Requisites

Harold In The Land of Jazz ~ Harold Land | By Eddie Carter

Harold Land steps into the spotlight this morning with his 1958 album, Harold In The Land of Jazz (Contemporary Records C7550/S7550). Harold was one of the best West Coast tenor saxophonists with fifteen albums as a leader and an extensive discography as a sideman to his credit. He was on track for more success in some of the best small jazz groups when an illness in his family caused him to leave the East Coast and return to Los Angeles in 1956. For his first date as a leader, Land’s assembled a splendid supporting cast; Rolf Ericson on trumpet, Carl Perkins on piano, Leroy Vinnegar on bass, and Frank Butler on drums. My copy used in this report is the 1984 Contemporary Records Original Jazz Classics US Stereo reissue (OJC-162 – C-7550).

Side One kicks off this trip with Speak Low by Kurt Weill and Ogden Dash. This jazz standard was introduced in the Broadway musical, One Touch of Venus (1943), and the quintet gets busy quickly with the melody. Harold heats up the lead solo vigorously. Rolf keeps up the exhilarating pace on the second statement. Carl enters next with enthusiastic energy, then Frank exhibits his wizardry ahead of the ensemble’s rousing finale. Up next is Delirium, a medium swinger by Harold Land. The trio makes the introduction, succeeded by the quintet’s theme. Harold begins cruising down the road at a comfortable speed, then Rolf picks up the journey at an unhurried pace. Carl gets the next spot for an impressive presentation that flows vibrantly, and Frank adds a brief footnote leading to the group’s exit.

You Don’t Know What Love Is by Don Raye and Gene De Paul was written for an Abbott and Costello comedy, Keep ‘Em Flying (1941). It didn’t appear in the film but became a jazz standard after Miles Davis recorded it a few years later on All-Star Sextet (1954). It’s a beautiful quartet performance by Harold and the trio. As the song’s only soloist, the tenor sax tells a poignant, bittersweet story reinforced by the rhythm’s serene support. Nieta by Elmo Hope takes us to a tropical climate with a cheerful introduction ahead of the ensemble’s happy theme. Harold partakes in the festivities on the first solo. Carl adds to the celebratory spirit in the next reading, and Rolf sinks his teeth into a spicy statement. Frank gets a brief moment to shine before the reprise.

Side Two opens with Grooveyard, a breezy blues by Carl Perkins who passed away two months later from a drug overdose on March 16, 1958. As a tribute to the pianist, Harold changed the album’s title to Grooveyard for the Stereo release. After the trio’s introduction, the quintet begins the charming melody. Carl opens with a delightfully mellow groove. Rolf takes over on the muted horn with a solo as relaxing as a cup of Chamomile Tea. Harold is up next with an exquisite display that builds to a satisfying peak. Leroy puts the cherry on top with a gorgeous reading. Lydia’s Lament is Harold’s tune named for his wife. It starts with a sublimely solemn collective melody. Harold is the only soloist, and he delivers a touching performance reminiscent of a faint and lamentable cry of sadness.

Smack Up by Harold Land wraps up our seven-song journey with Butler’s brisk introduction ahead of the ensemble’s theme. Harold sets the table with a spirited lead solo; next Rolf follows with a reading of pure delight. Carl shows off his impeccable chops then gives way to Frank’s rousing exchange with the front line into the close. Harold In The Land of Jazz was originally produced by Lester Koenig, and the engineers are Roy DuNann and Howard Holzer. Their work clearly shows in this OJC reissue because it possesses an excellent soundstage that transports the listener’s sweet spot to the studio surrounded by the musicians. Elmo Hope and Harold worked together on the arrangements of all seven tracks.

Harold Land had a lengthy career lasting nearly five decades and also taught jazz studies at the University of California. He passed away at age seventy-two from a stroke on July 27, 2001; but is still remembered for his robust tone and his skill as an improviser. If you’re in the mood for Hard-Bop, I offer for your consideration, Harold In The Land of Jazz by Harold Land. It’s a terrific album of wonderful performances that I happily recommend to anyone who loves jazz and should not be overlooked the next time you’re shopping for vinyl treasure!

~ Miles Davis All-Star Sextet (Prestige PRLP 182) – Source: Discogs.com ~ Speak Low, You Don’t Know What Love Is – Source: JazzStandards.com ~ Harold Land, Carl Perkins – Source: Wikipedia.org © 2022 by Edward Thomas Carter

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Daily Dose Of Jazz…

Douglas Anthony Munro was born July 9, 1953 in Yonkers, New York. He started his musical studies at age seven, taking drum lessons and by age fourteen, he was playing dances in Yonkers and New York City. At 20, he broke his back in a gymnastics accident, which ended his career as a drummer. However, in 1977 the 24 year old underwent a successful back surgery, and began playing guitar to pass the time during recovery

After his recovery he became a guitarist, performed locally and taught guitar lessons. In 1986 he released the LP Courageous Cats. and towards the end of the decade Doug met record producer Joe Ferry, and began a 25 year professional relationship. He would go on to divide his career into arranging, performing, teaching, and producing with Ferry. In 2004 he started a series of four Boogaloo recordings for Scufflin’ Records. The first, Boogaloo to Beck, featured Lonnie Smith, David “Fathead” Newman, and Lafrae Olivia Sci. He would go on to release to Brazilian jazz albums under the Big Boss Bossa Nova title.

The early Nineties saw Doug arranging and producing with Joe Ferry. Their first album, We Remember Pastorius, was a tribute to jazz bassist Jaco Pastorius. He would go on to co-produce and arrange a series of recordings for Shanachie Records. This period saw him delving into ska, receiving two Grammy nominations. In 1997 Munro added orchestrations to the original motion picture soundtrack for the Muhammad Ali documentary When We Were Kings which won the Academy Award for Best Documentary Film.

Munro continued to work on over 40 recording albums into the new millennium with Vitamin Records. He has produced lessons for Just Jazz Guitar, Premier Guitar, and TrueFire.com. He founded the jazz studies program in the Conservatory of Music at Purchase College in 1993, and served as the director of the program from 1993-2002. He retired in 2019 as Professor Emeritus and Director Emeritus of the Jazz Studies program at the Conservatory of Music at Purchase College.

Guitarist, arranger, producer, composer, author, and educator Doug Munro specializes in jazz, bebop, Brazilian jazz, jazz fusion, and gypsy swing. Since 1986 he has released over fifteen albums as a band leader and has appeared on over 75 recordings as a guitarist, sideman, producer, and arranger. He has been nominated for two Grammy Awards and was the recipient of two NAIRD Awards by the American Association of Independent Music.

GRIOTS GALLERY

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Requisites

Minor Move ~ Tina Brooks | By Eddie Carter

This morning’s choice from the library is Minor Move (Blue Note GXF 3072), a 1958 recording by tenor saxophonist Tina Brooks. It was his first session as a leader and should have resulted in his debut but remained shelved until 1980 when it hit the stores in Japan. He’s joined here by Lee Morgan on trumpet, Sonny Clark on piano, Doug Watkins on bass, and Art Blakey on drums. My copy used in this report is the 2019 Blue Note Tone Poet Series Stereo reissue (B0030487-01). Nutville by Tina Brooks opens Side One with the quintet’s blissfully happy theme. Sonny offers a welcoming smile on the opening statement, then Lee invites us to make ourselves at home next. Tina continues the lighthearted mood with an easy-going interpretation. Doug adds a few cool notes leading to the group’s finale.

The Way You Look Tonight by Jerome Kern and Dorothy Fields debuted in the film, Swing Time (1936). Tina and Lee accelerate the beat to uptempo for the melody, then Brooks dives straight into an invigorating lead solo. Morgan moves through the second interpretation with surgical precision, followed by Clark who applies infectious enthusiasm to the third reading. Blakey engages in a brief exchange with the front line before everyone reassembles for the ending. Side Two starts with Star Eyes by Gene De Paul and Don Raye from the musical-comedy, I Dood It! (1943). Lee begins with a brief muted intro preceding the midtempo theme. Tina steps up first with a relaxing performance, then Sonny and Lee follow with two satisfying performances of sheer delight.

Minor Move by Tina Brooks gets underway with the quintet’s collective theme, then Brooks settles into a bluesy groove on the lead solo. Lee and Sonny follow with two interpretations that will have your fingers popping and toes tapping to the inviting beat before the ensemble’s closing chorus dissolves into nothingness. Everything Happens To Me by Matt Dennis and Thomas Adair is one of the most beautiful songs from The Great American Songbook. This is a showcase for Tina who gives two emotionally touching performances of lyricism and poignancy. Sandwiched between them is a gorgeous presentation of reflective beauty by Lee and a warm insightful interpretation by Sonny leading to the tenor’s soft conclusion.

Minor Move was produced by Alfred Lion and Rudy Van Gelder was the recording engineer. Joe Harley supervised the reissue and Kevin Gray did the mastering. The packaging is superb with great photos of the session. The recording is fantastic with an exceptional soundstage and outstanding detail that comes through your speakers as clear as Waterford Crystal. The record was pressed on 180-gram audiophile vinyl and is very quiet until the music starts. Tina Brooks released only one album during his lifetime and appeared on several Blue Note sessions. Sadly, he never got the recognition he deserved. He passed away from liver failure at age forty-two on August 13, 1974. If you’re a fan of tenor sax and don’t already own the Mosaic box set, I offer for your consideration, Minor Move by Tina Brooks. It’s a terrific recording by one of the underrated jazz musicians and an album I highly recommend for your library!

~ The Complete Blue Note Recordings of The Tina Brooks Quintets (Mosaic Records MR4-106), True Blue (Blue Note BLP 4041/BST 84041) – Source: Discogs.com ~ The Way You Look Tonight, Star Eyes, Everything Happens To Me – Source: JazzStandards.com © 2022 by Edward Thomas Carter

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Requisites

Blue Lights, Volume 1 ~ Kenny Burrell | By Eddie Carter

I became a fan of guitarist Kenny Burrell at an early age, enjoying him on Houseparty (1958), The Sermon (1959), Midnight Special (1961), Back At The Chicken Shack (1963), Organ Grinder’s Swing (1965), All Day Long, and All Night Long (1957), and Steamin’ (1963). He steps into the spotlight this morning with a superb 1958 album, Blue Lights, Volume 1 (Blue Note BLP 1596/BST 81596). It’s a straight-ahead blowing session anchored by a superlative supporting cast, Louis Smith on trumpet, Tina Brooks, Junior Cook (tracks: A1, A2, B2) on tenor sax, Duke Jordan (tracks: A1, A2), Bobby Timmons (tracks: B1, B2) on piano, Sam Jones on bass, and Art Blakey on drums. My copy used in this report is the 1996 Toshiba-EMI Limited Japanese Mono reissue sharing the original catalog number.

Side One begins with Yes Baby, an easy-going blues by Kenny Burrell. The sextet’s relaxing melody gets things off to a good start. Kenny goes to work first with a solo as smooth as satin, then Tina comes in for a deliciously mellow statement. Louis takes a carefree drive next, followed by Junior and Duke who gather good notes during their turns. Sam delivers the payoff by walking leisurely into the ensemble’s slow fading closing chorus. Scotch Blues by Duke Jordan gives the group an extremely fun tune to play with a Scottish flavor in the opening and ending theme. The solo order is Burrell, Brooks, Smith, Cook, Jordan, and Blakey. Each musician develops their readings cheerfully sustained by the rhythm section’s infectiously laid-back vibe.

Autumn In New York by Vernon Duke starts Side Two offering Burrell in a quartet setting with Bobby Timmons taking over the piano duties. Kenny begins with a brief solo introduction that evolves into the ensemble’s attractive melody. Burrell is the song’s only soloist and presents a beautifully elegant reading ahead of the quartet’s thoughtfully polite ending. The album concludes with Caravan, an uptempo swinger by Duke Ellington, Irving Mills, and Juan Tizol. It begins briskly with the opening chorus. Smith is off to the races quickly, then Cook and Brooks follow with two examples of splendid solo work. Burrell simply sizzles on the next reading ahead of Timmons’ fingers flying over the keys. Blakey has the last word preceding the sextet’s reprise and disappearance in a fadeout.

Blue Lights, Volume 1 was produced by Alfred Lion and Rudy Van Gelder was the recording engineer. Toshiba-EMI Limited has done a wonderful job with this reissue’s remastering. The soundstage is stunning, and the musicians jump out of your speakers as if they’re playing in front of you. The vinyl is also flat and silent until the music starts. Kenny Burrell is one of those rare musicians who play with a distinctive blend of explosive and punchy rhythms. His discography as a leader and sideman is extensive and his career has lasted seven decades. Here, he’s completely at ease and perfectly at home playing the blues. If you’re a fan of jazz guitar and only know his album, Midnight Blue, I invite you to check out Blue Lights, Volume 1 by Kenny Burrell. It’s an album of great jazz that doesn’t disappoint, and I’ve already added its companion, Blue Lights, Volume 2 to my Want and Wishlist!

~ All Day Long (Prestige PRLP 7081/PRST 7277), All Night Long (Prestige PRLP 7073/PRST 7289), Back At The Chicken Shack (Blue Note BLP 4117/BST 84117), Blue Lights, Volume 2 (Blue Note BLP 1597/BST 81597), Houseparty (Blue Note BLP 4002/BST 84002), Midnight Blue (Blue Note BLP 4123/BST 84123), Midnight Special (Blue Note BLP 4078/BST 84078), Organ Grinder’s Swing (Verve Records V-8628/V6-8628), Steamin’ (Prestige PRLP 7278/PRST 7278), The Sermon (Blue Note BLP 4011/BST 84011) – Source: Discogs.com ~ Autumn In New York, Caravan – Source: Discogs.com © 2022 by Edward Thomas Carter

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The Quarantined Jazz Voyager

This week the Jazz Voyager is choosing from the library of rare gems seldom heard on this side of the pond. Thanks to the internet, as you listen to the twenty-nine minutes of the album, remember to keep vigilant about the safety of your health and others. On the turntable is the hard bop Jazz De Chambre, a 1954 recording by double bassist Buddy Banks.

Buddy Banks, originally a saxophonist who switched to bass, had arrived in Europe after World War II. On this session he is accompanied by drummer Roy Haynes, pianist Bob Dorough, and guitarist Jimmy Gourley. The leader takes the spotlight in a subtle take of Yesterdays, though a strange clicking mars an otherwise swinging “I Love You.” Banks’ group also offers serviceable interpretations of modern pieces like Gerry Mulligan’s Line for Lyons and Milt Jackson’s Bag’s Groove.

The album was recorded at Geneix Studio in Paris, France and was produced by Frank Ténot. The liner notes were provided by Alain Tercinet with English translation by Martin Davies.

Tracks | 32:56
  1. A Night In Tunisia (Dizzy Gillespie / Frank Paparelli) ~ 4:26
  2. Almost Like Being In Love (lan Jay Lerner / Frederick Loewe) ~ 3:19
  3. Bag’s Groove (Milt Jackson) ~ 3:47
  4. Yesterdays (Otto Harbach / Jerome Kern) ~ 3:29
  5. I Love You (Cole Porter) ~ 5:58
  6. Line For Lyons (Gerry Mulligan) ~ 3:46
  7. You Go To My Head (J. Fred Coots / Haven Gillespie) ~ 4:29
  8. Buddy Banks Blues (Buddy Banks) ~ 3:27
Personnel
  • Bob Dorough ~ piano
  • Buddy Banks ~ double bass
  • Jimmy Gourley ~ guitar
  • Roy Haynes ~ drums

CALIFORNIA JAZZ FOUNDATION

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