You have to hear this.
Without fanfare, seven minutes of beauty: after a chiming piano introduction, a beautiful tenor chorus (more Lucky Thompson than Coleman Hawkins), an impassioned cornet chorus, a piano solo (improvising sweetly around the cornet’s closing phrase) that becomes a dialogue for everyone, with sweet thoughtful codas.
The players: Paul Neves, piano; Ahmed Abdul-Malik, string bass / leader; Walter Perkins, drums; Seldon Powell, tenor saxophone; Ray Nance, cornet. New York, March 12, 1964.
Jazz musicians had a strong attraction to BODY AND SOUL (think Louis, Benny Goodman, Teddy Wilson, Art Tatum) even before Coleman Hawkins made his recording of it in 1939 — so this later exploration of the song by kindred spirits would have surprised no one. Since this session was recorded for the STATUS label (a subsidiary of Prestige, devoted to jazz-for-people-who-didn’t-necessarily-consider-themselves-jazz-fans) I can imagine the session producer asking the musicians to stretch out on BODY AND SOUL as a familiar ballad.
But how beautiful their individual sounds are, and the collective mixture of serenity and intensity that results. I remember with pleasure that even living in suburbia, I had an opportunity to see and hear Seldon Powell (leading a small group in a local park’s jazz concert series) and several to marvel at Ray Nance, one of the greatest — and least acknowledged — musicians ever.
I could think, with some regret, that this was the end of a great period where popular music and jazz could coexist in the consciousness of adult hearers; a year later, the Beatles would come to Shea Stadium and this equilibrium would never return in quite the same ways.
But for now, I will play BODY AND SOUL again.
May your happiness increase!