Legrand Jazz - Michel Legrand

No one has really offered a really convincing argument for whether or not the French can rock (for every hot Johnny Hallyday tune there's some Eurovision schlock to counteract it), but the Gauls' ability to swing is beyond question. And if Francophone jazz has ever had a poster boy, it would have to be Michel Legrand. During the 1950's, Legrand rubbed shoulders with American jazz legends as they established a glorious tradition of hard bop and West Coast cool in the City of Love that lingers to this day. While Legrand would blossom later in the 60's as he worked on various soundtracks and more idiosyncratic projects, this is probably his most pleasant outing. And no wonder! A set of marvelous standards recorded with such luminaries as Miles Davis, John Coltrane, Bill Evans, and Herbie Mann, Legrand Jazz is possibly one of the most accessible jazz albums of all time, but it's deservedly become somewhat legendary simply because of the names involved. Don't let that deter you, though: this is pure joy. All of the greats are represented here in swingin' renditions: Duke Ellington, Django Reinhardt, Jelly Roll Morton, Count Basie, Bix Biederbecke, Thelonious Monk, and others all get the Legrand treatment. It's on the more unorthodox cuts like Reinhardt's "Nuages" that Legrand and his pals really stretch out, while tunes like Monk's "'Round Midnight" are given more faithful renditions. But for anyone interested in building a French jazz collection, there's no better place to start than here. (Interesting tidbit: is the uncle of Victoria Legrand, lead singer of Baltimore dream-poppers Beach House.)

Mon dieu!

African Jazz 'n' Jive - Various Artists

Aside from the occasional "world music" crossover act, African music gets very little attention here in the States. That's not entirely surprising, as African music seldom contains the sort of glossy pop appeal that makes for hit records in the US of A. But what most American consumers don't realize is that since the 1920's, African musical trends have been inextricably bound with those of the United States, particularly the black population. Beginning with the early days of jazz, when Dixieland reverberations were felt around the world, African urban centers, particularly those in Nigeria, Cameroon, and Ghana, responded with their own energetic adaptations of black American music. As time went on, West African musicians began to develop their own permutations of American music that was, in turn, born of traditional African music. The first really noteworthy movement of this type was the "township" jazz craze that dominated radio airwaves from the late 40's to the early 60's and paved the way for the popular "highlife" and Afrobeat styles that became world-famous through the work of Fela Kuti, King Sunny Ade, and others. This compilation focuses on the later days of township jazz, once it was firmly established as Africa's hippest musical force. The casual listener might be surprised at how stylistic close this is to classic American swing and bop. Indeed, only the occasional non-English lyric distinguishes it from early Charlie Parker orlate Duke Ellington. But inventive tracks like Kippie Moeketsi's "Clarinet Kwela" sound wholly unique, while Lemmy "Special" Mabase's "Kwela Blues" has a folksy, amateurish charm that's rare in American jazz from the 50's. Sure, this isn't as dynamic as Fela's Afrobeat or the percussive sounds of jùjú, but for jazz aficionados, it's a pleasant and interesting look at jazz from the heart of the groove.

Something new in Africa!

Blossom Dearie - Blossom Dearie

A quick glance at the cover of this light-hearted 1959 Verve release depicts Blossom Dearie with her trademark pageboy haircut and horn-rim glasses, looking more like a typical 50's housewife than a sophisticated jazz swinger. And if, based on Ms. Dearie's appearance, you were to think that this sweet lil' thing couldn't possibly match the almighty blues-soaked majesty of Ella, Billie, Dinah, or Anita, you'd be right. But comparing Blossom Dearie to the First Lady of Song or any of the others mentioned above would be missing the point. Ms. Dearie's death earlier this year reawakened the jazz community to what ought to be obvious: Blossom Dearie is one of the finest female jazz vocalists of all time. Sure, she couldn't belt out the blues like Billie, but the warmth and character with which she imbued her renditions of standards is delightful to hear. Think of her as the Vince Guaraldi of lady jazz singers: never era-defining or iconoclastic, but pure, sweet, and nearly flawless. This, her self-titled 1959 album for Verve, is her finest moment. For those innocent souls who can still appreciate a fine jazz album with their dinner and wine, this is a godsend. Ms. Dearie's lilting, girlish voice and spacious, gentle arrangements are pure ear candy, from the West Coast-inspired reinvention of vaudeville standard "'Deed I Do", to the laid-back loveliness of "It Might As Well Be Spring", in which Blossom reinterprets a Rodgers and Hammerstein showtune as a French torch ballad. And at the end, we get the delight that is "Blossom's Blues", a spry vamp that betrays Dearie's sassy side.

My name is Blossom, I was raised in a lion's den.

Las Mañanitas - Pedro Infante

Cementing my reputation as the only white guy in the world who really digs ranchera music, I present to you the inimitable Pedro Infante. As a member of the trio of actors/musicians commonly referred to as "los Tres Gallos Mexicanos", Infante, along with other "Mexican roosters" Javier Solís and Jorge Negrete, basically defined ranchero style for the 40's and 50's, developing an on-screen persona as a resilient, romantic man of the people, a role that won him legions of followers. His music, like that of other ranchera singers of the time, is grandiose but never bombastic. While Jorge Negrete was known for his pitch-perfect, operatic tone, and Javier Solís for his rough-hewn, robust delivery, Infante was a singer of shades; alternating between a convivial tenor on tuneful mariachi-oriented rancheras and a sweet, tender croon on gentle boleros and waltzes. Infante's voice, in my humble yet accurate opinion, ranks right up there with enchiladas, el Día de los Muertos, and tequila as one of Mexico's greatest treasures. In fact, many Mexicans are inclined to agree, as evidenced by the thousands of devoted fans that flock to Infante's shrine in Mexico City each year. This album collects several of Infante's most beloved tunes, including the classic title track and the marvelous "En Tu Día". My only complaint, however, is that my personal favorite of Infante's numerous gems is absent from this collection. "Cien Años" is perhaps the loveliest canción ever to come out of la tierra Azteca, and I highly encourage you to seek it out.

En día en que tú naciste, nacieron todas las flores.