Requisites
1957 ~ Red Rodney | By Eddie Carter
Red Rodney enters the spotlight to begin this morning’s discussion with 1957 (Signal S 1206), his second release as a leader. He was born in Philadelphia, Pennsylvania, and began playing the trumpet professionally at age fifteen, appearing in some of the best big bands during the Forties. Red later began playing Bebop after hearing Dizzy Gillespie and Charlie Parker. He played with Gillespie, Woody Herman, Gene Krupa, Ira Sullivan, and Claude Thornhill and was part of Parker’s quintet for two years. Ira Sullivan on tenor sax (A1 to A3, B2, B3) and trumpet (B1), Tommy Flanagan on piano, Oscar Pettiford on bass, ‘Philly’ Joe Jones (A1 to A3), and Elvin Jones (B1 to B3) on drums complete the ensemble. My copy is the 1997 Classic Records Stereo audiophile reissue sharing the original catalog number.
Star Eyes by Gene de Paul and Don Raye opens the album with Red taking the lead at a relaxing tempo in the melody and opening chorus. Ira gets his teeth into the second statement and swings comfortably, then Tommy strolls into the next reading with intuitive ease. Oscar has the last say and glows in a delightful performance before the quintet reassembles for the closing chorus and climax. Up next is a beautiful rendition of You Better Go Now by Robert Graham and Bickley Reichner. The rhythm section provides the perfect backdrop for Rodney’s elegantly tender opening chorus and lead solo. Sullivan follows with a sensuously warm statement, then Flanagan and Pettiford turn in two touching interpretations leading to a graceful ending.
The first side finale, Stella By Starlight by Victor Young and Ned Washington, begins with a brief introduction by Philly, leading to the quintet’s lively melody. Ira kicks off the solos with a spirited opening statement. Red makes his mark next with an aggressive interpretation. Tommy delivers the third reading with evident enjoyment, and Philly shines in a short solo ahead of the song’s conclusion. Side Two starts with Red Arrow, the first of two tunes by Red Rodney. Sullivan is featured on trumpet, and Elvin Jones takes over on drums. Rodney and Sullivan begin the melody briskly; then, Red opens with a vigorous first solo. Flanagan provides a brief break; then Ira gives a quick, pulse-raising reading. After Flanagan’s second break, the two trumpets share an invigorating exchange before a speedy closing chorus.
Red’s Box 2000 is a blues that Oscar introduces before the front line delivers the medium-tempo melody in unison. Ira launches into a well-constructed opening statement, and Red excels on the second interpretation; then Tommy and Oscar share a swinging conversation, and Jones engages in a short exchange with both horns ahead of the theme reprise and exit. The finale is Oscar Pettiford’s Ubas, dedicated to conga player Sabu Martinez. This song is festive from the opening chorus, and Sullivan kicks off the solos with a happy lead solo, and Rodney responds with a joyful spirit in the second statement. Flanagan has a jubilant moment next, and Elvin provides a bit of propulsive energy in the finale preceding the theme’s return and close.
Jules Colomby, the founder of Signal Records, supervised the initial session of 1957, and Rudy Van Gelder was the recording engineer. Bernie Grundman remastered this reissue, and the record was pressed on 180 grams of audiophile vinyl. The sound quality is superb, with a breathtaking soundstage that transports the musicians to the sweet spot in your listening room with stunning fidelity. Despite his struggles with drug addiction, Red recorded twenty-four albums as a leader and appeared on twelve releases as a sideman over a five-decade career. He died from lung cancer at age sixty-six on May 27, 1994. If you’ve not heard Red Rodney before and are a fan of jazz trumpet, I invite you to check out 1957 or its two reissues, Fiery (1973) and The Red Arrow (1972), on your next vinyl shopping trip. It’s an excellent album that’s a welcome introduction to his music and an addition to any jazz lover’s library!
~ Fiery (Savoy Records MG 12148), The Red Arrow (Onyx Records ORI 204) – Source: Discogs.com ~ Star Eyes, Stella By Starlight – Source: JazzStandards.com © 2023 by Edward Thomas Carter
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Daily Dose Of Jazz…
Max Gordon was born on March 12, 1903 in Svir, Russian Empire, now Belarus. His family emigrated to the United States in 1908 at age five and settled in Portland, Oregon, where he later attended Reed College. As a young man, he was interested in Russian and French novels and saw himself as a romantic type. Pursuing his parents’ wish that he become a lawyer, he moved to New York in 1926 to attend Columbia Law School, but began working in nightclubs and dropped out, choosing to get his education where he could find it.
In 1932 Gordon opened his first venue, Village Fair, in the tradition of Viennese coffee houses as a place for artists and writers. He relocated the venue once in 1934 and opened the Village Vanguard in 1935. The Vanguard initially offered poetry and was frequented by poets Maxwell Bodenheim and Harry Kemp. Over time, the club segued into cabaret acts, comedy, folk music and jazz before going exclusively jazz in 1957. That year Sonny Rollins was the first jazz musician to record in the venue.
The club subsequently hosted a who’s who of jazz greats from the 1940s to the 1980s including John Coltrane, Sidney Bechet, Dinah Washington, Albert Ayler, Miles Davis, Wynton Marsalis, Henry Threadgill and Thelonious Monk, who at the time an unknown, discovered by Gordon’s wife Lorraine. The club’s artistic direction was in part guided by Lorraine who had a keen interest in jazz. Over time the club became a popular recording spot and over 100 jazz albums have been recorded there.
Max sought new talent and gave younger performers a platform to showcase their work. In doing so he played a role in helping launch the careers of Judy Holliday, Betty Comden, Adolph Green, Barbra Streisand, Pearl Bailey, Woody Allen, Dick Gregory, Lenny Bruce, Irwin Corey, Woody Guthrie, and Lead Belly. He had a reputation for fairness and honesty among the performers.
In addition to the Vanguard, in 1943 Gordon opened the Blue Angel Supper Club in midtown Manhattan and was involved in its operation for fourteen years. He actively managed the Vanguard club well into his 80s. In 1982 he authored a memoir titled Live at the Village Vanguard which chronicles the history of the club.
Jazz promoter and founder of the Village Vanguard, Max Gordon, whose wife Lorraine continued the work and took an active role in managing the Vanguard club until her passing in 2018, transitioned at 86 on May 11, 1989.
Daily Dose Of Jazz…
Carlo Krahmer was born William Max Geserick on March 11, 1914, Shoreditch, London, England. He was partially sighted at birth. He made his first record in 1939 and in the early Forties recorded with Johnny Claes’s band. He later joined Claude Bampton’s Blind Orchestra, a body sponsored by the National Institute for the Blind (now the RNIB), of which George Shearing was also a member. He worked in various bands, sometimes as leader, taking his own group to the Paris Jazz Festival in 1949.
In 1947, Krahmer co-founded Esquire Records with Peter Newbrook, a label which recorded bebop and licensed recordings from American blues and jazz labels. By 1950, Krahmer had retired from active performance, but had begun to teach aspiring drummers such as Victor Feldman.
Drummer and record producer Carlo Krahmer, whose label has continued to release music under the guidance of his wife Greta, transitioned on April 20, 1976 in London.
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Daily Dose Of Jazz…
Pete Clark was born on March 10, 1911 in Birmingham, Alabama. His brothers Richard and Arthur “Babe” were trumpeter and saxophonist respectively. Like his brothers he studied music at the Fess Whatley School. He would learn to play both alto and baritone saxophone as well as clarinet.
He began his career playing with Montgomery’s Collegiate Ramblers, followed by a stint with Wayman Carver. He would go on to find membership in the orchestras of Chick Webb, Duke Ellington, Ella Fitzgerald, Louis Armstrong, Teddy Wilson, Rex Stewart, Don Redman, John Kirby, Happy Caldwell, Jimmy Jones, Teddy Wilson and others.
Alto and baritone saxophonist and clarinetist Pete Clark, also known as Pete Clarke, transitioned in New York City on March 27, 1975.
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The Jazz Voyager
The Jazz Voyager is off to Canada for a first time experience at Frankie’s Jazz Club in British Columbia. Located in Vancouver at 755 Beatty Street V6B 2M4. This week I’m going to witness three young up and coming musicians, guitarist Alvin Brendan, keyboardist Benjamin Millman, and drummer Trent Otter.
A home to live jazz and blues, Frankie’s features local, national and international world class musicians. They offer an evening of casual intimacy with a selection of spirits and wine coupled with an Italian menu to enjoy music to.
Frankie’s Jazz Club phone number is +1 604-688-6368. For more information on showtimes and tickets visit https://www.frankiesjazzclub.ca/
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