest of this 1959 set? 

Tito Puente & His Orchestra (1977). Growing up in Spanish Harlem, Tito Puente was surrounded by sounds of the great swing bands as well as Latin and Afro Cuban rhythms. Ultimately the inspiration of both Stan Kenton and Arsenio Rodgriguez informed Puente’s own style, as sideman for Machito and later as leader of his own band. His first appearance at Monterey in 1977 proved a stepping stone to Concord Picante and pop star status worldwide. Pared down to a 15-piece orchestra, Puente’s set made such an impression that Duke Ellington complained to festival promoters to never have such a hot band appear on stage before him! The timbale master opened percussively with his “Para Los Rumberos”—waste no time, put on the dancing shoes and fine some floorspace before his next track cues up—“Oye Como Va.” Stevie Wonder is represented here, with Puente’s infectious cha cha cha arrangement of “Don’t You Worry ‘Bout a Thing.”  The final track features special guest Cal Tjader playing gorgeous lines over montuno on Puente’s “Picadillo.” 

Shirley Horn (1994)

It’s on ballads where one might most appreciate Horn’s vocal as well as keyboard virtuosity. Leon Russell’s “A Song for You,” is sublime, seductive, searing in low key fashion. The title track to her much acclaimed 1991 release Here’s to Life, this track may be Horn’s most effective of the evening, her piano phrases coming in as if answers to each wistful vocal statement. In his liner note, Ouellette notes that the typically rambunctious Monterey crowd was captivated, listening with rapt attention. 

Horn handles the blues as well, taking "Hard Hearted Hannah" as an opportunity to delve into the tune instrumentally as well as vocally; L.A. Breakdown (And Take Me In)” is perhaps the precious gem of this jeweled set, Horn’s timing a perfect match for the lyric and pathos. 

The 2007 and 2008 recordings are available separately from Monterey Festival Records (http://www.concordmusicgroup.com/labels/Monterey-Jazz-Festival-Records/) or from other outlets including Amazon.