Ok, so it’s not exactly alphabetical, but I went shopping. A few Stevie Wonder records, then on to Elmo Hope and Freddie Hubbard.
Stevie Wonder
Live – This is the Tamla Stevie Wonder Live from the late 1960s, released in 1970. Michael Henderson on bass? Ferocious. A super funky set for the tuxedo he wears on the cover. But then again, the “Wa wa wa wa wa” scatting matches the tuxedo, so I guess it’s balanced. Seriously, though. That band! But the record itself – could be the vinyl, I guess – just doesn’t sound that good.
In Square Circle – I love this record. Seriously. Especially since I have been teaching the course on Wonder’s music at Berklee, friends of mine have lamented the non-STevie-ness of this record. But I think the real issue is the brittle, early-digital recording technology, combined with the ability to program pretty much everything. The songwriting is still really great. Don’t believe me? “Go Home.”
The Woman in Red – This was Wonder’s second soundtrack for a film and he got an Academy Award for it. Yes, “I Just Called to Say I Love You” received an academy award. But there is so much great writing on this record! “It’s You” has a couple of amazing modulations, “Love Light in Flight” has a super-hip melody on the verse, ” and tunes like “Weakness” and “It’s More Than You” have their own delicious moments. Even “Don’t Drive Drunk” has something incredible in it. Really, it does.
“Part-Time Lover” 12″ version – Yes, this is a 12″ version of the single “Part-Time Lover.” That is, extended mix on Side A, AND an instrumental version of that on Side B. I know you are jealous. …Ok, but seriously, the voice leading at the end of the verse, leading into the chorus is pretty cool.
John Lee Hooker
The Very Best of John Lee Hooker (Buddah Records) – Ok, so I got this because of “Boom Boom” and then I realized that “Boogie Chillun” was also on it. I’m not sure what this collection represents, which is to ask, is this a collection of the original recordings that Buddah licensed, or is it a new set of recordings that he did for them? I just don’t know. Some live stuff, some studio. But all great. I love the fact that he’s on his own harmonic schedule and is going to change chords whenever he feels like it, and the rest of the band just has to be on their toes. That rocks.
Elmo Hope
Elmo Hope Trio – I first heard about Elmo Hope around the time I studied with Steve Lacy. He’s the perfect post-Monk pianist, with fascinating, well, everything. The compositions are really interesting and both the architecture and the language of his solos is unique. Fascinating. I remember almost not buying this record because side A has some super funky mold or something in the grooves. Like paint or something. But even that can’t stop the great music on this record. I guess I should say that “Barfly” shares quite a bit of harmonic motion with “I Remember Clifford.” There are even a few melodic phrases in common.
The All-Star Sessions – Elmo Hope. John Coltrane. Donald Byrd. Jimmy Heath. Philly Joe. Paul Chambers. Percy Heath. Just killing. This is a Milestone re-release of Informal Jazz and Elmo Hope’s Homecoming. I also have a bunch of these sides on the complete Coltrane on Prestige. Just, wow.
Freddie Hubbard
The Artistry of Freddie Hubbard – Art Davis. I mean, really. But then, John Gilmore! And Curtis Fuller! And Tommy Flanagan! And…Louis Hayes! This record swings like crazy.