As there are far too few
Garvin Bushell recordings as a leader in our world, this previously unissued studio session is more than merely welcome. Well documented as a sideman, with many big bands, as well as modernists
John Coltrane,
Miles Davis, and
Eric Dolphy,
Bushell's clarinet is widely regarded as the missing link between
Sidney Bechet and
Benny Goodman. These dates, done in Alameda, CA circa 1982, feature
Bushell under the guidance and encouragement of friend and soprano saxophonist
Richard Hadlock, who organized the date. It's a refreshing and comprehensive overview of vintage jazz from many big name sources, lovingly played by this Bay Area group and their main man. The symmetry between
Bushell's vibrato toned clarinet and the piquant, tart soprano of
Hadlock is a thing of beauty, meshing in high octave harmonic convergence. The
Django Reinhardt/
Stéphane Grappelli/
Hot Club of France evergreen "Sweet Chorus" swings easily, as bundled trills and bop type lines extend the swing aspect of this classic vintage tune. "I'm Getting Sentimental Over You" has
Hadlock leading out while
Bushell plays bassoon underneath, while
Bechet's "Si Tu Vois Ma Mere" is a solemn, melancholy deep blues. The band jumps up during "I Want to Be Happy," a spirited version based in fun and good times, as
Bushell's wooden horn offers a lithe counter melody against the soprano and cornetist
Leon Oakley. Pianist
Ray Skjelbred lays it out thick and clean, filling space and adding his own hefty voicings on the two-part, simple jam "Blues for the Twentieth Century." A delightful take on "I Never Knew" from
Cab Calloway's repertoire is quite similar to "Lady Be Good" in its makeup, a quintessential swing number played to priceless proportions by this fine group. The
Ivie Anderson influenced singer Barbara Lashley appears on three tracks, featuring her literate and broad voice for the
Eubie Blake chestnut "Memories of You," the light shuffle "Willow Tree" prodded by drummer
John Markham's brush work, borrowed from the
Fats Waller songbook, and a slowed, dour "I Got It Bad" with her somewhat operatic sound ringing out in hope for better days ahead.
Bushell was 81 years old at the time of this recording, ten years before his passing, and sounding as energetic as a man half his age. He was a true original in the annals of early period and modern jazz, so this long-awaited document from an undisputed master should be loved by millions, and treated as the most precious of historical items.