Requisites

Categories
- Atlanta Jazz Festival
- Broadway To 52nd Street
- Club Owner
- Conversations About Jazz
- Daily Dose Of Jazz
- Era
- Hollywood On 52nd Street
- Jazz In Film
- Jazz Poems
- Literary Works
- Requisites
- Review
- The Jazz Voyager
- Three Wishes
- Type of Jazz
  - Acid Jazz
  - Afro Cuban
  - Afro Jazz
  - Alternative
  - Arranger
  - Asian
  - Author
  - Avant-Garde
  - Bebop
  - Big Band
  - Blues
  - Bop
  - Bossa Nova
  - Brass Band
  - Brazilian
  - Club Owner
  - Composer
  - Conductor
  - Contemporary
  - Cool
  - Critic
  - Dixieland
  - Experimental
  - Founder
  - Free
  - Fusion
  - Gypsy Jazz
  - Hard Bop
  - Hot Jazz
  - Jazz Funk
  - Jazz Rock
  - Latin Jazz
  - Lyrics
  - M-Base
  - Mainstream
  - Modal
  - Modern
  - Neo-Bop
  - New Age
  - Poetry
  - Post Bop
  - Progressive
  - Promoter
  - Ragtime
  - Record Producer
  - Samba
  - Smooth
  - Soul Jazz
  - Straight Ahead
  - Stride
  - Swing
  - Symphonic
  - Third Stream
  - Traditional
  - Vocal
  - West Coast
  - World

Search for:

Archives
Archives

Newport In New York ’72: The Jam Sessions, Vols. 1 & 2 ~ Various Artists | By Eddie Carter

If you love music as I do, I’m sure you’ve attended several live concerts, festivals, and performances in your lifetime. I’m also certain that there’s at least one that stands out and is so special, it’s become a truly unforgettable experience and a timeless memory. For me, that date was July 3, 1972, and I remember it like it was yesterday. I got the opportunity to visit Radio City Music Hall for a thrilling summit that was the ultimate jam session and the greatest jazz concert I’d ever seen. The night only got better when the audience learned that our show was being recorded to be released and enjoyed on LP. This morning’s choice from the library is Newport In New York ’72 – The Jam Sessions, Vols. 1 & 2 (Cobblestone CST 9025–2) featuring highlights of that night’s performance alongside two tunes from the July 6 concert.

The personnel reads like an encyclopedia of jazz luminaries: Cat Anderson (tracks: A1, B1), Dizzy Gillespie (tracks: C1, D1), Jimmy Owens (tracks: A1, B1) on trumpet, Benny Green (tracks: C1, D1) on trombone, Charles McPherson (tracks: A1, B1) on alto sax, Stan Getz (tracks: C1, D1), Buddy Tate (tracks: A1, B1) on tenor sax, Milt Jackson (tracks: C1, D1) on vibes, Roland Hanna (tracks: A1, B1), Mary Lou Williams (tracks: C1, D1) on piano, Milt Buckner (tracks: A1, B1) on organ, Kenny Burrell (tracks: C1, D1) on guitar, John Blair on violin (track: C1), Percy Heath (tracks: C1, D1), Charles Mingus (tracks: A1, B1) on bass, Alan Dawson (tracks: A1, B1), Max Roach (tracks: C1, D1) on drums, Big Black (tracks: C1, D1) on congas. My copy used in this report is the original US Stereo album.

Side One kicks off with Count Basie’s 1938 classic, Jumpin’ at The Woodside, co-written with Eddie Durham and Jon Hendricks. It’s one of his band’s signature tunes and the title comes from Harlem’s old Woodside Hotel, a popular spot for jazz musicians of the era and Negro baseball teams to stay. Buckner starts with a lively introduction segueing into the melody. Buddy opens with a joyful statement, then Jimmy swings with compelling strength. Charles takes an exciting joyride on the third reading. Cat then wails into the stratosphere next. Milt ignites an energetic fuse including a few notes of the wedding march on the fifth solo. Roland swings consistently on a short statement, then Charles takes his bass for a brief brisk walk. Alan has a quick exchange with Mingus before applying the finishing touches with a concise comment into the ending theme.

Lo-Slo Bluze by Jimmy Owens gets Side Two underway with the composer showing tasteful restraint on the opening chorus and first solo. Tate personalizes the second statement with a graceful, heart-melting interpretation. Anderson raises the temperature significantly on the third reading soaring to a very high level. McPherson takes over to touch the audience with a soulfully satisfying performance, then Buckner starts the next presentation feeling at ease, then gradually builds the tension steadily to a riveting climax. Hanna turns in a superb effort on a rhythmically infectious reading and Mingus gets the final spot for a sensuously smooth improvisation leading to the ensemble’s reprise and coda.

Bags’ Groove by Milt Jackson was written in 1952 and first heard on Wizard of The Vibes that year. It starts the second record, and the title is from Milt’s nickname given to him by a Detroit bass player, referring to the bags under his eyes after one night of heavy drinking. The group brings the song to life with a collective theme at a leisurely tempo. The beat turns upward for Bennie’s opening chorus, then Stan taps into a creative vein on the second reading. Bags follows with a breathtaking presentation. John puts himself into his only interpretation with boundless energy and unbridled passion. Dizzy steps up next, opening the throttle a little further with a stunning showcase. Mary Lou handles the next performance with zestful virtuosity. Percy gives a brief impression that he’s soloing next, but steps aside for Max who provides a thunderous finale ahead of the out-chorus.

Night In Tunisia by Dizzy Gillespie and Frank Paparelli is off to the races from the first notes of the introduction by the rhythm section leading to the ensemble’s theme. Gillespie launches into an electrifying lead solo setting the tone. Burrell charges the next spot with a jolt of high-voltage energy, then Getz provides an infectious enthusiasm on the third statement. Green takes an enjoyable romp into the next presentation propelled by Big Black’s congas. Jackson is firing on all cylinders during his turn, then Williams takes charge with authority on the next solo complemented by Heath’s brilliant bass and Roach’s vigorous brushwork. Big Black adds some spicy sauce to the next reading, receiving the crowd’s approval before the closing ensemble. Roach provides the exclamation point with radiant intensity culminating a thoroughly satisfying set to a thunderous ovation from the crowd.

Both concerts were produced by Don Schlitten who co-founded Cobblestone Records with Joe Fields and later founded Xanadu Records. Fields founded the jazz labels, Muse, Onyx, and High Note. Michael DeLugg is the man behind the dials. His work offers a wealth of wonderful detail from each instrument and the energy of the crowd. It also possesses a solid soundstage placing the listener in a great seat to enjoy the musicians. There are a total of six records in this series and all are worthy of consideration for your library. If you’re a fan of live jazz, I invite you to reserve your seat for Newport In New York ’72 – The Jam Sessions, Vols. 1 and 2. I guarantee you’ll hear some truly great performances that’ll leave an indelible imprint you won’t soon forget!

~ Newport In New York ’72 – The Jam Sessions, Vols. 3 and 4 (Cobblestone CST 9026-2), Newport In New York ’72 – The Jimmy Smith Jam, Vol. 5 (Cobblestone CST 9027), Newport In New York ’72 – The Soul Sessions, Vol. 6 (Cobblestone CST 9028), Newport In New York ’72 – The Complete Six Record Set, Vols. 1–6 (Cobblestone CST 9032–6), Wizard of The Vibes (Blue Note BLP 5011) – Source: Discogs.com
~ Night In Tunisia – Source: JazzStandards.com
~ Bags’ Groove, Jumpin’ At The Woodside – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music