Requisites
Mean What You Say ~ Thad Jones-Pepper Adams Quintet | By Eddie Carter
This morning’s album offered for your consideration brings together two of my favorite musicians, Thad Jones and Pepper Adams, for their only quintet release. Mean What You Say (Milestone MSP-9001) is their only collaborative effort and was recorded around the same time as The Thad Jones-Mel Lewis Orchestra album. Both titles hit the stores in 1966. Thad is heard exclusively on flugelhorn, and Pepper is on baritone sax. The supporting cast is a first-class rhythm section: Duke Pearson on piano, Ron Carter on bass, and Mel Lewis on drums. The program consists of six originals and two popular songs. My copy is the original US Stereo pressing.
Side One opens with the title tune, Mean What You Say, the first of four originals by Thad Jones and one of his prettiest tunes from Presenting Thad Jones-Mel Lewis & The Jazz Orchestra. The quintet opens with a wonderful melody. Duke has the first solo and states his case comfortably. Mel makes a brief comment before Thad’s relaxing statement. Pepper provides the song’s happy ending in the closer ahead of the reprise and the ending. H and T Blues begins with the ensemble’s smooth theme. Pepper takes the lead on the opening solo and cooks, then Thad thrives on the following reading. Duke swings with a smooth tone next, and Ron has a brief word before the closing chorus.
The group takes a spirited turn on Wives and Lovers by Burt Bacharach and Hal David with a lively melody. Thad launches the first reading slowly, then picks up speed to a brisk conclusion. Pepper answers him passionately, and Duke serves up a sparkling statement preceding the closing chorus and quick stop. Bossa Nova Ova is a festive tune with an infectious melody that’s sure to have your toes tapping along to the beat. Pepper is up first; his bubbling enthusiasm lets us know we’re in for a treat. Thad takes a gorgeous solo next; then Duke provides a perfect ending in a well-constructed performance into the song’s reprise and climax.
Side Two gets underway with No Refill. It’s a pretty song that flows like a summer breeze, beginning with the quintet’s theme. Ron starts with a beautiful first reading, and then Thad follows with a leisurely statement. Pepper shines brightly like the sun next, and Duke gives an interpretation as sweet as honey ahead of the theme’s reprise. Little Waltz by Ron Carter is a haunting ballad that opens with the front line’s melancholy melody. Pepper opens with a deeply moving interpretation, followed by Thad’s wonderfully warm statement. Duke is equally polite and respectful next, then Ron walks in last with a lovely finale before the theme’s restatement and tender ending.
Up next is Duke Pearson’s Chant, the pianist first performed on Donald Byrd’s A New Perspective. The ensemble starts slowly for their melody, but the pace picks up for the hearty opening statement by Pepper. Thad comes in next and delivers the second solo efficiently, then Duke delivers the knockout with a splendid performance, leading to the reprise and close. Yes Sir, That’s My Baby by Walter Donaldson and Gus Kahn is an old song from the twenties that the quintet has fun with in the opening and closing choruses with a ragtime feel. In between are three great solos by Thad, Pepper, and Duke, who are all having a blast playing.
Orrin Keepnews produced Mean What You Say, and Elvin Campbell was the recording engineer. The sound quality is exceptional, with a stunning soundstage that transports listeners to the studio as the quintet works. It’s a pity that this group didn’t get to record again because it’s a terrific studio session worthy of adorning a spot in any jazz library. Thad and Mel would assemble The Jazz Orchestra and Pepper Adams would become a significant member of the band’s early Solid State albums. Duke Pearson was a wonderful bandleader and composer who made his home on Blue Note, and Ron Carter was a member of the Miles Davis Quintet before branching out on his own in the seventies.
If you’re in the mood for an excellent Hard-Bop album and are a fan of either musician, I invite you to consider Mean What You Say by The Thad Jones-Pepper Adams Quintet for a spot in your library. It’s an absolute gem in their discography and a terrific release I’m sure you’ll enjoy!
~ A New Perspective (Blue Note BLP 4124/BST 84124), Presenting Thad Jones-Mel Lewis and The Jazz Orchestra (Solid State SS 18003) – Source: Discogs.com ~ Wives and Lovers, Yes Sir, That’s My Baby – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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Daily Dose Of Jazz…
Ernie Hammes was born on August 18, 1968 in Esch-sur-Alzette, Luxembourg and studied at the Conservatories of Esch-sur-Alzette and Metz, France. He would later study at the Manhattan School of Music and the Berklee College of Music in Boston, Massachusetts.
Since 1997, Hammes has performed in New York City, traveled widely to jazz venues and festivals across Europe and North America. The Duke Ellington Orchestra has flourished for over forty-eight years since the death of the Duke, himself. As of 2013, Hammes is the only European known to have been a member of the Duke Ellington Orchestra from any era.
In his native Luxembourg, Ernie is the founder, director and lead trumpet in the Luxembourg Jazz Orchestra and since 1987 he has been a member of the Musique Militaire Grand-Ducale (the Luxembourg Army Band) where he is lead trumpet and, since 1994, leader of the big band.
Trumpeter Ernie Hammes continues to perform, compose and lead orchestras.
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Daily Dose Of Jazz…
Nat Janoff was born on July 13, 1970 in New Jersey and began his musical education on the piano before switching to bass. After hearing Eddie Van Halen he settled on the guitar. Growing up in the 80’s his musical interests were all things rock and metal and soon earned a reputation for being one of the best shred guitarist in the area. However, seeking a platform to improvise longer than a standard rock riff led him to jazz and hearing the Mahavishnu Orchestra’s Birds of Fire for the first time.
He pursued jazz earning his Bachelor of Music degree in Jazz Performance from William Paterson University in 1996 and set to work forging his own musical path.
Recording his debut album, Looking Through, he enlisted the talents of electric bassist, Matthew Garrison and drummer Gene Lake, that showcased him as a player and a composer. Two more albums as a leader followed, a live acoustic date and a studio session, then contributing to the ESC tribute album Mahavishnu Redefined II.
In addition to playing with his own groups, Janoff has performed with Joe, David “Pic” Conley, Norman Simmons and drummer Victor Jones’ group Culturversy, Debelah Morgan, and Roland Clark.
Guitarist, composer and educator Nat Janoff teaches guitar privately, has been a guest instructor at the annual William Paterson University summer jazz camp, and continues to perform and record.
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Daily Dose Of Jazz…
Luciano Troja was born in Messina, Italy on July 6, 1963. Self-taught from the age of 6, he studied for several years with the pianist-composer Salvatore Bonafede. In New York City, for a brief and intensive time, he studied with Richie Beirach. He attended several jazz courses and clinics such as Siena Jazz, Berklee Clinics in Umbria, Aebersold School in London, and piano courses with Shirley Scott, James Williams and Franco D’Andrea.
Luciano has performed at festivals and jazz clubs in Europe and the United States. He is the pianist of the Mahanada Quartet, an original combination of free improvisation and written music. He released three CDs with Mahanada that garnered extremely good reviews and recognitions. He released two CDs in duo with the guitarist Giancarlo Mazzù, Seven Tales About Standards and Seven Tales About Standards Vol. 2, both considered as a creative and original approach to the standards.
He along with Salvatore Bonafede of Double Piano Orchestra have recorded Double Rainbow and My Funny Valentine (Wide Sound, 2008).
He has been named Talent of the Year, Pianist of the Year, Group of the Year and CD of the Year in Top Jazz Poll of Musica Jazz magazine. He has since released At Home With Zindars a piano solo project. Pianist Luciano Troja continues to perform and record.
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Requisites
The Boss ~ Jimmy Smith | By Eddie Carter
Jimmy Smith‘s impact on jazz in the sixties was immense, influencing every other organist that followed him. In 1968, he came to Atlanta, Georgia and performed at Paschal’s La Carousel, the only nightclub where blacks and whites were welcome. The Boss (Verve Records V6-8770) is a little gem that’s sadly overlooked because of Root Down, Jimmy’s funkier live album recorded four years later. It’s still an enjoyable album that steps into the blues with the assistance of George Benson (tracks: A1 to A3, B2), Nathan Page (B1) on guitar, and Donald Bailey on drums. My copy is the original 1969 US Stereo release.
The set opens with Some of My Best Friends Are Blues, the first of three by Jimmy Smith, which he introduces with soulful charm. George and Donald join in to complete the soulful melody, then George offers the first course of this delectable dish. Jimmy delivers the main course with the succulent support of the rhythm section into a delicious ending. The trio glides into The Boss next, with Smith dispensing the opening chorus. Benson leads off with an extremely welcome solo. Smith takes an adventurous turn in a vibrant, unrestrained display before settling down to reprise the melody and fade gently into silence.
This Guy’s In Love With You by Burt Bacharach and Hal David begins with the trio’s beautiful introduction and melody. George starts the opening solo tenderly; then Jimmy holds the audience spellbound in the following statement preceding the ending theme and George’s slow dissolve. Side Two starts with Nathan Page taking over the guitar duties for Jimmy’s third original, Fingers. Smith states the melody rather simply, then proceeds into a marvelous interpretation with authority. Page is up next and delivers an inspired performance with a fine flow of ideas. Smith adds the exclamation point with a few final comments into the ending theme and graceful fadeout.
George Benson returns for the set’s finale, Tuxedo Junction, by Buddy Feyne, Erskine Hawkins, Bill Johnson, and Julian Dash. This popular song from the swing era is taken at a medium groove for the ensemble’s melody. George’s opening solo is as mellow as a fine wine, and Jimmy closes with a captivating improvisation ahead of the reprise and graceful fade out. Esmond Edwards produced The Boss, and Val Valentin was the man behind the dials of the recording. The sound quality is good, with a “you are there” feeling, placing the listener among the La Carousel audience as the group performs.
If you’re a jazz organ fan like me, I invite you to check out The Boss by Jimmy Smith on your next shopping trip. Jimmy, George Benson, Nathan Page, and Donald Bailey take a splendid ride through a bluesy, laid-back landscape in a live album that, though overlooked and underrated, is delightful to listen to and should be considered for a spot in your library! ~ Root Down (Verve Records V6-8806) – Source: Discogs.com ~ This Guy’s In Love With You, Tuxedo Junction – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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