MICROSCOPIC SEPTET, The. Seven Men in Neckties. Cuneiform. 2006. 2 CDs.Phillip Johnson, sop sx, comp, arr; Don Davis, alto sx; John Hagen, Danny Nigro, Paul Shapiro, ten sx; Dave Sewelson, bari sx; Joel Forrester, p, comp, arr; David Hofstra, string bass, tuba; Richard Working, dr.A re-release of Take the Z Train (1983) and Let’s Flip! (1985) plus previously unreleased tracks.If jazz had retained the popularity in the ‘80s it had in the swinging ‘30s or the coffee house cool jazz ‘50s, the Microscopic Septet might still be around and still creating innovative, immensely original enjoyable music. The Septet was formed in 1980 by saxophonist composer Johnston, ably assisted by pianist (also composer) Forrester. Despite the vagaries of bookings and recordings (Johnson admits they had probably the worst luck ever in their recording deals –their recordings never went anywhere), they managed to hang together with fairly stable personnel until 1992, when they disbanded. (Johnston, Forrester, Sewelson and Hofstra were members from start to finish.) In 2006, Cuneiform re-released four of their albums in two double-CD albums, of which this is one, and the group toured again for a year.The Microscopic Septet was one of the best small bands in the history of jazz, not influential in shaping the course of jazz as were, for instance Louis Armstrong’s or Jelly Roll Morton’s groups but as good as and enjoyable as Fats Waller and His Rhythm. The Septet was distinguished by its arrangements, which took full advantage of the variety of sounds that could be produced by four saxes with different registers and timbres, and its approach, which combined modern soloing with a band sound that reminded one of a thirties jump band, but radically updated. The soloists are first rate. I especially like Johnson’s soprano sax, Sewelson’s baritone sax and Hofstra’s string bass solos but they’re all good. I don’t know what Dworkin’s drum set looked like but he produced a ricky tick sound in places that conjures up Sonny Greer or Chick Webb sitting behind their augmented drum sets, bashing away and having a ball. And saxophonists Hagen and Sewelson aren’t afraid to squeal and honk on their horns like Illinois Jacquet or Big Jay McNeely when it fits the mood of the piece.You’ll recognize two pieces in this collection. One is Billy Strayhorn’s “Johnny Come Lately.” The other (57 seconds long) ifs the theme from NPR’s Fresh Air, which was composed by Joel Forrester. The titles of the other tunes are as whimsical as the arrangements: “The Lobster Parade” (“Lobster Leaps In” is on another album and it doesn’t sound like Basie and Lester), “Pack the Ermines, Mary” and “Hey Wayne.”These recordings aren’t essential jazz. The ardent jazz collector doesn’t need to have them in his or her collection in order for it to feel complete. But they’re superior jazz and the group was truly one of a kind.