Requisites

Chet Baker In Milan ~ Chet Baker | By Eddie Carter

The year 1959 was very good for jazz, several albums recorded and released that year would become contemporary classics and a significant few, acknowledged masterpieces. It was also a good year for Chet Baker, three LP’s he recorded are considered among his best, Chet, Chet Baker Plays The Best of Lerner & Lowe, and this morning’s choice from the library, Chet Baker In Milan (Jazzland JLP-18/JLP 918S). On this date, the trumpet player made during an extended tour through Germany and France, Chet’s working with five promising Italian musicians, Glauco Masetti on alto sax, Gianno Basso on tenor sax (tracks: A1 to A4, B1, B2), Renato Sellani on piano, Franco Cerri (listed as Serri) on bass, and Gene Victory on drums. My copy used in this report is the 1989 Original Jazz Classics Mono reissue (Jazzland OJC-370).

The opener, Lady Bird was written in 1939 by Tadd Dameron, and the sextet starts with a feisty theme statement. Chet opens with a vibrantly energetic reading set to an almost danceable beat, then Gianno follows with an enthusiastic improvisation. Glauco accentuates the bluesy momentum with a very enjoyable statement. Renato shows off his startling speed on the closer before the front line gives a few final verses.

Cheryl Blues by Charlie Parker was composed in 1947 and originally titled Cheryl. The sextet introduces the relaxing melody collectively. Baker is up first and makes the lead statement extremely interesting, then Basso gives the next spot a meaty interpretation. Masetti is as cool as a fresh breeze on a hot day next, and Sellani executes a fine touch and a steady hand to the finale.

The ensemble moves back into uptempo territory on Tune-Up by Miles Davis.  It was written in 1953 and made its debut on the album, Miles Davis Quartet (1954). The sextet begins the melody with a swift-paced delivery, then Chet takes off first with astounding energy. Glauco follows with a feisty attack, and Gianno swings fiercely on the third solo. Renato provides a sparkling climax ahead of the front line’s final exchange into the ending.

Line For Lyons by Sonny Rollins begins with the unison theme at a medium tempo.  Baker makes the first move with a cool tone, and Basso gives the second reading a pleasing rhythm.  Masetti expresses himself fluently on the next interpretation. Sellani turns in a very attractive presentation next and Serri takes his first solo opportunity with a noteworthy closing statement.

Pent-Up House by Sonny Rollins starts Side Two and was first heard on the album, Sonny Rollins Plus 4 (1956). The sextet begins the opening chorus jointly. Chet sets the groove with a spirited statement, then Gianno solos confidently next. Glauco follows with a bristling interpretation. Renato provides a short, pithy presentation, then the front line shares a brief exchange leading to a soft climax.

The ensemble takes a page from The Great American Songbook for the 1919 song, Look For The Silver Lining by Jerome Kern and Buddy DeSylva. This tune was featured in two musicals, Zip, Goes A Million, that year, and Sally, a year later. The ensemble opens this oldie, but goodie with a finger-snapping mid-tempo theme. Baker, Masetti, Basso, and Sellani deliver four lively statements ahead of the reprise.

The 1919 song, Indian Summer was written by Victor Herbert who composed it originally as an instrumental piano piece. It became a jazz standard in 1939 after Al Dubin added the lyrics. For this song, Baker’s trumpet is marvelously lyrical with an amorous romantic beauty in his sound. This is particularly noticeable in the opening statement by Baker and a closing performance by Sellani that’s lavishly flavored with exceptional phrasing.

The album wraps up with the 1934 ballad, My Old Flame by Sam Coslow and Arthur Johnston.  It opens with a gorgeous introduction and tender melody by Baker who almost seems to identify with the love, loss, and heartbreak of the lyrics in his opening statement and closing chorus. Sellani also gives a memorable account that’s brief, but beautifully nuanced and matched by Serri and Victory who support both soloists in perfect harmony.

Alto saxophonist Glauco Masetti was classically trained on violin and attended the Milan and Turin conservatories. He was self-taught on reed instruments and worked often as a session musician from the forties to the sixties. He also worked with Gianni Basso, Gil Cuppini, Giorgio Gaslini, Oscar Valdambrini, and Eraldo Volonté among others. Tenor man Gianni Basso was a renowned Italian saxophonist whose influence was Stan Getz. His career began after World War II as a clarinetist, before switching to the saxophone in The Belgian Raoul Falsan’s Big Band. Pianist Renato Sellani was also a composer who began his career as a professional in 1954 as a member of The Gianni Basso-Oscar Valdambrini Quintet. In 1958, he began a lengthy collaboration with his friend, guitarist, and bassist, Franco Cerri who turned ninety-five this past January. He was also a member of The RAI National Symphony Orchestra under the direction of Gorni Kramer, Kramer was also a noted musician and songwriter. He’s also worked with Bill Coleman and Dizzy Gillespie, Billie Holiday, Lee Konitz, Gerry Mulligan, Enrico Rava, and Tony Scott.

Double bassist Franco Cerri is considered one of Europe’s most important musicians and learned to play guitar when he was seventeen years old. His influences were guitarists Barney Kessel, René Thomas, and Django Reinhardt.  In 1945, he became a member of the group led by Gorni Kramer and joined the orchestra of the television show, Buone Vacanze (Happy Holidays). He started playing the double bass in addition to guitar in the fifties and has played with Lou Bennett, Buddy Collette, Stéphane Grappelli, Johnny Griffin, Lars Gullin, Billie Holiday, Lee Konitz, Gerry Mulligan, Django Reinhardt, Tony Scott, Bud Shank, and The Modern Jazz Quintet. Giulio Libano who wrote the arrangements for the sextet was also an orchestra leader, jazz pianist, and trumpet player. He composed two songs that are featured in the 1961 Italian films, Girl With a Suitcase and Io Bacio…Tu Baci (Io Bacio…You Kiss)! Sadly, the only person I was unable to find any information on is drummer Gene Victory.

The description on the back cover giving the date of the entire recording as October 1959 is in error. Lady Bird was recorded on September 25, Cheryl Blues, Tune-Up, and Line For Lyons on September 26. Pent-Up House, Look For The Silver Lining, Indian Summer, and My Old Flame on October 6. I can’t provide the name of the engineer who originally recorded the album, but I can say with certainty it’s a superb recording that received excellent remastering by Phil De Lancie of Fantasy Studios. Baker is in excellent form throughout, the ensemble is watertight, and the level of soloing extremely high. If you’re a fan of Chet Baker and Cool Jazz, I highly recommend this album for a spot in your library. If you’ve read this far and are still uncertain, I’ll leave you with the first line of this report.  The year 1959 was very good for jazz, Chet Baker In Milan, is one of the reasons why!

~ Chet (Riverside RLP 12-299/RLP-1135), Chet Baker Plays The Best of Lerner & Lowe (Riverside RLP 12-307/RLP 1152), Miles Davis Quartet (Prestige PRLP-161), Sonny Rollins Plus 4 (Prestige PRLP-7038/PRST-7291) – Source: Discogs.com ~ Girl With a Suitcase and Io Bacio…Tu Baci (Io Bacio…You Kiss) – Source:  IMDB.com ~ Look For The Silver Lining, Indian Summer, Glauco Masetti, Gianni Basso, Renato Sellani, Franco Cerri, Giulio Libano – Source: Wikipedia.org ~ Lady Bird – https://www.youtube.com/watch?v=Vwio99V8-cw ~ Cheryl Blues – http://www.youtube.com/watch?v=AfbUraDG-mU © 2021 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,trumpet

The Quarantined Jazz Voyager

Reveling in my space during this time of temporary seclusion, I am with my music and having lit a few candles, a couple of sticks of incense burning I prepare myself for the talented alto saxophonist and composer Benny Carter. As I drop the needle on his  self-produced Aspects album, I kick back, stretch out and enjoy. Recorded in late summer of 1958 in Los Angeles, California it was released the following year on United Artists.

Except where noted, all compositions by Benny Carter 

1. June in January (Ralph Rainger, Leo Robin) ~ 3:12
2. February Fiesta (Hal Schaefer) ~ 1:54
3. March Wind ~ 3:16
4. I’ll Remember April (Gene de Paul, Patricia Johnston, Don Raye) ~ 3:21
5. One Morning in May (Hoagy Carmichael, Mitchell Parish) ~ 2:49
6. June Is Bustin’ Out All Over (Richard Rodgers, Oscar Hammerstein II) – 2:59
7. Sleigh Ride in July (Jimmy Van Heusen, Johnny Burke) ~ 2:50
8. August Moon ~ 3:39
9. September Song (Kurt Weill, Maxwell Anderson) ~ 2:39
10. Something for October ~ 2:52
11. Swingin’ in November ~ 3:02
12. Roses in December (Ben Oakland, Herb Magidson, George Jessel) ~ 2:36

• Benny Carter – alto saxophone, arranger

• Pete Candoli, Conrad Gozzo, Uan Rasey, Shorty Sherock – trumpet
• Herbie Harper, Tommy Pederson, George Roberts – trombone
• Buddy Collette, Chuck Gentry, Justin Gordon, Bill Green – saxophone
• Arnold Ross – piano
• Larry Bunker – vibraphone
• Bobby Gibbons – guitar
• Joe Comfort – bass
• Shelly Manne – drums

• Joe Gordon, Al Porcino, Ray Triscari, Stu Williamson – trumpet
• Russ Brown, Tommy Pederson, Frank Rosolino – trombone
• Buddy Collette, Jewell Grant, Bill Green, Plas Johnson – saxophone
• Gerald Wiggins – piano
• Barney Kessel – guitar
• Joe Comfort – bass
• Shelly Manne – drums

More Posts: adventure,album,club,genius,jazz,museum,music,preserving,restaurant,saxophone,travel

The Quarantined Jazz Voyager

It’s All Over But The Swingin’ is a studio album by Sammy Davis, Jr. that was recorded on July1~2 and 9~10, 1957 and released the same year on the Decca Record label. The music was arranged by Jack Pleis and Morty Stevens and the session was produced by Lee Gillette.

1. Guess I’ll Hang My Tears Out To Dry (Sammy Cahn, Jule Styne) ~ 4:43
2. But Not for Me (George Gershwin, Ira Gershwin) ~ 3:24
3. Where’s That Rainbow? (Lorenz Hart, Richard Rodgers) ~ 3:27
4. I Cover the Waterfront (Johnny Green, Edward Heyman) ~ 3:19
5. Don’t Blame Me (Dorothy Fields, Jimmy McHugh) ~ 2:52
6. Better Luck Next Time (Irving Berlin) ~ 2:43
7. Can’t Help Lovin’ Dat Gal (Oscar Hammerstein II, Jerome Kern) ~ 4:53
8. It Never Entered My Mind (Hart, Rodgers) ~ 4:05
9. Someone to Watch over Me (G. Gershwin, I. Gershwin) ~ 3:23
10. I’ve Grown Accustomed to Her Face (Alan Jay Lerner, Frederick Loewe) ~ 2:47
11.      Spring Is Here” (Hart, Rodgers) ~ 4:03
12. I Can’t Get Started” (Vernon Duke, I. Gershwin) ~ 3:29

• Sammy Davis, Jr. – vocal
• Dan Lube, M. Sosson – violin
• Al Dinkin, Paul Robyn – viola
• Eleanor Slatkin – cello
• Harry Klee – flute
• Harry Edison, Conrad Gozzo, Virgil Evans, Mannie Klein – trumpet
• Milt Bernhart, Frank Howard, George Roberts – trombone
• Harry Klein, Ronnie Lang – alto saxophone
• Babe Russin, Don Raffell – tenor saxophone
• Bob Lawson – baritone saxophone
• Roger Renner – piano
• Tony Rizzi, Bob Bain – guitar
• Mort Cobb, Joe Comfort – double bass
• Irving Cottler, Alvin Stoller – drums

More Posts: adventure,album,club,genius,jazz,museum,music,preserving,restaurant,travel,vocal

Requisites

For Those In Love ~ Dinah Washington | By Eddie Carter

To the singer of jazz ballads, standards, or contemporary hits, a song is comprised of three essential parts, melody, harmony, and rhythm. When all three elements are mixed, and enhanced by great arrangements and musicians, the result is an enriching music experience. This morning’s choice from the library is by Dinah Washington, a vocalist who sang the blues, jazz, pop, and R&B proficiently. The album is For Those In Love (EmArcy MG 36011), recorded and released in 1955. She’s joined on this date by Clark Terry on trumpet, Jimmy Cleveland on trombone, Paul Quinichette on tenor sax, Cecil Payne on baritone sax, Wynton Kelly on piano, Barry Galbraith on guitar, Keter Betts on bass, and Jimmy Cobb on drums. The arrangements are by Quincy Jones and my copy used in this report is the second 1955 US Mono release featuring the silver Mercury Records oval at the noon position of the label with EmArcy Jazz appearing in the bottom of the oval.

The opener is I Get a Kick Out of You, written by Cole Porter for the 1934 Broadway musical, Anything Goes, and the octet gets right to work on this swinger. Dinah has the spotlight first and gives a splendidly entertaining improvisation. Jimmy follows, having a ball on a spirited statement, then Kelly displays impeccable chops on a relaxed reading.  Clark comes in for some savory swinging with a mute on the closing solo, and Dinah handles the finale with great effectiveness leading the group into a slow fade. Blue Gardenia by Lester Lee and Bob Russell was composed for the 1953 crime drama, The Blue Gardenia. It became a signature song for Dinah and the octet offers a supporting role behind her delicately subtle narrative. Quinichette gives a brief statement of tenderness, then Galbraith offers a solo of soft tranquility. Payne has a moment in the spotlight adding a dreamlike softness to the closing solo.  Dinah wraps up the song with emotional sensitivity on the climax.

Easy Living by Ralph Rainger and Leo Robin was the main theme of the 1937 comedy of the same name. The group provides a perfect complement to Dinah’s luxurious vocals on the opening chorus, and the solo order is Paul, Clark, and Jimmy. The first two readings are like delicate porcelain figurines, perfectly proportioned and translucent. The pace picks up slightly for the trombonist who plays the next interpretation with sensual beauty. Ms. Washington is especially attractive on the reprise with a velvety, smooth timbre in her voice that’s gorgeous. You Don’t Know What Love Is by Gene de Paul and Don Raye is a perfect song for film-noir. The haunting lyrics describe the hurt and sadness at the end of a love affair.  It opens with a solemn introduction by Dinah and Galbraith. She captures the subtle pathos of the song with the octet’s soft supplement. Cleveland provides the song’s only solo with a graceful and elegant interpretation before Dinah returns to the melancholy mood of the beginning.

This Can’t Be Love by Richard Rodgers and Lorenz Hart was written in 1938 and featured in the Broadway musical, The Boys From Syracuse.  The mood is jubilant, and Dinah rises to the occasion with a vivacious vocal treatment. Clark’s muted trumpet sets a lively mood on the first solo. Cecil is up next with an energetic performance of his own. Jimmy mines a vein of unsuspected riches on the third statement, then Paul delivers a delightful interpretation. Kelly cooks up a mesmerizing musical brew before Dinah sings the closing chorus. My Old Flame by Arthur Johnston and Sam Coslow made its debut in the 1934 film, Belle of The Nineties. Dinah begins this tune as a duet with Galbraith preceding the rhythm section’s slow-tempo theme. She’s the dominant presence here and presides with authority, as she recounts her lost love some time ago in a reflective flashback. The horns make their presence known for the closing chorus with Dinah giving it the recognition it deserves.

The 1940 show tune by Rodgers and Hart, I Could Write A Book gets taken for a mid~tempo spin by Ms. Washington and the ensemble. The octet starts the song in unison for the introduction, then Dinah treats the listener to an effervescent vocal performance on the melody. Paul starts with a passionately playful lead solo. Terry adds some fire on the muted trumpet, then Cleveland ends the solos on an upbeat note.  The album’s finale, Make The Man Love Me is by Arthur Schwartz and Dorothy Fields. Quinichette opens with a seductive introduction, then Dinah makes a passionate romantic plea with the lyrics.  Paul takes the lead with a remarkably graceful solo, then Terry turns in a beguilingly beautiful statement. Kelly approaches the next performance with affective empathy and Cleveland soothes the soul on the closer. Dinah sings two verses of the Duke Ellington–Paul Francis Webster classic, I Got It Bad (and That Ain’t Good) before returning to the original lyrics for the coda.

It’s a solid summation to an album sparkling with marvelous music, exciting, evocative solos, excellent arrangements, and the extraordinary vocals by Dinah Washington that are exceptionally presented. She brought the lyrics she sang to life in each song. The Queen of The Blues, a title she gave herself, recorded a total of thirty-three LP’s for EmArcy, Mercury, and Roulette during her short recording career that began in 1952 and lasted only eleven years. Though her greatest hit, What a Difference a Day Makes came four years later in 1959, For Those In Love would become one of the strongest albums of her career. Dinah passed away from a drug overdose on February 14, 1963, at the age of thirty-nine. This is a gorgeous recording with a splendid soundstage that’ll take your breath away each time you listen. I found For Those In Love to be thoroughly enjoyable and recommend it as a wonderful starting point for any fan interested in exploring the music of Dinah Washington.  After one audition, I’m sure you will too! ~ What a Difference a Day Makes (Mercury MG 20479/SR-60158) – Source: Discogs.com

~ I Get a Kick Out of You, Easy Living, My Old Flame, I Could Write a Book, I Got It Bad (and That Ain’t Good) – Source: JazzStandards.com ~ Blue Gardenia, Dinah Washington, Make The Man Love Me – Source: Wikipedia.org © 2021 by Edward Thomas

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,vocal

Daily Dose Of Jazz…

Shinobu Ito was born in Oiso, Kanagawa, Japan on January 28, 1951. While a young boy, his interest was in American pop songs, so his father bought him a guitar and gave him lessons. Devoting great efforts to his study of the guitar, in junior high school he organized his own pop music group and performed at various musical events. He became interested in jazz guitar during his high school days when he listened to Wes Montgomery. While attending Tokai University, he studied guitar with Ikuo Shiosaki, and became a member of the university’s Jazz Workshop.

He began his professional career at this time, performing at clubs and on recordings. In 1975, during a 6-month stay in Los Angeles, California he met Toshiko Akiyoshi, who introduced him to many musicians and strongly suggested to him that he go to New York to learn and play jazz on his next visit to the States.

When he returned to Japan in 1975, Shinobu joined vocalist Yoshiko Kimura’s group, and also resumed activities with top Japanese musicians such as Kohsuke Mine, Seiichi Nakamura, Shigeharu Mukai, Hidefumi Toki and Takao Uematsu. He also performed with Tete Montliu, Bill Reichenbach, Ronnie Foster, Stanley Banks in this era.

Back in New York City again in 1977 he became a member of a 10-piece band directed by Reggie Workman, joined Teruo Nakamura & his Rising Sun Band and Shinobu appeared on pianist Tsuyoshi Yamamoto’s album in 1981. Once settled he performed and recorded with Joe Jones Jr., Sadik Hakim, John Orr, Tommy Turrentine, Bob Mintzer, Rickey Ford and Kenny Kirkland, Valery Ponomarev, Lonnie Plaxico, Eddie Henderson, Lonnie Smith, Jesse Davis, Kenny Davis and Jeff Williams, Mike Formanek, Vincent Herring and Judy Niemack among others.

Shinobu released his first CD in 1991 with Tom Harrell, Danny Gottlieb, Gary King, Mark Soskin and Dick Oates. While Shinobu is known as a jazz guitarist who plays with a pick, he also plays only with his fingers, and his improvisations effectively fuse classical guitar and jazz.

As an educator he has worked as an instructor in the Jazz Division of the Senzoku College of Music in Tokyo, Japan. Returning to New York City in 2009 guitarist Shinobu Ito resumed performing and recording and continues to explore new directions.

More Posts: bandleader,history,instrumental,jazz,music,saxophone