THE QUINTET — Jazz at Massey Hall (aka The Quintet of the Year) (review)

THE QUINTET — Jazz at Massey Hall (aka The Quintet of the Year) album cover

Boxset / Compilation · 1956 · Bop

5/5 · 2012-06-03
MilesBeyond

This is the sort of album that's an instant-purchase for any jazz fan as soon as they catch a glimpse of the roster: Charlie Parker playing alto, unsurprisingly, and with him he's got Bud Powell on piano, Mingus on bass, Max Roach on drums, and, of course, his partner in crime, the yin to his yang, Dizzy Gillespie on the trumpet - especially notable as it's the last known recording of Bird and Diz playing together.

While such an amazing line-up would suggest possibly the greatest recording in the history of live music, it is not without its flaws. The show itself was a nightmare, with everything falling apart - to start with, it was poorly attended, as it coincided with a major boxing match, which drew much more attention - including Diz, who kept rushing backstage during the performance to see if he could catch some of the TV broadcast. Meanwhile, Bird and Bud were both heavily intoxicated, and the show was completely unrehearsed - complicated even more by the fact that this was some time after Bird and Diz had their falling out, having hardly even spoken to each other, let alone played together, since. The recording itself was allegedly set up by Mingus, however due to some grounding issues the quality is quite low and Mingus' own bass playing is at times even inaudible. Some pressings feature Mingus dubbing over the tracks at a later date, but fans seem divided on whether they prefer this over the original bass.

But don't let all this deter you - despite all the issues, the band knocked it out of the park and there's some fantastic music to be heard on this album. The album can essentially be divided into three parts, depending on which version you have: Part 1, three cuts with the full band; Part 2, a twenty-five minute set of just the rhythm section, and Part 3, in which the horns rejoin for a few closing numbers.

Part 1 is possibly the highlight of the album. It opens up with two bop tours-de-force; Perdido and Salt Peanuts, which feature fiery trumpet work from Diz and such laid-back virtuosity from Bird that perhaps the greater miracle than him even playing it is the way he does so with such an easy, relaxed feel. Bud Powell is no slouch, either, delivering both unbelievable solos and tasteful accompaniment, while Mingus and Roach are in the back, guarding the beat with their lives, giving the band a rock-solid foundation to build on - and Roach's solo on Salt Peanuts is a wild display of his skill. These two are followed by All The Things You Are - and this particular recording of this well known standard has come to be known as the definitive version. The band takes the blazing fury that it brought to the first two tracks and swaps it out for a delicate soulfulness. Its electrifying conclusion segues immediately into a brief rendition of the 52nd Street Theme - the symbol of all things be-bop, and the perfect anthem for such a night.

As said above, Part 2 (which is only on some versions) features only Bud, Mingus and Roach. While it is a stellar showcase for the rhythm section and excellent listening for anyone who prefers piano-driven jazz, the quintet is obviously the highlight of the album. As enjoyable as this section is, the listener still awaits the return of Bird and Diz with anticipation.

And return they do, for Part 3, with Wee, the bop classic Hot House, and, of course, the quintessential Gillespie piece A Night in Tunisia - quite fitting, as its a Diz composition popularized by Bird. These tracks are three more blazing bop standards, and even by the end of the night the band is still in top form. The final cut, in particular, is an excellent rendition of the tune and features some fine playing from all involved.

All in all, despite all the drama, the lack or preparation, and the poor sound quality, this nonetheless stands out as one of the greatest live jazz recordings of all time.