Mosaic Records’ six-CD set Classic Vanguard Jazz Piano Sessions offers a captivating journey through the diverse and masterful world of mid-20th-century jazz piano. A rich follow-up to the Classic Vanguard Small Group Swing Sessions, this new collection delves into ten sessions recorded in the mid-1950s under the guidance of legendary producer John Hammond. The recordings were made during Hammond’s brief but impactful collaboration with Vanguard Records—a label traditionally associated with classical music and folk icons such as Joan Baez and P.D.Q. Bach.
Among the highlights is CD 3, which prominently features pianist-composer Mel Powell. Nestled in the middle of this disc is Powell’s Sonatina for Piano, a striking contrast to the familiar jazz standards like “You’re Lucky to Me” and “Makin’ Whoopee” that surround it. This piece originally appeared on the 1953 Mel Powell Septet ten-inch LP, where Powell was joined by elite musicians including Buck Clayton, Henderson Chambers, Edmond Hall, Steve Jordan, Walter Page, and Jimmy Crawford. These seasoned artists contribute dynamic energy to the four tracks in which they appear, reflecting Powell’s unique standing in the jazz world.
By this period, Powell had already carved out an illustrious reputation as a pianist, composer, and arranger, having worked with Benny Goodman during his teenage years. Though classically trained, Powell’s encounter with Teddy Wilson shifted his musical trajectory toward jazz. His wartime service placed him in Glenn Miller’s Army-Air Force Band, and while in post-liberation Paris, Powell—fluent in French—played with Django Reinhardt and visited the Debussy archives at the Bibliothèque Nationale, experiences that later influenced his Pulitzer Prize-winning Duplicates: A Concerto for Two Pianos and Orchestra in 1990.
Powell’s multifaceted identity is further revealed in the 1948 film A Song Is Born, where he performs alongside jazz greats like Louis Armstrong, Benny Carter, and Tommy Dorsey. Despite the film’s distracting narrative, its jazz interludes, including Powell’s youthful presence, stand out. Still, nothing quite prepares listeners for the refined intensity of Powell’s Sonatina. With three movements, the piece bridges Powell’s neo-classical leanings (inspired by Paul Hindemith) with a touch of Schoenbergian serialism. While the outer sections dance with angular rhythms, the central movement provides a haunting chorale and variation. Repeated listening rewards listeners with a deepened emotional resonance.
Following this composition is Powell’s “Borderline,” a trio track featuring Paul Quinichette and Bobby Donaldson. The harmonies shimmer with depth, and Quinichette’s Lester Young-inspired tone brings fluid lyricism to the piece. This smooth transition leads directly into “Makin’ Whoopee,” where Powell begins with a frenetic nod to “Tiger Rag” before settling into a relaxed groove that supports Quinichette’s breezy interpretation, all while Donaldson keeps an energetic pulse on drums.
The box set’s title may suggest a solo-piano focus, but only one of the ten sessions is entirely solo: a 1956 tribute to Fats Waller by Bobby Henderson. Long underrecognized, Henderson offers ten tracks combining Waller-associated classics and one standout original—“Blues for Fats.” Henderson’s sophisticated stride technique and storytelling touch shine here, resulting in one of the few recordings in his scarce discography. Hammond, who had known Henderson since his days performing with Billie Holiday, clearly knew the pianist’s value.
The accompanying liner notes by Thomas Cunniffe—also the author of the previous set’s commentary and creator of Jazz History Online—provide detailed historical context. He traces Hammond’s influence from his early support of Count Basie through his contributions to Bob Dylan and Bruce Springsteen’s careers, emphasizing Hammond’s importance as both a talent scout and a cultural force.
Sessions from Sir Charles Thompson follow Powell’s contributions. Thompson’s 1954 quartet features Freddie Green, Walter Page, and Jo Jones, offering pristine interpretations of standards like “Honeysuckle Rose” and “Sweet Georgia Brown.” The recordings, captured with a single strategically placed microphone in Brooklyn’s Masonic Temple, possess astonishing clarity, with Cunniffe noting their exceptional fidelity. A later trio session with Skeeter Best and Aaron Bell highlights Thompson’s boogie-woogie and R&B inflections, including the dynamic “Sonny Howard’s Blues” and a bop-driven “Best by Test.”
The Thompson sessions showcase an eclectic range, from playful renditions of “Hey There” and “Mr. Sandman” to deeply felt interpretations of “Love for Sale” and “Stompin’ at the Savoy.” The absence of time constraints in the early LP era allowed these performances to evolve naturally, with extended versions capturing sustained emotional energy and musical invention.
Powell reclaims center stage across discs three and four, solidifying his presence as the box set’s centerpiece. Beyond the septet and trio recordings, he performs alongside Ruby Braff in two subsequent sessions. Braff’s tone and expressive phrasing elevate Powell originals like “Thigamagig” and “Bouquet” as well as standards such as “Ain’t She Sweet” and “California, Here I Come.” Their chemistry is particularly potent on “You’re My Thrill,” where Powell’s Debussy-like introduction yields to Braff’s heartfelt trumpet lines.
A final septet/quintet session from 1955—originally released as Out on a Limb—includes a robust ensemble featuring Al Mattaliano, Peanuts Hucko, Nick Caiazza, and others. Their rendition of “Stompin’ at the Savoy” exudes a George Shearing-like charm despite the absence of vibraphone. “When Your Lover Has Gone” begins with a reflective Powell prelude before shifting into a rhythmically rich dialogue. “Cooch,” a Powell original, blends bop elements with subtly warped harmonic shifts, further illustrating his stylistic breadth.
Braff returns on the quintet sessions, now joined by Skeeter Best and Oscar Pettiford. Powell channels Jess Stacy on “Beale Street Blues,” and the group explores up-tempo classics like “Liza” and a swinging take on Eubie Blake’s “You’re Lucky to Me.” A surprise trio version of “Rosetta,” with Braff taking the lead, gently closes this vibrant chapter.
The final two discs are devoted entirely to duets between Ruby Braff and pianist Ellis Larkins, recorded in two 1955 sessions. These pared-down performances, lacking a rhythm section, expose an intimate musical dialogue between trumpet and piano. Larkins’ sensitive touch and Braff’s lyrical trumpet phrasing lend these standards a conversational quality.
The first session includes “Love for Sale,” “Old Folks,” and a soaring “Skylark,” with Larkins’ stride-inflected solos providing subtle momentum. The set continues with “You Are Too Beautiful,” foreshadowing the second session—a dedicated Rodgers & Hart tribute. This disc includes twelve tracks, each interpreted with elegant restraint and wit. “My Funny Valentine” begins with the rarely-heard verse, setting a wry tone that Braff and Larkins maintain through emotionally resonant, understated performances.
Other standouts include “Where or When,” which soars through its final bars with grace, and “You Took Advantage of Me,” which bounces with swing-inflected joy. “Little Girl Blue” captures a quiet melancholy, while “The Girl Friend” wraps up the set with lighthearted flair, despite its dated lyrics.
In summary, Classic Vanguard Jazz Piano Sessions is more than just a piano anthology. It’s a panoramic view of postwar jazz artistry, held together by John Hammond’s vision and Mosaic Records’ commitment to historical excellence. Whether highlighting the classical-jazz fusion of Mel Powell, the stride revival of Bobby Henderson, or the lyrical sparring of Braff and Larkins, the collection offers a wealth of sonic treasures for jazz enthusiasts. The variety in instrumentation, repertoire, and recording approach ensures each disc feels like its own world, yet the shared spirit of musical exploration binds the entire set into a cohesive and enduring legacy.
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