Requisites

All Day Long ~ The Prestige All-Stars | By Eddie Carter

This morning’s discussion is about an album I initially discovered as a youngster and have wanted in my library for a long time. All Day Long (Prestige PRLP 7081) is one of three 1957 jam sessions released by The Prestige All-Stars. It was recorded on January 4 and is the companion album to All Night Long, which the group recorded a week earlier. The sextet on this date is an exceptional ensemble of musicians, Donald Byrd on trumpet, Frank Foster on tenor sax, Tommy Flanagan on piano, Kenny Burrell on guitar, Doug Watkins on bass, and Arthur Taylor on drums. My copy is the 1979 Prestige Jazz Masterpieces Series Japanese Mono reissue (Prestige SMJ-6604M) by Victor Musical Industries.

The album opens with the title tune, Kenny Burrell’s All Day Long, a laid-back blues occupying the entire first side. Burrell, Watkins, and Taylor provide the foundation in the opening chorus, then Byrd, Foster, and Flanagan enter to complete the melody. Frank gets the solos underway with an inspired performance, and Donald follows with a down-home statement as satisfying as a delicious meal. Kenny takes the following solo with exemplary poise, then Tommy soars effortlessly into the following interpretation. Doug adds a few elaborate ideas to the finale preceding the closing chorus. Slim Jim by Donald Byrd begins Side Two with a Latin-flavored introduction by piano, drums, and the front line. Foster, Byrd, Flanagan, and Burrell cruise comfortably in each solo, leading to the closing theme and dissolution.

Say Listen, also by Donald Byrd, starts with the sextet’s finger-popping theme in unison. Kenny steps up first with an opening solo as smooth as satin. Frank gets into a spirited groove on the second interpretation, then Donald takes over for an incredibly effective reading. Tommy has the last word and makes his point convincingly ahead of the ending theme and conclusion. A.T. by Frank Foster pays homage to Art Taylor, with the ensemble collectively taking flight on a lively melody. Foster takes the lead and gives a scintillating reading; next, Burrell takes a quick romp on the second statement. Byrd takes over for a presentation of aggressive energy, then Flanagan adds fresh fuel to the fire in a short solo. Taylor engages in a brief conversation with his fellow soloists into the sextet’s vigorous close.

Bob Weinstock supervised the initial album, and Rudy Van Gelder was the recording engineer. The sound is superb, and Victor Musical Industries has done a stellar job remastering this reissue. The highs sparkle, the midrange is crisp, and the low end is stunning, transporting the musicians to your listening room with exceptional sound quality. If you’re a Hard-Bop fan, I offer All Day Long by The Prestige All-Stars for your consideration on your next vinyl shopping trip. Like its companion, All Night Long, the two albums complement each other perfectly; either is a title you won’t regret adding to your library

~ All Night Long (Prestige PRLP 7073), Earthy (Prestige PRLP 7102) – Source: Discogs.com
~ © 2023 by Edward Thomas Carter


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Lee Mack Ritenour was born January 11, 1952 in Los Angeles, California and at the age of eight he started playing guitar. Four years later decided on a career in music and by 16 he was playing on his first recording session with the Mamas & the Papas. He developed a love for jazz, influenced by guitarist Wes Montgomery. A year later he worked with Lena Horne and Tony Bennett, then studied classical guitar at the University of Southern California.

His solo career began with his debut album First Course in 1976 which was a jazz-funk sound of the 1970s. Lee followed with Captain Fingers, The Captain’s Journey, and Feel the Night to close out the decade. The Eighties saw Ritenour adding pop elements to his music, which got him charting so he stayed the course. During this period he added vocals to his music, recruiting such artists as Djavan, Bill Champlin, Eric Tagg, Patti Austin, Ivan Lins, Phil Perry, João Bosco, Kate Markowitz, Maxi Priest, Lisa Fischer and Michael McDonald.

In 1988, his Brazilian influence came to the forefront on Festival, an album featuring his work on nylon-string guitar. He changed direction with his straight-ahead jazz album Stolen Moments which he recorded with saxophonist Ernie Watts, pianist Alan Broadbent, bassist John Patitucci, and drummer Harvey Mason.

Then 1991 had Ritenour and keyboardist Bob James forming the group Fourplay, where he stayed until 1997. He released the career retrospective Overtime in 2005. Smoke n’ Mirrors came out the next year with the debut of his thirteen-year-old son, Wesley, on drums.

Guitarist Lee Ritenour has recorded 34 albums, garnered 16 Grammy nominations, received one Grammy Award and has been a judge for the Independent Music Awards. He continues to explore, record, compose and perform.

DOUBLE IMPACT FITNESS

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J.R. Monterose steps into the spotlight of this discussion with Straight Ahead (Xanadu Records 126). It was his second album as a leader and was released initially as The Message in 1960. J.R. was born Frank Anthony Peter Vincent Monterose Jr., and his initials come from Junior. He began playing the clarinet at age thirteen, then started the tenor sax two years later. Monterose was equally proficient on the soprano sax, but the tenor became his primary instrument. He’s collaborated with Kenny Burrell, Teddy Charles, Kenny Dorham, Jon Eardley, Charles Mingus, Buddy Rich, and George Wallington over his career. His bandmates on this date are three of the best in the business, Tommy Flanagan on piano, Jimmy Garrison on bass, and Pete La Roca on drums. My copy is the 1976 U.S. Mono reissue.

Straight Ahead, the first of five tunes composed by J.R. Monterose, opens the album with a brief introduction segueing into the quartet’s fleet melody. J.R. kicks off the solos with a brisk interpretation; next, Tommy builds a statement of pure excitement. J.R. and Pete share a swift exchange of notes, leading to the closing chorus and exit. Violet For Your Furs is a beautiful composition by Matt Dennis and Tom Adair from the forties. It begins with a brief dialogue between Monterose and Flanagan that blossoms into the ensemble’s elegant opening chorus. J.R. has the song’s only statement and brings out its warmth and lyricism in a display of intimate tenderness complemented by the rhythm section ahead of a soothing ending.

Chafic is the saxophonist’s tune for a French poodle he owned. The word’s definition in Arabic is merciful, and the pace moves upward for the foursome’s central theme. J.R. expresses his love and admiration for his pet in the opening statement. Tommy extends the pleasant feeling in the second interpretation, and Jimmy gets a bit of work leading to the climax. I Remember Clifford by Benny Golson, and Jon Hendricks closes the first side with a very touching rendition by the ensemble. The jazz standard is one of Golson’s most recorded tunes and a moving tribute to trumpeter Clifford Brown. A concise introduction by the leader opens the way for the foursome’s delicately gentle theme. Monterose again has the solo spotlight and crafts a charming interpretation into a serene finale.

Side Two is occupied by the final three tunes by J.R. Monterose, beginning with Green Street Scene, a blues that swings easily from the theme’s opening notes. The saxophonist goes to work first on an infectiously cheery solo. Tommy comes in next for an entertaining romp; then Jimmy takes a short stroll on the following reading. J.R. and Pete share a stimulating conversation before the close. You Know That is a swinger that the quartet brings vibrantly to life in the opening chorus. The saxophonist leads off with a compelling interpretation, then Flanagan gets into a swinging groove on the following statement. La Roca has a brief remark before Monterose returns for the closing theme reprise and a slow dissolve into nothingness.

Short Bridge is an exercise of pure joy, opening with a beautifully conceived melody and the opening statement by J.R. Tommy slides in next with one of his most mellow readings. The saxophonist returns with a memorable exclamation point ahead of the song’s conclusion. It’s unknown who produced the original album, but Don Schlitten produced the Xanadu reissue, and Paul Goodman remastered it. The album has an excellent soundstage through the treble, midrange, and low end. If you’re in the mood for an album that recaptures the spirit of Hard-Bop, I offer for your consideration Straight Ahead by J.R. Monterose. It’s a beautiful performance that’s highly recommended and worth the price of admission for a spot in any jazz library!

~ The Message (Jaro International JAM-5004/JAS-5004) – Source: Discogs.com ~ I Remember Clifford – Source: JazzStandards.com ~ Violet For Your Furs – Source: Wikipedia.org © 2022 by Edward Thomas Carter

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Eric Marienthal was born on December 19, 1957 in Sacramento, California but moved with his family to San Mateo, California when he was two years old. He was taught music while in school and picked up the saxophone in the fourth grade. His father bought him a $400 Selmer saxophone and enrolled him in Corona Del Mar High School. Throughout his education, he learned to play guitar, flute, clarinet and piano.

After graduating from high school he studied saxophone at the Berklee College of Music. By the time he left Berklee, Eric had achieved the highest proficiency rating given by the school. He began his professional career in 1980 with New Orleans trumpeter Al Hirt. Heading west he settled in Los Angeles, California and became a member of the Chick Corea Elektric Band. He recorded six albums with that band and two of them won Grammy Awards.

Marienthal has also written instructional books, including Comprehensive Jazz Studies & Exercises, The Ultimate Jazz Play Along, and The Music of Eric Marienthal. He has made instructional videos, Play Sax From Day One, Modern Sax and Tricks of the Trade. He occupies the lead alto chair of Gordon Goodwin’s Big Phat Band, playing alto saxophone, soprano saxophone, flute, and piccolo.

Grammy Award-nominated alto saxophonist Eric Marienthal continues to perform and record.

GRIOTS GALLERY

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Lights Out! ~ The Jackie McLean Quintet | By Eddie Carter

The Jackie McLean Quintet steps into this morning’s spotlight with a 1956 release, Lights Out! (Prestige PRLP 7035/PRST 7757). It was the alto saxophonist’s label debut, and a superb supporting cast joins him on this date, Donald Byrd on trumpet, Elmo Hope on piano, Doug Watkins on bass, and Art Taylor on drums. My copy is the 2022 Analogue Productions Mono Audiophile reissue sharing the original catalog number. Side One opens with Jackie McLean’s Lights Out, a slow blues that comes to life in the rhythm section’s introduction, with a short statement by Elmo segueing into Jackie’s easy-going theme and opening solo. Donald compliments him leisurely using a mute, and Hope does his thing in the following reading. Both horns engage in an exchange of thoughts before the climax.

Up, also by the saxophonist, soars from the front line’s introduction into a rapid-fire melody. Byrd is up first and back on the open horn for a brisk reading. McLean romps through the second interpretation; next, Hope keeps up the energetic pace in a speedy performance. Taylor displays his talents in a brief finale followed by the horn’s return for a quick reprise. Lorraine, by Donald Byrd, begins with the trumpeter’s lovingly tender theme. He adds a personal touch to the first interpretation, matched by the rhythm section’s gorgeous groundwork. Jackie follows with a beautiful reading that’s a sultry treat for the ears, then Donald returns for a second statement that takes us away into a pretty ending by the front line.

A Foggy Day by George and Ira Gershwin kicks off Side Two. The song premiered in the 1937 musical comedy, A Damsel In Distress. McLean begins the melody with a happy, medium beat that extends to his lead solo. Byrd is back on the mute and flows with a gentle swing before passing it on to Hope. The pianist gives a charming closing statement leading to the ending theme that dissolves into emptiness. Donald Byrd’s Kerplunk gets underway with a carefree opening statement by Elmo that Donald maintains on the second interpretation with a relaxed groove. Jackie enters next and delivers a very efficient solo that proceeds to the front line blending their ideas into a satisfying conclusion ahead of the quintet’s exit.

Jackie McLean’s Inding starts with the trio’s introduction ahead of Byrd’s lively opening statement. Hope succeeds him with a lively presentation that shapes up nicely. McLean has the final say and brings the song home with a cheerful reading preceding the climax. Bob Weinstock supervised Lights Out!, and Rudy Van Gelder recorded it. Kevin Gray remastered this reissue, and the sound quality is outstanding. The record is on two-hundred grams of audiophile vinyl, and the album jacket has a high gloss. If you don’t already own an original pressing or early reissue, I highly recommend this Analogue Productions reissue for a spot in your library. It’s an excellent album by Jackie McLean that’s nearly forty-six minutes of pure bliss and can be enjoyed during the day, evening, or with the Lights Out!

~ A Foggy Day – Source: JazzStandards.com ~ © 2022 by Edward Thomas Carter

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