Birdlanders, Vol. 2

Amazon.com
The Birdlanders was a title given to several Vogue recordings made by the French pianist Henri Renaud in New York City in the early 1950s, when they were first issued in the U.S. by Period Records. Volume 2 contains two LPs, the first led by bassist Oscar Pettiford, with Al Cohn, Kai Winding, Tal Farlow, Max Roach, and Renaud. Farlow and Pettiford are the standouts, either in solo or linked closely together in the rhythm section (Pettiford's full-length solo on "Stardust" is as good as anything he ever recorded). The second LP included is a quartet of saxophonist Al Cohn, Renaud, bassist Gene Ramey, and drummer Denzil Best. Cohn is outstanding on ballads such as "Once in Awhile" and "You Stepped Out of a Dream," and Renaud is especially fine on a long solo on "Lazy Things." A shade less compelling than Volume 1, perhaps, but honest bop all the way. --John F. Szwed

From Jazziz
Both volumes of The Birdlanders (Fantasy) were produced in New York in 1954 by French pianist Henri Renaud. Combined, the two volumes display the work of four groups. On the first volume, vibist Milt Jackson appears with trombonist J.J. Johnson, tenorman Al Cohn, Renaud, bassist Percy Heath, and drummer Charlie Smith. The first volume also includes a trio led by pianist Duke Jordan. The second features a sextet with bassist/cellist Oscar Pettiford, Cohn, guitarist Tal Farlow, trombonist Kai Winding, Renaud, and drummer Max Roach. A quartet with Renaud, Cohn, bassist Gene Ramey, and drummer Denzil Best is on the second volume, as well. Notice the evolution of Johnson and Jackson's styles from 1946 to 1954. They're post-boppers here, not boppers, so their work is less swing-oriented. They play thoughtful, carefully constructed solos. Cohn's quite melodic and plays with good continuity. His tone is heavier than those of Stan Getz and Zoot Sims, with whom he came to prominence in Woody Herman's Second Herd. He could play lovely thematic variations of standards, as he does on "Out of Nowhere."

Jordan's five-tune set includes two attractive originals by him, the jazz standard "Jordu" - a.k.a. "Minor Escamp" - and "Scotch Blues." His full-bodied, lyrical playing is propelled by a solid left hand.

String players Farlow and Pettiford stand out with pretty, lucid solos. Tal sounded better in 1954, I think, than he did later with Verve, where he gained popularity. Check out his early playing here, as a leader and sideman on a couple of Blue Note sessions and with Artie Shaw - he is wonderful. Renaud, a tasteful, sensitive player who holds his own with the Americans, contributes substantive work. Dig his cooking on both versions of "Ny's Idea."

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