Requisites

The Sound Of The Wide Open Spaces ~ James Clay and David “Fathead” Newman | By Eddie Carter

This morning’s album from the library brings together two Texas tenor saxophonists for the first of two recordings together. The Sound of The Wide Open Spaces (Riverside RLP 12-327/RLP 1148) is a 1960 release that marks the debut of James Clay and the second album by David “Fathead” Newman. The album’s title refers to the vast landscape of the Lone Star state. This hard bop blowing session allows both musicians to have a superb showcase in which to work. Wynton Kelly on piano, Sam Jones on bass, and Arthur Taylor on drums complete the quintet. My copy is the 1986 U.S. Original Jazz Classics Stereo reissue (Riverside OJC-257).

The quintet starts Side One with the opening ensemble to Wide Open Spaces by Babs Gonzales. David gets right down to business first. James takes the baton and gives an exhilarating interpretation; then Wynton comes in for a spirited reading. Clay and Newman return to share an energetic exchange ahead of the closing chorus. The front line eases up on the gas to begin They Can’t Take That Away From Me by George and Ira Gershwin. James steps into the opening statement with extreme confidence. David returns the compliment on the following reading, and then Wynton closes things out with masterful ease, leading to the theme’s reprise and ending.

Side Two begins with the rhythm section’s introduction to Some Kinda Mean by Keter Betts ahead of the front line’s laid-back theme. James is up first and moves leisurely through the opening solo. David is equally easygoing in the following reading. Wynton’s carefree interpretation precedes the theme’s restatement and the trio’s climax. James switches to the flute for the Johnny Burke, Bob Haggart standard, What’s New? The trio opens gently ahead of David’s tender melody. James leads the way with an emotionally sensitive statement. Wynton comes in next for a beautiful reading, and David delivers a gorgeous finale leading to the polite ending.

Figger-ration by Babs Gonzales takes off with the rhythm section’s quick introduction to the front line’s brisk melody. David is off to the races in the opening solo, then James takes a vigorous romp next. Wynton illustrates his agility in the following interpretation. Sam takes a short walk leading to a vigorous exchange by both horns ahead of the reprise and close. Julian “Cannonball” Adderley produced The Sound of The Wide Open Spaces and Jack Higgins was the recording engineer. The sound quality of this OJC reissue is exceptional, with an excellent soundstage allowing the instruments to come through your speakers vibrantly, as if the musicians are playing in front of your sweet spot, providing an immersive experience for the listener.

The Sound of The Wide Open Spaces by James Clay and David “Fathead” Newman is an overlooked, but wonderful album that, in my opinion, is a perfect place to start if you’re beginning your journey into either musician’s discography. Its got good tunes with great solos by five remarkable musicians who together have created an album that should appeal to any jazz collector and become a welcome addition to any jazz fan’s library!

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David Bryan Benoit was born in Bakersfield, California on August 18, 1953. He studied piano at age 13 with Marya Cressy Wright and continued his training with Abraham Fraser, who was the pianist for Arturo Toscanini. He attended Mira Costa High School and went on to focus on theory and composition at El Camino College, studying orchestration and later took film scoring classes at UCLA. He went on to study music conducting and worked with Jeffrey Schindler, Music Director for the UC Santa Barbara symphony orchestra.

He began his career as a musical director and conductor for Lainie Kazan in 1976, before moving on to similar roles with singer/actresses Ann-Margret and Connie Stevens. His GRP Records debut album, Freedom at Midnight in 1987, led his roster of top ten albums he has released. He has recorded tribute albums to pianist Bill Evans, Peanuts creator Charles Schulz and Leonard Bernstein’s West Side Story. Collaborators included the chorus group Take 6, guitarist Marc Antoine and trumpeter Chris Botti.

Benoit has arranged, conducted, and performed music for Russ Freeman and the Rippingtons, Kenny Loggins, Michael Franks, Patti Austin, Dave Koz, Kenny Rankin, Faith Hill, David Lanz, Cece Winans, David Pack, David Sanborn, The Walt Disney Company and Brian McKnight.

Pianist David Benoit, who has three Grammy nominations, has performed three  times at the White House, and has a morning program on jazz radio station KKJZ in Long Beach, California, continues to perform and record..

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Ian Davis was born on August 1, 1953 in South Carolina and started drumming at fifteen as an R&B drummer with The Barons, playing gigs on the South Carolina chittlin’ circuit with Earl Davis, George McCauley, Craig Washington, Phil Griffin, and Cool John Ferguson. He played folk and fusion in the Seventies, alt-pop, improvisational, and big band music in the 80’s, and played with Blue Chair, Mind Sirens, Bicentennial Quarters, Trailer Bride, and Chris Stamey/Kirk Ross in the 90’s. He went on to become the host drummer for six years at the Carrboro Arts Center monthly jazz jam.

Moving to the Bay area of San Francisco, California in 1995 Davis played with the Mills College based large improvising ensemble Micro Collective Orchestra along with Scott Rosenberg, Matt Ingalls, Morgan Guberman, Brian Pearson, Brian Kane, and many others. Following his 1997 return to North Carolina he organized the structured improvisational orchestra Micro-East Collective, similar in design to Micro.

He and composer, performer, producer and engineer Chris Stamey have recorded and produced three compact discs for Micro-East. Ian also manages Umbrella Records. He currently plays in improvisational duos with guitarist Jason Bivins, soprano and tenor saxophonist Mahlon Hoard, Onomata, a pulse-based improvising quartet, Unstable Ensemble, a Bloomington based improvisation ensemble, and The Dave Fox Quartet out of Greensboro, North Carolina.

Davis has been invited to play gigs with Eugene Chadbourne, he toured with Andrew Voigt, Morgan Guberman, and Toshi Makihara as part of the music and dance group Corpus Ludens. Drummer Ian Davis continues to record improvisational performers during house concerts sponsored by the Triangle’s Alliance for Improvised Music.

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Gordon “Gordy” Johnson was born July 31, 1952 in Minneapolis, Minnesota, and was quickly immersed in the world of music as his father Clifford was in the bass section of the Minnesota Orchestra for 47 years and his mother Thelma taught piano. His main instrument growing up was the flute, however, he also played bass, keyboards and guitar, and sang rock and roll.

Graduating in 1974 from Eastman School of Music at the University of Rochester in New York, Gordy played flute in the Eastman Wind Ensemble and bass in the Eastman Jazz Ensemble, Studio Orchestra and Arrangers Workshop Orchestra.

Johnson spent a year breaking into the New York City music scene often playing with pianist and college classmate Phil Markowitz. In 1975, Gordy hit the road for a three-year stint with the Maynard Ferguson Orchestra, alongside drummer Peter Erskine. World tours followed with Gene Bertoncini, Roy Buchanan, the Paul Winter Consort and Chuck Mangione. He was also busy with studio recordings.

Moving back to the Twin Cities in 1989 where he became one of the most in-demand bass players in town ever since. He has performed, toured and/or recorded with Joanne Brackeen, Herb Ellis, Rosemary Clooney, Scott Hamilton, Michael Johnson, Jay McShann, Dewey Redman, Jim Rotondi, Diane Schuur, Marlena Shaw, Stacey Kent and Toots Thielemans, among others.

Double bassist and bass guitarist Gordy Johnson, who has recorded five albums as a leader and fourteen as a sideman, continues to play an average of 250 gigs a year, which keeps quite busy.

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David Silliman was born on July 28, 1960 and raised in the San Francisco, California bay area where he was exposed to a wide variety of music. His first studies were in the classical field, studying snare drum, xylophone and timpani. He was later exposed to Jazz, Latin Jazz, Brazilian and Funk music. His current setup varies from the standard American drum set augmented with a South American cajon, drums from the Middle East, Africa and the Caribbean along with various other percussion instruments.

He hass performed on the stages of European and American jazz festivals,  and spent years playing with Blossom Dearie as a member of her trio. He has toured with Al DiMeola, Cassandra Wilson, Leslie Uggams, Mariah Carey, Edmar Castaneda, and performed with Aretha Franklin. He is no stranger to the Broadway pit or the New Jersey Symphony, having sat in the chairs of both.

Drummer and percussionist David Silliman, who has yet to record as a leader, continues to perform.

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