Requisites

Lee Konitz With Warne Marsh ~ Lee Konitz & Warne Marsh | By Eddie Carter

This morning’s choice from the library is an album bringing together two of the best musicians from the Cool Jazz school, Lee Konitz on alto sax and Warne Marsh on tenor sax. Lee Konitz With Warne Marsh (Atlantic 1217) was recorded and released in 1955. Ronnie Ball (track: B3), Sal Mosca (tracks: A2, A4 to B2, B4) on piano, Billy Bauer on guitar, Oscar Pettiford on bass, and Kenny Clarke on drums round out the stellar supporting cast. My copy used for this report is the 2018 Speakers Corner Mono audiophile reissue sharing the original catalog number.

Side One begins with Topsy by Edgar Battle and Eddie Durham. Oscar starts an elegant bass introduction segueing into a collective subtle theme minus both pianists. Lee opens with a relaxing informality on a lyrical, soft-spoken statement.  Oscar delivers the next reading with exquisite skill and Warne excels on the final solo before both saxes take the closing chorus into a soft climax. The sextet turns the beat upward on There Will Never Be Another You by Harry Warren and Mack Gordon. It opens with a quick collective theme led by Konitz who also cooks briskly on the opening statement. Marsh follows with a passionately assertive solo, then Pettiford delivers something special on the next vigorous reading.  Both horns return to share the final solo ahead of the close.

I Can’t Get Started by Vernon Duke and Ira Gershwin tells the story of a man who’s achieved great success in everything, except the affection and love of the woman he desires. Both pianists lay out on this tune also. Lee takes the lead this time with a dreamy melody and reading that’s delicately crafted. Warne approaches the next solo with tender sincerity. Oscar walks a short distance on the closer leading to a gentle exit. Donna Lee by Miles Davis is named for the daughter of bassist Curly Russell and begins with an expedient theme that’s breathtaking. Konitz opens with a very impressive reading, then Mosca takes over for an energetic interpretation. Marsh charges into the next searing statement and Clarke shares a fiery conversation with both saxes into the reprise and abrupt ending.

Side Two opens with Two Not One by Lennie Tristano that gets underway a vibrant opening chorus. Lee takes off first like a jolt of electricity traveling through the body. Warne adds some additional power on an inspired solo as steady as the rock of Gibraltar. Sal responds with an exhilarating reading shadowed closely by both saxes in the background. Kenny shares a brief statement with the principal soloists into the climax. Don’t Squawk is by Oscar Pettiford, a blues he makes his presence felt on the introduction and the melody with the rhythm section. Konitz takes the first solo for a slow stroll, then Mosca swings softly and smoothly into the next interpretation. Marsh also makes his point in a relaxed manner, followed by Pettiford who gives a slow, easy groove gently sailing over the rhythm section.

Ronnie Ball takes over the piano chair on his uptempo original, Ronnie’s Line.  Lee begins with an upbeat, energetic theme, then adds exuberant vitality to the opening solo. Ronnie takes the next spot for a swiftly paced statement. Marsh swings into the next performance vigorously, and the front line energizes the closing chorus with a spirited ride ending with an attractive exit. The album ends with a little Background Music by Warne Marsh opening with a collective theme.  Lee applies some serious blowing to the opening statement. Sal gives an exhilarating reading next, followed by Warne who executes the third solo with high-voltage precision. Oscar and Kenny exchange their ideas on the finale into a soft summation. Lee Konitz With Warne Marsh was produced by Nesuhi Ertegun and engineered by Tom Dowd.

Speakers Corner reissues are remastered using pure analog components only, from the master tapes through to the cutting head. The soundstage on this album is immense and absolutely stunning, drawing you in completely the moment your stylus touches the lead groove. You don’t just hear the musicians and their instruments; you almost feel their presence in your listening room. In my opinion, the album’s not only remarkable for its musicianship, but an underrated jewel of fiery and relaxed tempos by both saxophonists. If you’re a fan of Cool Jazz and in the mood for some great sax, I invite you to check out, Lee Konitz With Warne Marsh for your library.  It’s a terrific album of pure bliss that’s perfect in every way!

~ Tom Dowd – Source: Discogs.com ~ Donna Lee, I Can’t Get Started, There Will Never Be Another You, Topsy – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Daily Dose Of Jazz…

Rabih Abou-Khalil ربيع أبو خليل‎, was born August 17, 1957 in Beirut, Lebanon and studied the oud at the Beirut Conservatory with oudist Georges Farah. After moving to Munich, Germany at 21, he studied classical flute at the Academy of Music under Walther Theurer.

Combining elements of Arabic music with jazz, rock, or classical music, he has earned praise as a world musician years before the phrase became a label. Along with Tunisian oud virtuosos Anouar Brahem and Dhafer Youssef, he has helped establish the oud as an important instrument of Ethno jazz and world fusion.

Among other musicians, Abou-Khalil has worked with ARTE Quartett, Alexander Bălănescu, Luciano Biondini, Milton Cardona, Sonny Fortune, Michel Godard, Joachim Kühn, Howard Levy, Charlie Mariano, Ricardo Ribeiro, Steve Swallow, Kenny Wheeler. He has recorded for ECM, Enja, MMP, Granit, and World Village record labels.

Rabih has hosted the 13 part documentary television series Visions of Music, that explores the blending of jazz with different music styles of the world. The music of the TV-series was released on the album Visions of Music – World Jazz by Enja Records.

Oudist Rabih Abou~Khalil continues to be active in music, composing, recording and performing worldwide.

BRONZE LENS

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The Quarantined Jazz Voyager

Taking the high road and staying safe, socially distanced and listening to great music. This week I am choosing A Flower Is a Lovesome Thing is the second studio album by pianist Vince Guaraldi, credited to the Vince Guaraldi Trio. It was recorded at Fantasy Recording Studios in San Francisco, California on April 16, 1957 and released in the U.S. the following year on the Fantasy Records label. Ralph J. Gleason wrote the liner notes and in 1994, Phil De Lancie produced the digital remastering.

Track Listing | 34:40 Side One
  1. A Flower Is A Lovesome Thing (Billy Strayhorn) ~ 5:37
  2. Softly, As In A Morning Sunrise (Oscar Hammerstein II, Sigmund Romberg) ~ 3:28
  3. Yesterdays (Jerome Kern) ~ 4:00
  4. Like A Mighty Rose aka Room At The Bottom (Vince Guaraldi) ~ 4:30
Side Two
  1. Looking For The Boy (George & Ira Gershwin) ~ 4:06
  2. Autumn Leaves (Joseph Kosma) ~ 4:21
  3. Lonely Girl (Bobby Troup) 3:23
  4. Willow Weep For Me (Ann Ronell) ~ 5:14
Personnel
  • Vince Guaraldi – piano
  • Eddie Duran – guitar
  • Dean Reilly – double bass

CALIFORNIA JAZZ FOUNDATION

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The Quarantined Jazz Voyager

CHET BAKER PLAYS THE BEST OF LERNER & LOEWE

The fat lady has not received her phone call to even begin warming up as the country races back to the way things were more than a year ago. It took three years to get past the Spanish Flu pandemic a hundred years ago because people didn’t want to adhere to the systems put in place. The Delta variant is here with a vengeance causing 21+ thousand new cases here in Florida this past weekend and the numbers are still being counted. I’ve had friends exposed to this variant with fortunate test results clearing them. I am socially distancing when out, wearing my mask and quarantining myself at home. I hope you are doing the same.

This week’s pick is the 1959 album Chet Baker Plays the Best of Lerner and Loewe. The trumpeter features show tunes by the composer and lyricist, and was released on the Riverside label. The recording sessions were produced by Orrin Keepnews at the Reeves Sound Studios in New York City. Tracks 2,6,7,8 were recorded on July 21st and 1,3,4,5 took place on July 22, 1959.

Track Listing | 43:02

  1. I’ve Grown Accustomed to Her Face ~ 4:16
  2. I Could Have Danced All Night ~ 3:43
  3. The Heather on the Hill ~ 5:04
  4. On the Street Where You Live ~ 8:37
  5. Almost Like Being in Love ~ 4:53
  6. Thank Heaven for Little Girls ~ 4:35
  7. I Talk to the Trees ~ 5:51
  8. Show Me ~ 6:30

Personnel 

  • Chet Baker ~ trumpet
  • Herbie Mann ~ flute, tenor saxophone
  • Zoot Sims ~ tenor saxophone, alto saxophone
  • Pepper Adams ~ baritone saxophone
  • Bob Corwin (tracks 1 & 3-5), Bill Evans (tracks 2 & 6-8) ~ piano
  • Earl May ~ bass
  • Clifford Jarvis ~ drums

CALIFORNIA JAZZ FOUNDATION

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Daily Dose Of Jazz…

Albert Laurence Di Meola was born July 22, 1954 in Jersey City, New Jersey and grew up in Bergenfield, New Jersey where he got his education through high school. When he was eight years old, he was inspired by Elvis Presley and the Ventures to start playing guitar. His teacher directed him toward jazz standards.

Attending Berklee College of Music in the early 1970s, by nineteen he was hired by Chick Corea to replace Bill Connors in the pioneering jazz fusion band Return to Forever with Stanley Clarke and Lenny White. He recorded three albums with the band, all of which cracked the Top 40 U.S. Billboard pop albums chart. After the group disbanded in 1976, Al set out on a solo recording career demonstrating his mastery of jazz fusion, flamenco, and Mediterranean music.

His debut solo album Land of the Midnight Sun in 1976 led to his follow-up His 1977 sophomore album Elegant Gypsy that went gold. His early albums were influential among rock and jazz guitarists. He went on to explore Latin music within jazz fusion, the electronic side of jazz, and along with Jan Hammer and Jeff Beck composed the Miami Vice theme.

Throughout his career he explored his acoustic side, world music and modern Latin styles in addition to jazz and rediscovering his love of the electric guitar in 2006, In 2018, Di Meola was awarded an honorary doctorate of music from his alma mater, Berklee College of Music.

Guitarist Al Di Meola, who cites his jazz influences as guitarists George Benson, Kenny Burrell, Clarence White and Doc Watson, continues to push the envelope with his music.

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