CECIL PAYNE - Cerupa (1993) FLAC (tracks+.cue), lossless

 At age 72, Cecil Payne makes a recorded comeback with this release. He sounds in fine form, playing with dexterity, clarity, and depth on baritone sax, and brings out his flute for two of the eight cuts. Six of the eight selections are his compositions. A mixed-generation band has old hands John Ore (bass) and the great Harold Mabern (piano) teamed with younger men Eric Alexander (tenor sax) and Joe Farnsworth (drums). Guest trumpeters Freddie Hubbard or Dr. Odies Williams III get cameos. As expected, this is a hard bop date, reflective of Payne's history with Dizzy Gillespie, J.J. Johnson, Tadd Dameron, and James Moody. The hard swingers are the best and show Payne's up to the task. "The Opening" is a jumping, inspired, memorable melody that's quite hummable. Alexander's double plus tenor and Payne's bari mesh very well. The closer, "Brookfield Andante," is a muscular, 13-minute waltz that swings very hard, showing the rhythm section to be quite capable as well. Mabern is amazing in so many ways in terms of energy patterns, unique phrasings, and diversity. He can play in an etude fashion as on the intro of "Be Wee" and deal with Latin inflections during "Bosco" and "Andante," while his solos are riveting, fleet, and just plain astounding. They begin with Mabern's classical set-up and hit hard with power-packed solo after solo from everyone in the band. Gil Fuller's hard bopper "Cuba" is also hefty, and though just under five minutes, proves the two saxophonists can sustain each other's interest as well as a jazz-trained ear. Payne's excellent flute, popping with quick boppish charm, is heard on the midtempo swing of the title track, dedicated to wife C. Ruth Payne, with Mabern quoting Charlie Parker-isms. The most developmental piece, "Bolambo," has bolero shadings, but starts free, goes to a 4/4 bari and jungle tom-tom section, another floating segment, and then to a definite uptempo swing groove. The left-right turns of this piece are quite impressive. "I Should Care" is the lone standard and an easy stroller with bari leading and tenor following. As great a baritone saxophonist as Payne has always been, his recording career is checkered. On the big horn, and especially flute where he is an unsung hero, this CD proves a great statement for an enduring jazzman who was never far from the truth, and still digs what he's doing. Recommended as perhaps his best documented work. by Michael G. Nastos

Tracklist:

1 The Opening 7:36

2 Bolambo 8:43

3 I Should Care 8:42

Sammy Cahn / Axel Stordahl / Paul Weston

4 Cerupa 8:05

Cecil Payne

5 Be Wee 9:23

6 Cuba 4:46

Cecil Payne

7 Bosco 8:54

Cecil Payne

8 Brookfield Andante 13:19
Credits:
Baritone Saxophone, Flute – Cecil Payne Bass – John Ore Drums – Joe Farnsworth Piano – Harold Mabern Tenor Saxophone – Eric Alexander Trumpet – Dr. Odies Williams,III, Freddie Hubbard (tracks: 5)

CECIL PAYNE - Patterns of Jazz (1956-1991) RM / MONO / FLAC (tracks+.cue), lossless

This 1956 set partners baritone saxophonist Cecil Payne with the superb rhythm section of pianist Duke Jordan, drummer Art Taylor, and bassist Tommy Potter. Their performances of originals, standards, and a pair of Randy Weston compositions are unpretentious bop artistry of a high caliber. Jordan and Potter played together in Charlie Parker's quintet of the late '40s and are well-equipped to meet the demands of bebop. The pianist's economical, swinging style falls somewhere between Count Basie's and Thelonious Monk's. Like them, Jordan is supremely skilled at saying a lot with a little. His open approach leaves plenty of space for the unassuming virtuosity of Potter and Taylor. Potter, in particular, merits close attention. He is a master of the walking bass, spilling out a relentless four to the bar with the precision of a Swiss timepiece and the obsession of one whose calling is, above all, to swing and to swing righteously. Payne's conception is the opposite of the big-throated, baritone sax roar of his Savoy labelmate Pepper Adams. Rather, his light tone calls to mind Lester Young's tenor sax, a parallel that is most apparent on Payne's extended solo on his ballad treatment of "How Deep Is the Ocean." On four of the eight tracks on this 1991 CD reissue the quartet is joined by trumpeter Kenny Dorham, who is in excellent form, adding a high-energy second voice to the frontline and a fearless chorus on the quintet's version of Dizzy Gillespie's "Groovin' High." For listeners who have yet to become acquainted with Cecil Payne, this classic mid-'50s Savoy recording would make a good introduction. by Jim Todd 
Tracklist:
1 This Time The Dream's On Me 3:46
2 How Deep Is The Ocean? 7:47
3 Chessman's Delight 5:27
4 Arnetta 3:38
5 Saucer Eyes 6:38
6 Man Of Moods 5:33
7 Bringing Up Father 6:19
8 Groovin' High 4:22
Credits:
Baritone Saxophone – Cecil Payne
Bass – Tommy Potter
Drums – Art Taylor
Piano – Duke Jordan
Recorded By – Rudy Van Gelder
Trumpet – Kenny Dorham (tracks: 5 to 8)