Album Review: Some O’ This and Some O’ That by Roger Kellaway, Putte Wickman & Red Mitchell
If you’re a jazz fan—or even if you’re just dipping your toes into the genre—you’ve gotta check out Some O’ This and Some O’ That. Released in 1990 on the Swedish label Dragon, this album is like a warm cup of coffee on a rainy day. It’s got soul, swing, and enough heart to make you hit repeat more than once.
The trio—Roger Kellaway on piano, Putte Wickman on clarinet, and Red Mitchell on bass—creates this effortless chemistry that feels both laid-back and razor-sharp. You can tell they’re not just playing notes; they’re having a conversation. Produced by Leif Collin and engineered by Gert Palmcrantz (with mastering magic from Torbjörn Samuelsson), the sound quality is crisp but still has that lived-in vibe. Hats off to Hans Berglund for the artwork too—it’s simple, classy, and fits the mood perfectly.
Now, let me zoom in on two tracks that stuck with me. First up, "In A Sentimental Mood." Man, this one hits different. The interplay between Wickman’s clarinet and Kellaway’s piano feels like an old friendship—you know, the kind where no words are needed? There’s something about the way they stretch out those melodies, leaving space for Red Mitchell’s bass to hum along softly. It’s nostalgic without being sappy, which is hard to pull off. I found myself zoning out while listening, picturing black-and-white photos and smoky jazz clubs. Yeah, it’s that cinematic.
Then there’s "All Blues," a Miles Davis classic given a fresh coat of paint here. This version grooves so hard it almost sneaks up on you. Kellaway lays down these bluesy chords like he owns them, and Wickman’s clarinet dances around like it doesn’t have a care in the world. What I love most is how the track builds slowly—it starts chill and then sneaks into this irresistible jam. By the time Red Mitchell’s bass solo rolls in, you’re already hooked. Honestly, it’s the kind of song that makes you want to grab a drink, sit back, and nod your head like you’re part of the band.
The album does repeat some tracks (We’ll Be Together Again and Love Of My Life show up twice), but honestly? It works. These songs feel like variations rather than rehashes, each take bringing something new to the table. And hey, when the music’s this good, who’s complaining?
Reflecting on Some O’ This and Some O’ That, it strikes me how timeless it feels. Even though it came out in 1990, it could easily pass for a session recorded decades earlier—or last week. Jazz fans will dig it, sure, but I think anyone who appreciates good music would find something to love here.
Oh, and here’s a random thought: If this album were a person, it’d probably be the cool uncle who shows up unannounced, tells great stories, and leaves you wanting more. Funny how music can do that, huh?
