Requisites
The Fox ~ Harold Land | By Eddie Carter
>This morning’s selection from the library features one of my favorite tenor saxophonists, Harold Land, who, alongside his band members, is in pursuit of a cunning opponent: The Fox (HiFi Jazz J 612/SJ 612), which initially hit the stores in 1959. Harold was a leading West Coast tenor saxophonist who played with some of the best jazz groups, including those led by Clifford Brown and Max Roach. After leaving the Clifford Brown-Max Roach Quintet to prioritize his family life in California, he may have sacrificed the chance for even greater recognition. Still, his impressive discography continues to illuminate a career that lasted almost fifty years. Land receives exemplary support on this date from Dupree Bolton on trumpet, Elmo Hope on piano, Herbie Lewis on bass, and Frank Butler on drums. My copy is the 1975 U.S. Stereo reissue (Contemporary Records S7619).
Side One kicks off with the title track, The Fox, a high-energy opener by Harold Land that is fueled by the quintet’s theme. The tune takes its name from a nickname given to Harold by drummer Lawrence Marable. Land leads the way, delivering a solo bursting with fiery passion. Bolton steps in next and cooks hard. Hope surges ahead with an energetic touch in the following reading. Butler then engages in a lively and playful exchange with the front line, until the theme’s reprise brings the tune to an abrupt and thrilling end. Mirror-Mind Rose, the first of Elmo Hope’s four contributions, serves as a lyrical showcase for Land, whose opening solo after the ensemble’s touching theme paints an affectionate, mellow soundscape. Bolton’s turn is a dreamy, gorgeous presentation, and Hope wraps up the solos with elegance before the group gently ends the tune together.
Hope’s One Second, Please is a rocking groove with dynamic interaction between both horns and the trio on the melody. Harold lets his horn do the talking in the opening statement. Dupree responds by getting so many ideas into the second solo. Elmo glides efficiently over the rhythm section’s backdrop next. Frank collaborates with the front line in the closing segment preceding a satisfying finale. Sims-A-Plenty, Hope’s third original starts Side Two with the unfolding of a cheerful, mid-tempo theme by the quintet. The pianist steps up first, building the opening solo into a firm, solid groove. Land matches the momentum with a swinging statement next. Bolton impresses with inventive, nuanced lines in a remarkable interpretation. Butler moves toward the reprise with exciting agility on the closer preceding the ensemble’s cohesive finale.
The playful spirit of Little Chris radiates the joy and happiness Harold Land felt for his then nine-year-old son, and that feeling shines through in the quintet’s opening notes of the melody. Harold takes the lead with a captivating statement that draws thelistener in. Bolton brings a bright, assertive tone and confident energy to the second reading. Hope makes his entrance next and swings soulfully, then Butler adds a few lively thoughts before the quintet reassembles for the closing theme. One Down by Hope begins with Butler’s breezy, island-inspired introduction, ahead of the group’s medium-fast melody. Bolton opens the solos with seasoned flair, then Elmo responds with polished virtuosity. Harold takes up the next spot vigorously, and Frank adds the exclamation point in a brief but effective solo before the quintet returns to take the song out.
Bassist Herbie Lewis is the only member of the quintet who doesn’t take a solo on any track, but his presence is truly felt throughout. His controlled strength and engaging ensemble playing create a reliable, steady foundation that beautifully supports Land, Bolton, Hope and Butler at the forefront. This album was produced by David Axelrod and recorded by Art Becker and David Wiechman at Contemporary Records. The reissue’s sound quality is first-rate and offers its owner a marvelous stereo listening experience. For fans of West Coast Jazz, the incredible interaction among the musicians is captivating, and these performances are definitely worth exploring. The Fox by Harold Land may seem like an elusive adversary during your record-shopping hunt, but once you acquire it, it won’t bite or attack; instead, it could become a treasured addition to your jazz library!
~ Little Chris – Source: Album liner notes by Leonard Feather ~ Lawrence Marable was also known as Larance Marable – Source: Wikipedia.org. © 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Carmine D’Amico was born on December 22, 1954 in Brooklyn, New York. His father gave him the choice of piano or the guitar and he chose the latter. Taught by his father who instilled in him that each note must have meaning. At age 9 he recorded Who Wears Short Shorts, which became a big hit. He was then signed to Capitol Records and went on tour , including television appearances on American Bandstand, The Allen Fried Show, and Soul Train. From age 9 – 11 during the 1950s he played on hit records by the Shirelles, Connie Francis, Fabian, Frankie Avalon, and others.
He won academic scholarships to both high school and college, graduating valedictorian from Trinity High School with a 99.9 average. Carmine found himself in pre-med but then transferred to Queens College and majored in music. Studying in between touring with Tammy Grimes, Liza Minelli and Ed Ames, he graduated with a B.A. in Music Education.
Then came military service with an assignment with an Army Dance Band. Discharged, he returned to New York and resumed his career activities, first joining Ed Ames, recording two of his biggest hits, Try To Remember and My Cup Runneth Over.” D’Amico then became staff guitarist on the Mike Douglas Show and remained for three years.
He went on to work with Bobby Darrin, Sergio Franchi, Patti Austin, Englebert Humperdinck, Vic Damone, Manhattan Transfer, Shirley Maclaine, Henry Mancini, Michele Legrande, Bernadette Peters, The Pointer Sisters, The O’Jays, Jack Jones, Lainie Kazan, Elisa Kashi, Connie Francis, Cleo Laine, Shirley Bassey and Josephine Baker.
He worked with Bernard Purdie, Steve Gadd, Ron Carter, John Faddis, Lou Marini, Lionel Hampton, Teo Macero, Bob Cranshaw, Tom Barney, John Frosk, Doc Severinsen, John Tropea, Mel Torme, Mel Lewis, and Thad Jones, among others.
Outside of jazz he recorded with Bee Gees, the Stylistics, Ray, Goodman and Brown, Stephanie Mills, Vanessa Williams, Patti LaBelle, Freda Payne, Tina Turner, Ben Vereen and played on all of the Sugar Hill Productions. During this prolific period and seemingly height of opportunities for working musicians, NARAS voted him Most Valuable Guitar Player in 1986 and 1987.
Guitarist, producer, composer, arranger and sideman Carmine D’Amico, who over the course of his career received 16 Grammys, died at the age of 67 in Casa Grande, Arizona on Oct. 2, 2011.
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Requisites
Wheelin’ & Dealin’ ~ Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor | By Eddie Carter
This morning’s album from the library is an excellent 1957 jam session by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor. Wheelin’ & Dealin’ (Prestige PRLP 7131) is an outstanding album featuring an impressive team of musicians. The ensemble consists of John Coltrane and Paul Quinichette on tenor saxophones, Frank Wess on flute (tracks: A1, B1, B2) and tenor saxophone (track: A2), Mal Waldron on piano, Doug Watkins on bass, and Arthur Taylor on drums. The copy of this album that I own is the 2025 Worldwide Stereo audiophile reissue (Craft Recordings CR00862).
The album opens with Things Ain’t What They Used To Be by Mercer Ellington and Ted Parsons. Frank’s flute sets a welcoming tone for the sextet’s laid-back melody before moving into a relaxing first solo. Paul soars with graceful ease, then John follows him effortlessly with a mellow reading, then the saxophones revisit the sequence. Mal responds with a breezy interpretation, and Doug takes a quick walk, leading to the closing chorus. Wheelin’ by Mal Waldron takes off with the ensemble’s spirited theme. Coltrane leads the way with an energetic statement. Quinichette lets loose next, then Wess wails on the tenor saxophone. Waldron delivers a lengthy, vigorous performance. Taylor adds a brief footnote that leads to the ensemble reprising the theme and a rousing finish.
Side Two opens with Robbins’ Nest by Illinois Jacquet, Bob Russell, and Sir Charles Thompson, a tribute to DJ Fred Robbins. Frank, returning on flute, gently guides the ensemble through the melody, then enters like a cool breeze for the first solo. Paul then offers some down-home cooking; John makes every note count in a relaxed interpretation. Mal then keeps the mood easygoing, and Doug takes a brief walk before the closing ensemble. Mal Waldron’s Dealin’ starts with the sextet’s collective melody; Waldron leads with an inviting opening solo. Wess, on flute, produces a warm, fluid sound. Quinichette steps in for a few relaxing choruses, then Coltrane flows with fresh, creative ideas. Wess makes a short return on tenor sax, and Waldron has the last word before the group reunites to close the set.
The dynamic combination of Coltrane and Quinichette on tenor saxophones infuses the sextet with vibrant energy, establishing an engaging lead voice for the group. Coltrane, poised on the threshold of stardom, plays with deep emotion and a sense of adventurousness, while Quinichette’s silky, relaxed approach pays homage to Lester Young’s signature sound. Frank Wess further elevates the ensemble’s texture, seamlessly alternating between flute and tenor sax; his flute contributions, in particular, bring a light, breezy quality to the arrangements. Supporting them, the rhythm section of Waldron, Watkins, and Taylor lays down a consistent, swinging foundation, artfully mixing delicacy with spirited drive to enhance each soloist’s performance throughout the album.
Bob Weinstock supervised the first session, and Rudy Van Gelder was at the recording console. Kevin Gray did an excellent job mastering this audiophile reissue from the original tapes at Cohearant Audio. The sound quality truly shines, offering a spacious soundstage and vibrant clarity that makes you feel like the musicians are right in front of you. The record is pressed on 180-gram Virgin Vinyl and is silent until the music begins. If you’re craving a fantastic Hard-Bop album, I highly recommend checking out Wheelin’ & Dealin’ by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, and Arthur Taylor on your next record-shopping trip. It’s an outstanding album by the talented group that later became The Prestige All-Stars, and I believe it will become a beloved favorite in the libraries of both new and seasoned jazz fans for many years to come!
Things Ain’t What They Used To Be – Source: JazzStandards.com © 2025 by Edward Thomas Carter
Wheelin’ & Dealin’: 1957 | Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, Arthur Taylor
For the serious collector of jazz… #Jazz #Classic #Collectible #Music #Notorious
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Daily Dose Of Jazz…
Ze Luis was born José Luis Segneri Oliveira was born December 17, 1957 in Rio de Janeiro, Brazil and as a child lived next to Antonio Carlos Jobim in the historic Ipanema neighborhood. Early on Oliveira began playing flute and he graduated from Pro-Art Conservatoire in flute and traditional harmony in 1975. Two years later he continued his studies in Performance Arts at Villa-Lobos Institute and soon after studied with renowned Brazilian saxophonist and clarinet player Paulo Moura.
The mid-70s saw him becoming heavily influenced by the album Native Dancer, a collaboration between Wayne Shorter and Milton Nascimento. He was also drawn to the music of Ian Anderson, leader and flutist of the British band Jethro Tull.
Zé’s first professional engagement began with Brazilian vocalists Ney Matogrosso and Luiz Melodia. Oliveira met pianist Tomás Improta while working with Brazilian actress and singer Zezé Motta, who at that time was working with emerging Caetano Veloso and recorded on his album and eventually joined Veloso’s newly formed band.
During this time Oliveira worked extensively with Gilberto Gil, The Wailers, Chico & Caetano on Globo TV and played with Chico Buarque, Rita Lee, Milton Nascimento, João Bosco, Elza Soares, and Mercedes Sosa.
He moved to New York City in 1990 and began studying with saxophonists Joe Lovano and Ted Nash at New York University. In 2004, Oliveira received his Masters in Composition and Arranging from the Juilliard School. His career includes multiple Grammy Award nominations.
Throughout the 1990s, Oliveira continued to record and perform with hundreds of artists from different genres, composed and performed for choreographer and dancer Patricia Hoffbauer and became a part of the New York Samba Band with Duduka da Fonseca, Romero Lubambo, Cyro Baptista and Nilson Matta.
Saxophonist and flutist Zé Luis Oliveira is the current producer of Just Play, a traveling improvisational music series and global storytelling project.
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Daily Dose Of Jazz…
Graham Leslie Lionel Clark was born on December 16, 1959 in England. He plays the violin as his first instrument, sings and also the electric guitar. As a freelance violinist he is adept in most styles of jazz, rock, blues and pop, however, he specializes in improvisation.
He worked with Daevid Allen from 1988 to 2014, and has also worked with Andy Sheppard, Keith Tippett, Tim Richards, Phil Lee, Paz, Brian Godding, Elbow, Lamb, Bryan Glancy, Little Sparrow, Jah Wobble, Graham Massey, Louis Gordon and Liz Fletcher.
Violinist Graham Clark, who has been featured on seven albums, continues to perform and record.
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