Requisites
Serenade To A Bus Seat ~ Clark Terry Quintet | By Eddie Carter
This morning’s spotlight shines on a remarkable trumpeter who, in my view, always delivered flawless performances. Serenade To A Bus Seat (Riverside RLP 12-237) by the Clark Terry Quintet is the subject of this discussion. Clark enjoyed an illustrious career performing with Charlie Barnet, Count Basie, Duke Ellington, Quincy Jones, and Oscar Peterson. He was also a member of The Tonight Show Band from 1962 to 1972. Terry’s influence extended far beyond his performances; his jazz career spanned more than 70 years, and he became one of the most-recorded jazz musicians, appearing on more than 900 recordings. He also mentored Terry Lyne Carrington, Miles Davis, Herbie Hancock, Quincy Jones, Wynton Marsalis, Pat Metheny, and Dianne Reeves.
On his third album as a leader, Clark Terry is working with Johnny Griffin, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; and Philly Joe Jones, drums. The copy I own is the 1977 Riverside Original Recording Series Japanese mono reissue (SMJ-6209M) by Victor Musical Industries. The opener, Donna Lee by Charlie Parker, begins with Philly’s introduction ahead of the quintet’s brisk melody. Johnny ignites the first solo with bursts of passionate fire, then Clark and Philly share an energetic conversation. Kenny caps off the solos with an impressive display of vibrant energy ahead of the group’s lively closing chorus and dead stop.
Boardwalk by Clark Terry is a blues that begins with an enjoyable, medium-tempo theme by the ensemble. Terry opens with a poised, almost dignified solo, then he engages in a friendly exchange of ideas with Griffin. Kelly then provides the exclamation point with a laid-back interpretation before the group reconvenes for the climax. Terry’s second creation, Boomerang, is a lively little original that takes off with the front line’s melody in unison. Clark gives his undivided attention to the opening solo, then Johnny enters and simply swings. Wynton follows with a strong statement that’s a joy to listen to. Paul takes a short walk preceding the group’s return to the theme’s reprise and close.
Digits by Clark Terry turns the temperature down for an easygoing theme by the ensemble. Terry steps up first to give a relaxing solo, then shares the next happy statement with Griffin. Kelly wraps up everything with a leisurely reading until the quintet returns for the closing chorus. The title tune, Serenade To a Bus Seat by Clark Terry, is a swinging homage to the trips musicians took from city to city with big bands. It’s off to the races with the ensemble’s melody, then Johnny is up first to ignite the first solo with passionate fire. Clark meets the challenge with an effervescent interpretation. Wynton gets the last spot and handles it comfortably before the front line’s fine blowing signals the end.
Hoagy Carmichael and Mitchell Parish’s classic, Stardust, is one of the most recorded songs in history. Both horns deliver a gentle introduction leading to Terry’s delicately phrased melody. Terry and Griffin are the featured soloists, and both turn in two beautiful solos that complement each other until the theme returns and the song ends softly. Cruising by Clark Terry opens with an easy-flowing theme led by both horns, before stepping aside for Johnny to lead off with an excellent first solo. Clark speaks his piece in the following statement, then Wynton follows at an unhurried pace, leading to the restatement of the theme and climax.
That Old Black Magic by Harold Arlen and Johnny Mercer is an old favorite from 1942 that first appeared in the film, “Star Spangled Rhythm.” The quintet wraps the album up in a bow with a short Latin rendition, which begins and ends with Terry using a cowbell and Griffin on the claves. In between, both Terry and Griffin, on trumpet and tenor sax, make swinging comments. Orrin Keepnews produced the initial session, and Jack Higgins was behind the recording console. The Victor Japanese mono reissue is a delight to hear, with a breathtaking soundstage that places the musicians in your listening room’s sweet spot with stunning fidelity.
For anyone who admires Clark Terry or is just beginning to discover his discography and enjoys hard bop, I strongly recommend picking up Serenade To a Bus Seat by the Clark Terry Quintet the next time you’re at your favorite record store. It’s a fabulous album that should make a meaningful addition to any jazz library, especially for those who appreciate the artistry of a masterful trumpeter!
~Stardust, That Old Black Magic – Source: <ahref=”http://jazzstandards.com”>JazzStandards.com
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Bob Leatherbarrow was born on May 3, 1955 in Buffalo, New York. He studied drums with Charlie Lorigo, orchestral percussion with John Rowland of the Buffalo Philharmonic, and the vibraphone with Dave Samuels. He began working professionally at age 14, attending the Berklee College of Music in Boston, Massachusetts before moving to Los Angeles in 1978 to further pursue a career in music.
Throughout his career in jazz, Bob has been a member of Ernie Watts Quartet for over 25 years, has performed and recorded with Joe Farrell, Victor Feldman, Horace Silver, Rosemary Clooney, Natalie Cole, The Bill Holman Band, the Bob Florence Jazz Orchestra and Howard Roberts among others. He has also recorded in other genres with Gordon Lightfoot, Bette Midler, Placido Domingo, Dolly Parton and Henry Mancini.
Leatherbarrow has appeared of film and television soundtracks for The Simpsons, Family Guy, Austin Powers, Bruce Almighty, The Cleveland Show and The Life Aquatic to name a few, and drummed the iconic snare rolls that begin the sound signature of 20th Century Fox Studios.
Doubling on vibraphone, Bob Leatherbarrow has backed singers like Peggy Lee, Greta Matassa, Lorraine Feather and Nelly Furtado along with Stanley Clarke, Bill Perkins and his own group Polychrome, with whom he continues to compose and perform.
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Gerald Beckett was born in Beaumont, Texas on May 2nd and started playing alto saxophone at the age of 11. As a freshman at the University of North Texas in Denton, Texas he switched to playing the flute and during his years at UNT, he played with various local bands.
It wasn’t until a move in 1985 to San Francisco that he began immersing himself in the jazz scene. He started listening to various flutists such as Eric Dolphy, Frank Wess, Herbie Mann, Hubert Laws, Dave Valentin and Paul Horn, among others. For the next 8 years Gerald studied flute at the San Francisco Conservatory of Music and privately under Esther Landau.
He has performed in several venues in San Francisco and New York, either as a leader and sideman, showcasing the many facets of the instrument and its uniqueness to the jazz genre. He has self-produced three CD’s to national recognition and airplay, and has been a Grammy Ballot nominee.
As an educator Beckett has conducted Jazz Flute master classes in San Francisco and Paris. Flautist Gerald Beckett continues to perform, tour and record.
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Shirley Valerie Horn was born on May 1, 1934 in Washington, D.C. and was encouraged by her grandmother to begin piano lessons at age four. At twelve she studied piano and composition at Howard University and later majored there in classical music. Unable to afford to attend, Shirley was forced to decline an offered a place at the Juilliard School. Forming her first jazz piano trio when she was twenty, her early piano influences were Errol Garner, Oscar Peterson and Ahmad Jamal that moved away from her classical background.
She then became enamored with the famous U Street jazz area of Washington, sneaking into jazz clubs before she was of legal age. She was most noted for her ability to accompany herself with nearly incomparable independence and ability on the piano while singing, the rich, lush, smoky contralto gave an unprecedented expression to every song she sang. Although she could swing as strongly as any straight-ahead jazz artist, Horn’s reputation rode on her exquisite ballad work.
She recorded with Stuff Smith in 1959, and on small labels into the Sixties. Horn first achieved fame in 1960, when Miles Davis discovered her and his public praise was a rare commodity. She eventually landed on Mercury and Impulse and over the course of her career she recorded some four-dozen albums both as leader and sideman.
Following the arrival of the Beatles, Horn scaled down performances to her native D.C. clubs, raised her daughter and worked full time in an office. Recording sporadically from 1965 through the late 80s, by the early Nineties her resurgence came with “Here’s To Life” and the albums began to flow, nearly one a year until 2003.
The small setting performer, singer and pianist Shirley Horn kept her same trio for twenty-five years. In the early 200s due to health issues she cut back her schedule, and battling diabetes and breast cancer passed away on October 20, 2005. She was nominated for a Grammy 9 times and won for “I Remember Miles”, performed for several White House invites, received an honorary Doctorate from Berklee College of Music and was given a NEA Jazz Master Award.
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Hayes Pillars was born on April 30, 1906 in North Little Rock, Arkansas and began playing tenor saxophone as a teenager. Playing locally around Little Rock and Jackson, Tennessee initially, Hayes joined the territory band of Alphonse Trent in 1927. A year later he was back freelancing until he united with his boyhood friend James Jeter and organized the Jeter-Pillars Orchestra in Cleveland, Ohio.
Pillars secured a six-week engagement in 1934 at the Club Plantation in St. Louis, becoming so popular that they stayed for eleven years. The band was so influential that some of its players who held tenure were Walter Page, Sid Catlett, Jo Jones, Kenny Clarke, Jimmy Forrest, Charlie Christian, Jimmy Blanton and an 18 year old Harry “Sweets” Edison, who all went on to make names for themselves.
The orchestra would play New York and Chicago prior to Pillars leaving the orchestra. He then became a mainstay on the St. Louis scene for nearly three decades from the 1950s till his retirement in the Eighties. He was honored for his contributions to jazz by the Institute for Jazz Studies at Rutgers University and the Smithsonian Institute in 1981.
Tenor saxophonist and bandleader Hayes Pillars passed away on August 11, 1992 in Richmond Heights, Missouri.
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