Requisites

The Hawk Flies High is an album by jazz tenor saxophonist Coleman Hawkins. Apart from Barry Galbraith and Jo Jones on guitar and drums, the line-up of his accompanying sextet had a bebop background. The year is 1957, the dates, March 12^th, and 15^th, and Reeves Sound Studios at 304 East 44^th Street is the destination.

Track Listing | 39:02

1. Chant (Hank Jones) – 5:08
2. Juicy Fruit (Idrees Sulieman) – 11:16
3. Think Deep (William O. Smith) -3:24
4. Laura (David Raksin, Johnny Mercer) -4:34
5. Blue Lights (Gigi Gryce) -5:44
6. Sancticity (Hawkins) -9:10

• Coleman Hawkins – tenor saxophone
• Hank Jones – piano
• Oscar Pettiford – bass
• Jo Jones – drums
• Barry Galbraith – guitar
• J.J. Johnson – trombone
• Idrees Sulieman – trumpet

Coleman Hawkins ~ The Hawk Flies High | by Eddie Carter

Tenor saxophonist Coleman Hawkins steps into the spotlight with his only album as a leader for Riverside Records, The Hawk Flies High (Riverside Contemporary Series 12-233).  Originally recorded and released in 1957, this album and the other five he would record for Prestige; Soul (PRLP 7149) and Blues Groove with Tiny Grimes (PRLP 7138/PRST 7753) in 1958; Very Saxy with Eddie “Lockjaw” Davis, Buddy Tate, Arnett Cobb (PRLP 7167); Hawk Eyes (PRLP 7156) and Coleman Hawkins with The Red Garland Trio (Prestige Swingville SVLP 2001) in 1959 became essential parts of his impressive discography. Also, reviving his career as one of the perennial jazz musicians in the world until his death from liver disease on May 19, 1969. My copy used in this report is the 2007 Mobile Fidelity Sound Lab Limited Edition, Half-Speed Mastered Mono Audiophile Reissue (MFSL 1-290).  Producer Orrin Keepnews gave Bean (as he was also known) the freedom to choose the personnel he wanted, and he picked a dream lineup to share the date; Idrees Sulieman on trumpet; J.J. Johnson on trombone; Hank Jones on piano; Barry Galbraith on guitar; Oscar Pettiford on bass and Jo Jones on drums.

Side One opens with Hank Jones’ Chant; a midtempo original tailor-made for tuneful blowing by the septet on the melody and five sprightly solos by Hawk, Julie, J.J., Hank, and Oscar.  Bean takes charge first, telling a great story with a captivating opening chorus. Sulieman’s trumpet is deliciously appetizing on the next reading, then Johnson fills the third solo with an ecstatic swing. Jones’ ideas flow with finesse on the next performance, and Pettiford swings with light agility on the closing statement before the coda.   Idrees Sulieman’s Juicy Fruit is a blues that gradually rises from a march-like introduction to the mid-tempo melody. The trumpeter sustains a single note for nearly a minute (fifty-seconds to be exact) before settling into some bluesy smooth sailing on the lead solo.  Coleman endows the next reading with long, flowing mellow lines that are enjoyable. J.J. conjures up some especially inventive playing that develops subtly over the easy, relaxing beat. Hank solos next cultivating an irresistible warmth over the gently rocking groundwork of the rhythm section. Oscar comes in behind him maintaining a relaxed attitude with poise and self-assurance before the ensemble takes the song out.

Think Deep by jazz clarinetist William Smith begins leisurely with Hawk leading the septet on the hauntingly beautiful melody and closing chorus.  As the song’s only soloist, the venerable tenor man turns in a very satisfying intimate performance reminiscent of the spontaneously perfect solo he performed on Body and Soul for Bluebird Records (10523) in 1939.  Side Two starts with Laura by David Raskin who composed it for the 1944 film of the same name. This classic jazz standard is featured throughout the film noir drama and has been recorded over four-hundred times. Lyricist Johnny Mercer created the words for Laura in 1945 after the film became a huge hit, later admitting he never saw the film before writing them. Raskin also founded a little-known label called Capitol Records and has written over fifteen-hundred lyrics.  Sulieman lays out of this version, therefore showcasing Coleman and J.J. who clearly make two convincing cases for interpreting a ballad. The graceful mood is established by the rhythm section for the song’s introduction. Bean states the theme with passionate tenderness, then impresses on an expressively gentle first solo.  J.J. adds notes of dreamlike beauty that’s beautifully captured on the closing chorus leading to a subtle climax by Hawk.

Blue Lights by multi-instrumentalist Gigi Gryce made its debut on the 1957 album When Farmer Met Gryce (Prestige PRLP 7085) while he was a member of The Art Farmer Quintet. The septet presents the song at a medium tempo like the original, giving Barry his first solo opportunity for a brief bit that’s inspired.  Idrees is particularly intriguing on the third solo; Hank is also in top form on a short statement that’s rhythmically assured. J.J. mixes a bit of grace and fire on the following reading; Oscar and Jo Jones split the next interpretation with a few crisply executed exchanges. Coleman delivers the finale with a smoldering fire emerging from his horn that burns slowly into the closing theme. The album ends with the leader’s joyful original, Sancticity. The rhythm section lays down a swinging line to introduce this jaunty tune, preceding the ensemble’s frolic on the melody.  Johnson opens with a carefree, light-hearted opening statement that’s perfectly in step like a street march through the French Quarter in New Orleans.  Hawk leads the septet into the bridge between his and the trombonist’s solo statement, then settles in for a deliciously spry and merry reading of his own. Sulieman is firing on all cylinders with a frisky performance that’s a sure attention-grabber. Jones gives the final solo a happy send-off with a bright, breezy interpretation bringing this entertaining forty-minutes of jazz to a close.

I defy anyone to listen to this record with its deliciously smooth sound and punchy rhythms, and not find themselves moving to the music. The six songs that make up The Hawk Flies High offers a refreshing spirit of Cool Jazz, Hard-Bop, and Swing. Bean and his associates bring their talents to the mix with solid performances, superb solos, and vivid ensemble work for an album that you’ll want to add to your library! The original recording by Jack Higgins of Reeves Sound Studios is marvelously remastered by Mobile Fidelity Sound Lab with absolute sonic purity for a riveting soundstage that places you in the studio among the musicians as they work. If you’re a fan of good sax, I recommend for your consideration, The Hawk Flies High by Coleman Hawkins. An LP by one of jazz’s prominent musicians who not only made the tenor sax a jazz instrument but made art with it throughout a distinguished career spanning forty-five years!

~ Laura – Source: JazzStandards.com ~ © 2020 by Edward Thomas Carter

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

Daily Dose Of Jazz…

Howard Riley was born on John Howard Riley on February 16, 1943  in Huddersfield, Yorkshire, England. He began learning the piano at the age of six and started playing jazz as early as the age of 13. He studied at the University of Wales from 1961 to 1966, then Indiana University, and finishing up at York University in 1970). While studying he played jazz professionally, with Evan Parker (1966) and then with his own trio (1967–76), with Barry Guy on bass and Alan Jackson, Jon Hiseman, and Tony Oxley for periods on drums.

He worked with John McLaughlin in the late Sixties, the London Jazz Composers Orchestra and Oxley’s ensemble through the Seventies to 1981. He and Guy worked in a trio with Phil Wachsmann from 1976 well into the 1980s and played solo piano throughout North America and Europe. He played in a quartet, with Guy, Trevor Watts, and John Stevens, did duo work with Keith Tippett, with Jaki Byard, and with Elton Dean. From 1985 he worked in a trio with Jeff Clyne and Tony Levin.

Pianist and composer Howard Riley who worked in jazz and experimental music idioms continues to teach at the Guildhall School of Music and Drama and Goldsmiths, University of London, where he has taught since the 1970s.

More Posts: bandleader,educator,history,instrumental,jazz,music,piano

Requisites

Monday Night at Birdland is a live album that was recorded on April 21, 1958 at Birdland in New York City and released by the Roulette label.

Track Listing | 46:00

1. Introduction by Symphony Sid – 0:09
2. Walkin’ (Richard Carpenter) – 12:26
3. All the Things You Are (Jerome Kern, Oscar Hammerstein II) – 11:27
4. Bag’s Groove (Milt Jackson) – 12:29
5. There Will Never Be Another You (Harry Warren, Mack Gordon) – 9:29

• Hank Mobley, Billy Root – tenor saxophone
• Lee Morgan – trumpet
• Curtis Fuller – trombone
• Ray Bryant – piano
• Tommy Bryant – bass
• Specs Wright – drums

Monday Night at Birdland | by Eddie Carter

This morning’s subject of discussion takes us to the legendary jazz club Birdland where Monday nights were always special, especially during the fifties and sixties.  Musicians and vocalists who were performing would be off that night and the stage would be given to up and coming jazz artists. Thankfully, Roulette Records was available to record the performance on April 21^st to give jazz fans, Monday Night at Birdland (Roulette R–52015/SR–52015) to enjoy for all who couldn’t be there in person.  The Master of Ceremonies for these weekly jam sessions is the legendary jazz disc jockey, “Symphony Syd” Torin of WBNX in the Bronx, New York; WHOM in Jersey City, New Jersey, and WWRL, WMCA and WJZ in New York City.  Syd announces all the tunes on the album and has a brief comment after three of them conclude. The stars of this set are Lee Morgan on trumpet; Curtis Fuller on trombone; Hank Mobley, Billy Root on tenor sax; Ray Bryant on piano; Tommy Bryant on bass and “Specs” Wright on drums.  My copy used in this report is the 1988 Spanish Mono reissue (FSR-631) by Fresh Sound Records.

Symphony Syd starts the first side with the song’s introduction; the septet then launches Walkin’ by Richard Carpenter.  The trio opens the song evolving into the ensemble’s collective melody. Hank takes the spotlight first wailing enthusiastically followed by Lee who picks up the pace with a bright tone and feisty phrasing.  Curtis takes the reins next with a considerable zest for a rousing performance, Ray solos with evident delight in the next reading. “Specs” takes the final scintillating statement in exchange with the front line for a robust finish into the closing chorus and climax.  The septet eases the throttle back for the 1939 standard, All The Things You Are by Jerome Kern and Oscar Hammerstein II. Fuller cooks at an easy groove on the opening melody, then infuses the lead solo with a lively simplicity and splendor. Mobley makes his presence felt on a brisk interpretation next, then Morgan illustrates his assured mastery on the trumpet with an engaging performance.  Root takes his first solo next, giving an exquisite statement that fits the ensemble’s artistic temperament with a superb reading. Bryant ends with a short solo that’s profoundly moving before the collective reprise and coda.

Side Two opens with Milt Jackson’s contemporary classic, Bags’ Groove; it was written in 1952 and made its debut on Wizard of The Vibes (Blue Note LP 5011), released that year.  After a collective theme treatment, Lee is up first, combining lyricism and emotion for a charming lead solo. Curtis soars joyously on the next statement, then comes Hank who takes the next reading with a solid rock-steady rhythm from beginning to end.  Billy steps up next for a captivating performance unleashing red-hot notes from his horn and Ray glows brilliantly on the final spot ahead of the out-chorus and ovation. The set ends with an invigorating finale, There Will Never Be Another You by Harry Warren and Mack Gordon, originally written in 1942 and appearing in the musical film, Iceland.  The propulsive power of Wright’s drums brings the song to life leading to the speedy melody. Mobley accelerates to race car speed on the opening statement and never decelerates. Root’s tenor sax is an adrenaline rush on the next scintillating solo, followed by Morgan who also gives a spectacular exhibition. Fuller pulls no punches with a buoyant, effervescent interpretation next and Bryant shows he’s a fierce and fervid performer on the closer before the closing chorus and appreciative applause from the crowd.

Monday Night at Birdland was produced by Rudy Traylor, who’s also an arranger, jazz drummer, pianist, and vibraphonist.  The sound quality of the album is quite good throughout, and Hank Mobley, Billy Root, Lee Morgan, Curtis Fuller, Ray Bryant, Tommy Bryant, and “Specs” Wright offer the listener the very essence of live jazz.  In fact, there’s only one noticeable defect, on Symphony Syd’s introduction of Walkin’, his microphone has a little harshness. I don’t know if this appears on the original album or is exclusive to this LP. I’ll admit, I’m not that familiar with Fresh Sound Records, and don’t know if they’re in that group of European labels like DOL, Doxy, Jazz Wax, Jazz Workshop, Wax Time, etc.  However, I’m pretty impressed with what I’ve heard on this particular reissue and the performances are worth the price of admission for me to invite you to seek a copy of Monday Night at Birdland to check out for yourselves and form your own opinion!

~ All The Things You Are, There Will Never Be Another You – Source: JazzStandards.com ~ Bags’ Groove – Source: Wikipedia.org ~ © 2020 by Edward Thomas Carter

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

Daily Dose Of Jazz…

On February 8, 1947 Kerrie Agnes Biddell was born in the inner-city community of Kings Cross in Sydney, New South Wales, Australia. An only child two pianist parents, her mother an accomplished jazz pianist and her father a part-time pianist, she attended St. Vincent’s Convent at the age of six, soon after her father left her mother. In 1962, she suffered a collapsed lung and rheumatoid arthritis, the latter of which affected her piano playing, so she decided to become a singer.

At twenty, Kerrie sang background vocals for Dusty Springfield and impressed, Springfield suggested she become a lead singer. She joined a local band, The Echoes, then in 1968, The Affair. With her added voice the group was able to cover various musical styles, such as soul, funk, and pop compositions. In 1969, they competed and won the national competition Hoadley’s Battle of the Sounds in the vocal-group category. The prize was a trip to London, England, the group relocated in mid-1970, only to disband months later. Before disbanding, they recorded Sly and the Family Stone’s Sing a Simple Song, which would become one of Biddell’s signature songs.

Returning to Australia she toured with the Daly-Wilson Big Band, performing swing music. In between her stint with Wilson, she toured with Dudley Moore, Cilla Black, and Buddy Rich. In 1972, married to former alto saxophonist for Sounds Incorporated David Glyde, they moved to Canada and her career as a session singer began soon after. She and her husband toured in the United States, including clubs in Las Vegas. Offered a three-year six-figure contract with the MGM Grand Hotel and Casino, but declined and moved back to Australia, enrolling in the Sydney Conservatorium of Music.

Moving on to a solo career, her first album won two ARIA awards, she sang on hundreds of jingles, television shows and film scores, and joined the faculty of the Jazz Diploma course at the Conservatorium. She wrote a one-woman show, Legends, which later included June Bronhill, Lorrae Desmond, Toni Lamond, and Jeanne Little. In 2001, due to poor health, she retired from performing but continued her teaching career. On 4 September 2014, jazz and session singer and vocal teacher Kerrie Biddell passed away from a stroke on September 5, 2014. She was 67.

More Posts: bandleader,history,instrumental,jazz,music,vocal

Daily Dose Of Jazz…

Chris Biscoe was born on February 5, 1947, in Pensford, Somerset, England and in 1963 taught himself to play alto saxophone and then started playing tenor, soprano, baritone, and also comparatively rare alto clarinet. Before he became a notable presence on the UK Jazz scene, he was a computer programmer.

From 1970 to 1973 Biscoe played with National Youth Jazz Orchestra in London, doing gigs with various other London-based bands of that period, including Redbrass. He worked with several notable jazz musicians during the Seventies such as Harry Beckett, Ken Hyder, Didier Levallet, Chris McGregor, Andy Sheppard, Graham Collier, Danilo Terenzi, Pete Hurt, Tommy Chase, Pete Saberton, Barry Guy, Dave Holdsworth, and Pete Jacobsen.

In 1979, Chris had a long-term association with Mike Westbrook touring throughout Europe and playing international festivals in Australia, Singapore, Hong Kong, Canada and the USA. In the same year, he also formed a quartet featuring Peter Jacobsen, expanded to a quintet in 1980, a sextet in 1986, and reformed as a quartet in 1987. During the Eighties he also recorded two albums.

During the late 1980s and 1990s, Biscoe toured and recorded with George Russell, Andy Sheppard, Liam Noble, Gail Thompson’s Jazz Africa, Harry Beckett, and also played in France with Didier Levallet’s groups and the collective band called Zhivaro. In 1991, he released a second cassette, Modern Alarms, and also recorded in the Dedication Orchestra in the Spirits Rejoice project.

Between 1997 and 2000, he became the first English musician to join the Orchestre National de Jazz. Multi-instrumentalist Chris Biscoe plays the alto, soprano, tenor and baritone saxophone, the alto clarinet, piccolo, and flute and continues to play and record.

More Posts: bandleader,clarinet,flute,history,instrumental,jazz,music,piccolo,saxophone