HANK JONES & FRANK WESS
Hank And Frank

Lineage Records

Hank Jones was born in 1918, Frank Wess in 1922, so these guys not only have long lives and musical careers, they are also part of the same musical generation. Jones is known for his sophisticated, light, swinging piano style. Wess is quickly remembered by many as a reedman with Count Basie for ten years. He was also one of the band’s principal composer-arrangers, and popularized the use of the flute in jazz music. Hank and Frank, a session recorded in 2003 and now released on guitarist Ilya Lushtak’s Lineage Records, is a superlative example of straightforward swinging jazz music, without gimmicks or gewgaws.

From the opening of the Wess original “You Made a Good Move,” the listener is in the presence of an easygoing, affable swing session, as Jones sets the tone along with bassist John Webber and venerable drummer Mickey Roker. Wess takes the first official solo, his looping Lester Young phrases and genial tenor sound striking just the right mood. Lushtak acquits himself well with his guitar solo, and then Jones plays a round of bluesy choruses. “The Very Thought of You” begins with Jones’ intro and statement of the melody, progressing into a clear, bright flute solo from Wess. It’s a fine duet ballad performance, and sets up the rest of the CD nicely.

The rhythm section returns with “Just One of Those Things,” on which Wess interprets the melody in a manner reminiscent of Dexter Gordon before he rips into a solo that demonstrates that his chops are present and accounted for. Then it’s a light bossa groove for “Autumn Serenade,” with Lushtak offering nice fills as well as a warm solo. Lushtak’s playing throughout is solid and complimentary, demonstrating that he is up to such august company—clearly this is no vanity project for Lushtak but rather a labor of love.

Wess provides two more originals—the mid-tempo “Sara’s Song,” which one can easily hear arranged for the Basie band, and the uptempo “Something Went Wrong,” which again features Wess’ considerable flute talents. Jones provides the slow blues “A Hankerin’” on which he lets loose with some gutsy blues piano without ever breaking a sweat. Lushtak plays a Wes Montgomery-esque solo, and Wess closes it with some hot KC-style tenor work. Speaking of KC, the group also takes a turn through Charlie Parker’s “Barbados,” providing a handsome group of solos all round. The closer is the standard “All or Nothing at All,” a solid choice that allows this monster combo to swing straight ahead one more time.

Surprises? Novelty? No, this CD provides none of that, just the straightforward delight of hearing a group of men who speak the same musical language get together for an afternoon of solid and enjoyable playing. The way records used to be made. Hank and Frank is an instant classic, not unlike a 50s Prestige session or a reliable Pablo release. What you hear here is not new—but it’s a relief to know that musicians can still get together and just play like this. Lushtak says he formed Lineage Records in large part to provide recorded documents of an older generation of master musicians while they are still living and still playing. With Hank and Frank he has succeeded admirably in his mission.