The Quarantined Jazz Voyager

Maintaining my social distancing, wearing my mask when I have to go grocery shopping or to my doctor’s office, I remain in quarantine. Pulling down off the shelves is an August 30, 1960 recording titled South Side Soul. It is the debut album by jazz pianist John Wright which was released in 1960 on the Prestige label. The supervising producer on this swinging soulful hard bop date was Esmond Edwards and engineering the session recorded at Van Gelder Studios in Englewood Cliffs, New Jersey was Rudy Van Gelder.

TRACKS | 36:06

1. South Side Soul (Esmond Edwards) ~ 5:02
2. 47th and Calumet (John Wright) ~ 3:57
3. La Salle St After Hours (Armond Jackson) ~ 5:21
4. 63rd and Cottage Grove (Wright) ~ 4:06
5. 35th St Blues (Wendell Roberts) ~ 7:00
6. Sin Corner (Jackson) ~ 5:30
7. Amen Corner (Roberts) ~ 5:30

• John Wright – piano
• Wendell Roberts – bass
• Walter McCants – drums

During this sabbatical from flying and investigating jazz around the globe, this Quarantined Jazz Voyager wants you to know that live music in clubs and I will be back.

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

Requisites

Inner Urge ~ Joe Henderson | By Eddie Carter

Superb artistry is the name of the game whenever one listens to the music of Joe Henderson. A proficiently skilled bandleader, composer, and tenor saxophonist who made some of his most important jazz contributions as a leader and sideman recording for Blue Note from 1963 to 1968. The subject of this morning’s discussion is his 1965 album, Inner Urge (BLP 4189/BST 84189).  Here, he leads an outstanding quartet session with McCoy Tyner on piano, Bob Cranshaw on bass, and Elvin Jones on drums. My copy used in this report is the 2019 Music Matters Jazz SRX Stereo reissue (MMBST-84189).

The album opens with Inner Urge, a swiftly paced composition that cooks from the first notes of the melody. The walloping tones of Cranshaw’s bass start the soloing with an impressive presentation. The leader charges into the next reading enthusiastically. Tyner takes no prisoners as he slices through the third solo vigorously. Jones shows off his musical gifts with a breathless dash, then Henderson adds a few more soulful explorations preceding the song’s climax.

Isotope is a lightly swinging blues by the saxophonist paying a compliment to pianist Thelonious Monk and the humor in his music. The quartet begins with a distinctive angularity as Joe leads them on the theme. Henderson’s opening solo is excitingly direct and incisive. McCoy illustrates his ability to swing with lots of energy next, then Elvin puts together a remarkable performance for the finale, exchanging sprightly thoughts with Joe into the reprise and ending.

El Barrio, Henderson’s third original starts Side Two with the distinguished character of a Spanish influence due to him growing up in an international neighborhood in Lima, Ohio.  Utilizing two chords, B major and C major 7 with a Flamenco flavor to build the melody, Joe makes one of his most adventurous, personal statements through a rich palette of colors and moods on the unaccompanied introduction and lead solo.  McCoy draws the listener into the magical rapport of the trio on the next interpretation with a noteworthy performance capturing the breathtaking beauty of the tune with uncompromising honesty.

You Know I Care is a very pretty ballad by Duke Pearson. The composer recorded the song two years later on the album, Honeybuns. The quartet introduces the song elegantly. Joe begins the opening solo with a quiet fire exhibiting a great deal of passion. McCoy follows with a short solo that’s incisive, subtle, and very easy on the ear thanks to the tender warmth of Bob’s bass and Elvin’s delicate command of the brushes. The album ends on an upbeat note with Night and Day, the 1932 jazz standard by Cole Porter. It’s one of his most recorded songs and made its debut in the Broadway musical, Gay Divorce. The quartet’s brisk melody puts the listener in a happy frame of mind, riding down the highway on a warm sunny day with the top down and music rocking. Henderson steps up first with a scintillating solo of dynamic energy. Tyner follows, keeping things moving with a convincing workout on the piano. Joe wraps up the album with a few more sweet sounds into a swinging fadeout and fitting end to this very satisfying album.

The remastering of Rudy Van Gelder’s original analog tapes was done by Kevin Gray and Ron Rambach at Cohearant Audio, and the reissue was pressed at Record Technologies, Inc. Their work here is an amazing sit-down and listening experience with a wide soundstage that’s accurately recreated throughout the treble, midrange, and bass. If you’re a fan of Joe Henderson, Post-Bop or Modal Jazz, and don’t already own an original Mono or Stereo LP, or Liberty reissue, I submit for your consideration the SRX 33 1/3 LP of Inner Urge by Joe Henderson. It’s a delightful album of straight-ahead jazz at its best by one of the quintessential tenor men, and a title that would be a great addition to any LP library!

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

Requisites

Tenor and Flute ~ Bobby Jaspar | By Eddie Carter

Bobby Jaspar steps into the spotlight for this morning’s discussion with his 1957 album, Tenor and Flute (Riverside RLP 12-240). I first heard him on two records he made with Herbie Mann, Flute Flight, and Flute Soufflé (1957).  Bobby was born in Liège, Belgium, and began playing the piano at eleven and the clarinet at sixteen. He later switched to the flute and tenor saxophone, and in 1950 began working with French pianists Henri Renaud and Bernard Peiffer. Jaspar was also a member of the Bop Shops band and played and recorded with Toshiko Akiyoshi, Chet Baker, Kenny Burrell, Donald Byrd, John Coltrane, Miles Davis, Milt Jackson, J.J. Johnson, Hank Jones, John Rae, and Wynton Kelly. He was married to jazz pianist and singer Blossom Dearie.  His supporting cast is Idrees Sulieman on trumpet (tracks: A1, B1, B2), George Wallington on piano, Wilbur Little on bass, and Elvin Jones on drums. My copy used in this report is the 1976 Japanese Mono reissue (Riverside SMJ-6156M).

The opener, Seven Up is Bobby’s easy blowing vehicle beginning with everyone laid-back on the melody.  Idrees starts the song in a nice happy mood on the first interpretation, then Bobby takes over for an outstanding solo as solid as the Rock of Gibraltar.  George follows with some carefree cruising that’s a treat for the ears and Wilbur is rhythmically infectious on a short statement ahead of the ensemble’s breezy climax.

Jaspar changes to flute for My Old Flame, written in 1934 by Arthur Johnston and Sam Coslow. It appeared in the film, Belle of The Nineties that year. He embraces the jazz standard lovingly on the melody and paints a compassionate portrait on the opening statement.  The second presentation by Wallington is tenderly expressed, then the leader gives a second performance that’s delicately pretty and Jones offers some beautifully shaped brushwork on the closer ahead of a tranquil ending.

Bobby returns to tenor sax for a spirited quartet rendition of All of You, Cole Porter’s 1954 jazz standard that first appeared in the 1955 Broadway musical, and 1957 film, Silk Stockings. The quartet gives a lift to this timeless classic with a briskly paced theme treatment. The saxophonist displays a lively intensity on the lead solo, then George adds a bouncy effervescence to the second reading.  Wilbur and Elvin split the third statement for a short, incisive comment, followed by Bobby and Elvin who guide us into the reprise with an expressive exchange.  Idrees Sulieman’s Doublemint is an energetic companion to his blues, Juicy Fruit, heard on The Hawk Flies High (1957). It opens Side Two with a collective infectious melody. Jaspar cooks vivaciously on the first statement, then Sulieman breaks into a robust reading. Wallington moves in next for a scintillating solo and Jones finds something good to say on the closing chorus sharing notes with the front line.

George Wallington wrote the final two tunes on Tenor and Flute beginning with his tenderly passionate ballad, Before Dawn. It starts slowly with a breathtakingly beautiful theme by Bobby and the rhythm section.  Jaspar then creates a mood of ecstasy on the first performance, then Idrees delivers a fine solo punctuated with delicate lyricism. George follows, sharing a brief moment of intimacy before Bobby adds a few additional affectionate remarks preceding the ensemble’s sultry coda.

Jaspar and the rhythm section take Sweet Blanche for a brisk ride on the finale with the leader back on flute. The quartet opens with a cheerfully pleasant theme and Jaspar excels with vigorous flair on the first interpretation. Wallington heads into the second reading expressing considerable delight, then Jaspar and Jones take us home sparring with each other into a satisfying climax. Tenor and Flute was produced by Orrin Keepnews, and the man behind the dials was Jack Higgins.

I was pleasantly surprised with the sound quality, the instruments produce an exceptional soundstage across the highs, midrange, and low end that’s right on the money. The analog Mono transfer by Victor Musical Industries from the original tapes has been gorgeously remastered and transports the listener to the studio alongside the musicians during the session. During 1961 & 1962, Jaspar formed a quintet with guitarist René Thomas and performed in a series of concerts and several recordings including appearing on Chet Is Back (1962). He passed away from a heart attack at age thirty-seven on February 28, 1963. I’ve enjoyed listening to this album and am happy to have it in my library.  If you aren’t familiar with Bobby Jaspar, are a fan of Hard-Bop or tenor sax, I hope you’ll seek Tenor and Flute out during your next vinyl hunt.  It’s a perfect album to get into jazz and the music is sure to make you tap your foot!

~ Chet Is Back (RCA Victor PML-10307); Flute Flight (Prestige PRLP 7124); Flute Soufflé (Prestige PRLP 7101); The Hawk Flies High (Riverside RLP 12-233) – Source: Discogs.com

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

Requisites

Bags’ Opus ~ Milt Jackson | By Eddie Carter

Milt Jackson steps into the spotlight to begin this morning’s discussion with one of my favorite albums from 1959, Bags’ Opus (United Artists UAL 4022/UAS 5022). This is my album to listen to when reading or relaxing because the music is so soothing, I can listen to it endlessly. Here, the vibist is leading an exceptional sextet consisting of Art Farmer on trumpet, Benny Golson on tenor sax, Tommy Flanagan on piano, Paul Chambers on bass, and Connie Kay on drums. My copy used in this report is the 1976 Japanese Stereo reissue (United Artists GXC-3135), and the album opens with the leader in ballad mode on Ill Wind by Harold Arlen and Ted Koehler. It was written in 1934 and performed by vocalist Adelaide Hall in their final show at The Cotton Club. Milt’s vibes are delicately discreet on the melody and as the featured soloist, he tells an exquisitely tender story matched by the sensitive accompaniment of the rhythm section into a gorgeous finale.

Blues For Diahann is Jackson’s tribute to actress, model, singer, Diahann Carroll, and the only original of the session. It opens with a jubilant intro by the rhythm section and a collective theme by the sextet. Golson takes off first with some straightforward blowing.  Farmer doesn’t let up the pace on the next reading with a spirited solo. Flanagan follows with a dazzling display of his virtuosity, and Chambers gives a spicy performance that’s worth the wait. Kay begins the next reading with some brisk brushwork in a shared statement with Jackson. The leader wraps up everything with a short workout ahead of the close. Afternoon In Paris by John Lewis was written in 1949 and was first recorded by Phineas Newborn Jr. on the album, Here Is Phineas-The Piano Artistry of Phineas Newborn Jr. (1956). Lewis made it the title song for his 1957 release with guitarist Sacha Distel, and the group takes this tune for an easy ride with five soulful statements by Milt, Benny, Art, Tommy, and Paul.

Benny Golson’s timeless 1957 jazz standard, I Remember Clifford, was written to honor the memory of trumpet player Clifford Brown who alongside pianist Richie Powell and his wife Nancy perished in an auto accident a year earlier. It opens Side Two delicately with the front line featured on the melody and reprise. Bags gives this evergreen all the poise and elegance it deserves on a sublimely beautiful performance backed by the trio.  Thinking of You was composed by Harry Ruby and Bert Kalmar in 1927, and debuted in the Broadway show, The Five O’Clock Girl that year. It was also featured in the 1950 film, Three Little Words. Art takes the lead on the gentle opening chorus with Milt and the rhythm section providing the lush background. He continues on the first solo with an intimately moving interpretation. Bags comes in next to add a touch of sensuous beauty to the closing statement ahead of Art’s return for the tenderly expressive coda.

Benny Golson wrote Whisper Not in 1956 while a member of Dizzy Gillespie’s Big Band.  It’s one of his most popular tunes and has been a signature song of Golson’s since its inception.  Leonard Feather wrote lyrics for Anita O’Day who recorded it in 1962.  The sextet begins the melody at an easy beat with an irresistible toe-tapping melody.  Jackson cruises at a comfortable speed with impeccably-crafted lines.  Farmer works the next solo using his mute with a firm tone and relaxing informality. Golson gets the next nod for an infectious groove that just won’t stop, and Flanagan sparkles on the final reading before the sextet reassembles to take the song out. Bags’ Opus was produced by Jack Lewis and engineered by Tommy Nola whose work can also be found on Argo, Atlantic, Blue Note, Cadet, Contemporary, Jazztime, Mercury, Riverside, and Verve to name a few. The album has a solid soundstage with an excellent definition from each instrument bringing the musicians from your speakers into your listening room.

Milt Jackson was one of the extraordinary musicians of jazz whose consistency on record is unequaled. He played and recorded with Cannonball Adderley, Ray Charles, Miles Davis, Dizzy Gillespie, Coleman Hawkins, Wes Montgomery, and countless others as a leader, sideman, and on many records as a member of The Modern Jazz Quartet.  He was given the nickname Bags by a Detroit bass player, referring to the bags under his eyes. I’ve been a huge fan of his ever since seeing him live in 1972. On Bags’ Opus, Jackson and his colleagues offer an album of easy listening jazz that any fan of Post-Bop should consider a must-have for their library!

~ Afternoon In Paris (Atlantic 1267); Anita O’Day and The Three Sounds (Verve Records V-8514/V6-8514); Here Is Phineas-The Piano Artistry of Phineas Newborn Jr. (Atlantic 1235/SD 1235) – Source: Discogs.com

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

Daily Dose Of Jazz…

Jeff Lorber was born November 4, 1952 into a Jewish family in Cheltenham, Pennsylvania. He started to play the piano when he was four years old and after playing in a number of R&B bands as a teen, he attended Berklee College of Music, where he developed his love for jazz. There he met and played alongside guitarist John Scofield and for several years he studied chemistry at Boston University.

Moving to Vancouver, Washington in 1972, his first group, The Jeff Lorber Fusion, released their self-titled debut album in 1977 on Inner City Records. Recording five albums under his name, these early sessions showcased a funky jazz fusion sound, and his 1980 album, Wizard Island, introduced saxophonist Kenny G. In 1982, Lorber recorded his first solo album, It’s a Fact, which explored his R&B roots with a smoother, more synthesizer-heavy sound along with vocals.

Many of his songs have appeared on The Weather Channel segments as well as their compilation albums. He has had six Grammy Award nominations and his Prototype album won for Best Contemporary Instrumental Album in 2018. Keyboardist, composer and record producer Jeff Lorber continues to produce, compose and perform.

More Posts: bandleader,composer,history,instrumental,jazz,keyboard,music