Requisites

Tubby The Tenor ~ The Tubby Hayes Sextet | By Eddie Carter

Submitted for your approval this morning is a 1962 release by British tenor saxophonist Tubby Hayes. The year before, he traveled to the United States for the first time to appear at the Half Note. This week’s album is an excellent studio session recorded at Columbia Studio A during his engagement and initially released in the U.K. as Tubbs in N.Y. Its U.S. counterpart came out the same year and is titled Tubby The Tenor (Epic LA 16023/BA 17023) by The Tubby Hayes Sextet. Hayes is in good company on this date; Clark Terry on trumpet (tracks: A2, B1), Eddie Costa on vibes (tracks: A2, A3, B3), Horace Parlan on piano, George Duvivier on bass, and Dave Bailey on drums. My copy is the 1995 Classic Records U.S. Stereo audiophile reissue sharing the original catalog number.

Side One gets underway with You For Me by Bob Haymes, a quartet feature for Tubby and the rhythm section. The saxophonist sets the scene with an unaccompanied introduction segueing into the foursome’s lively opening chorus. Tubby takes the song’s only solo and gives a swinging interpretation complemented by the trio’s spirited support leading to the closing chorus. Clark Terry’s easy-going blues, A Pint of Bitter, begins with the sextet stating the carefree melody collectively. The trumpeter is up first with a relaxing lead interpretation; then Hayes is equally laid-back on the following statement. Costa comes in next and delivers a leisurely-paced reading; then, Parlan builds a compelling finale ahead of the ending theme.

Airegin by Sonny Rollins opens with the quintet’s brisk theme. Tubby launches the solos with a spirited presentation, then gives way to Eddie, who swings freely in an exciting reading. Horace has the third spot and gives an energetic performance. George walks briskly behind him, ahead of the tenor sax’s and vibraphonist’s concise conversation preceding the reprise and climax. Side Two takes off with Opus Ocean by Clark Terry, a fast-paced thrill ride that moves quickly from the quintet’s collective theme. Hayes is off to the races wailing at top speed in the opening solo, followed by an exhilarating statement from Terry. Parlan turns the heat up on the third reading, and the front line delivers a spirited exchange before the ensemble takes the song out.

The quartet returns to put some fresh clothes on Soon, an old tune from the songbook of George and Ira Gershwin. Horace briefly introduces himself; then Tubby steps up for an excellent melody that flows seamlessly into his impressive lead statement. Horace is next and completes the solos with a festive interpretation until Tubby reappears for the song’s finish. Doxy by Sonny Rollins is misspelled here as Doxie and begins with a relaxing melody led by Hayes and Costa. Hayes is up first and gets into a comfortable groove on the opening statement. Costa comes in next for a pleasant performance, then Parlan takes a nice turn in the third reading. Duvivier wraps it up with a short walk leading to the ensemble’s finale.

Mike Berniker and Nat Shapiro produced Tubby The Tenor, and it’s unknown who the recording engineer is. However, this Classic Records reissue is an excellent recording with a superb soundstage. Bernie Grundman remastered this album, and it is an outstanding pressing using 180-gram audiophile vinyl that’s silent until the music starts. The front and rear covers also have a high gloss. Though known as a tenor saxophonist, Tubby Hayes played the flute and vibraphone equally proficiently. Until this album, I only knew of his work as a member of The Jazz Couriers with Ronnie Scott, but I am now on the hunt for more of his records. If you’re a fan of the tenor sax, I invite you to check out Tubby The Tenor by The Tubby Hayes Sextet on your next vinyl shopping trip. It’s an ideal introduction to this remarkable musician and an enjoyable album you can listen to any time of the day or evening!

~ Tubbs in N.Y. (Fontana TFL 5183/STFL 595) – Source: Discogs.com ~ Aireign – Source: JazzStandards.com ~ Columbia Studio A – Source: Tubby Hayes: How The Little Giant Conquered The Big Apple by Simon Spillett. Jazzwise Magazine, October 18, 2021. www.jazzwise.com ~ Doxy, Soon – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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Daily Dose Of Jazz…

On May 12, 1964 Audrey Silver was born and raised in New York City, New York. She graduated from Brown University, where she founded The Higher Keys, the school’s first a capella singing group. After stints working in marketing for CBS Masterworks (now Sony Classical) and Chesky Records, she  returned to school and earned an MBA from Columbia University Business School.

Beginning her singing career in earnest in 1998, she teamed with Jon Raney, son of pianist Jimmy Raney and produced her first demo with the help of Ronnie Zito and Jay Leonhart. In the meantime, she honed her craft through private study with singers Sheila Jordan and Mark Murphy. Building a respected career performing around the city’s jazz clubs and music venues, she also performed at national festivals and venues around the country.

She released her debut album Here In My Arms in 2004 and has since released three more, the last being before the pandemic. Silver was a 2016 semi-finalist in the International Songwriting Competition. As a songwriter, it was her four year old son that opened that door for her and the stories began to pour out.

Vocalist Audrey Silver credits Bill Evans, Annie Lennox and Arnold Schoenberg as influences as she continues to grow her catalogue of originals and performing around the world.

BRONZE LENS

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Daily Dose Of Jazz…

Rico Belled was born in the Netherlands on May 9, 1970 to Spanish/Swiss parents. Growing up in a multicultural environment, with a pianist father, he was exposed to many styles of music. He started playing piano at age 11, exploring everything from classical music to jazz. At 15 he started playing gigs with local bands doing pop and blues, while slowly getting interested in the bass, which he started practicing at age 17.

In 1989, while studying electrical engineering at the TU Delft, Rico met Roy Cruz in The Hague and joined his weekly Sunday night band at De Pater, exploring the world of Funk and Jazz playing Fender Rhodes. During these sessions they broke down all stylistic walls from playing Weather Report tunes to full on James Brown Funk, featuring as many as 10 people on the little stage. Here he got an education in the art of jamming.

Realizing music was his passion, in 1992 Belled gave up engineering and moved to Los Angeles, California and attended the Musicians Institute in Hollywood. Post graduation he was already playing with a few different groups in the Los Angeles area and in the following years made a name for himself as a bass and keyboard session musician. His breakthrough came when he joined Wrecking Crew pianist Don Randi and the house band at the Baked Potato in 1994. A two year residency offered the opportunity to lead his own group performing his original music at the club.

This led to him performing and recording with Marc Antoine, The Dan Band, Sound Assembly, Jeff Robinson, Leslie Paula’s Latin Soul Band, Liza Minelli, Chris Standring, Scott Grimes, Keiko Matsui and many others. He has co-written and published music with Mindi Abair and Jeff Robinson. All this led to him being asked to join the Rippingtons, starting with recording the album ‘Modern Art’, for which he received a Grammy Nomination in 2010. Still a member, bassist Rico Belled remains one of the top bassists in Los Angeles, known for his deep groove and versatility, staying busy live and in the studio.

BRONZE LENS

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Daily Dose Of Jazz…

Jon-Erik Kellso was born on May 8, 1964 in Dearborn, Michigan and began playing jazz music very young in life, while receiving some formal training in classical idioms.

He moved from Detroit, Michigan to New York City in 1989 to join Vince Giordano and the Nighthawks. He has recorded many movie and TV soundtracks with the group, including the Grammy Award-winning soundtrack for Boardwalk Empire, The Aviator, Bessie, Ghost World, and Revolutionary Road.

He has performed and/or recorded with J.C. Heard, Catherine Russell, Cecile McLorin Salvant, Kat Edmonson, Milt Hinton, Ruby Braff, Marty Grosz, Bob Haggart, Dick Hyman, Wynton Marsalis, Ken Peplowski, Bucky Pizzarelli, Bob Wilber, Howard Alden, Wycliffe Gordon, and Kenny Davern among other jazz musicians.

Not limited to the genre he has also played and recorded with Linda Ronstadt, Leon Redbone, Maria Muldaur, Elvis Costello, Dave Van Ronk, and many others, appearing on over one hundred records. Since 2007 Kellso has led The EarRegulars at the historic Ear Inn in Manhattan on Sunday nights, and has recorded two acclaimed albums. Trumpeter Jon~Erik Kellso, who is a prolific session player, continues to perform and record.

BRONZE LENS

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Requisites

Nippon Soul ~ Cannonball Adderley Sextet | By Eddie Carter

This morning’s discussion is about an album I first heard when I lived in Cincinnati, Ohio, in 1988. Two of my favorite record shops to visit each weekend were Everybody’s Records and Record Theatre. At the latter store, Nippon Soul (Riverside RM 477/RS 9477) by The Cannonball Adderley Sextet was playing over the loudspeakers, which blew me away, and I picked it up immediately. It was recorded during the group’s first Japanese tour in July 1963 at Tokyo’s Sankei Hall and released the following year. The personnel is Nat Adderley on cornet, Julian “Cannonball” Adderley on alto sax, Yusef Lateef on flute (track: A1), oboe (track: B3), and tenor sax (tracks: A2, A3, B1, B2), Joe Zawinul on piano, Sam Jones on bass, and Louis Hayes on drums. My copy is the 1966 US Stereo reissue (Riverside RLP 9477).

Side One opens with Cannonball’s introduction of the title tune, Nippon Soul, an original by the altoist that begins with the sextet’s carefree melody. Nat sets the solos in motion with an infectiously swinging interpretation; then, Cannonball delivers a statement of delightful pleasure. Yusef’s flute compliments both horns on the following performance, and Joe scores a direct hit in the closer ahead of the theme’s reprise and ending. Cole Porter’s jazz standard, Easy To Love, moves briskly from the two-instrument introduction by Cannonball and Louis into the ensemble’s rapid delivery of the melody. Cannonball takes off like a race car covering a great distance in the opening solo, then engages in a vigorous exchange with Hayes into the sextet’s closing chorus, ending abruptly.

The first side finale, The Weaver by Yusef Lateef, is a dedication to a friend, Lee Weaver. Cannonball briefly introduces the song; then, the rhythm section gives an exhilarating introduction featuring each of the horns in the melody. Cannonball opens the solos energetically, then Yusef’s tenor sax enters slowly but expands into an ambitious performance of fierce intensity. Nat delivers an equal amount of heat on the following statement, and Joe enters the spotlight last with a lively aggressiveness preceding the ensemble’s quick reprise and climax. Side Two starts with Tengo Tango, Julian, and Nat’s original that’s suitable for dancing. The sextet opens the melody collectively; then, Cannonball gives a funky solo before the theme returns and the dance ends.

Come Sunday by Duke Ellington comes from his Black, Brown, and Beige suite. It opens with a gorgeous duet between Joe and Sam, the featured performers in this rendition. Joe shows a light touch in his playing that characterizes the beauty of this song to perfection, complimented by Sam’s bass and the front line’s subtle support into a tender ending. Brother John by Yusef Lateef is his tribute to John Coltrane and features him on the oboe as he leads the group through the melody. Yusef takes flight first with an adventurous opening solo. Afterward, Cannonball briefly comments, then Nat blazes into the second statement with considerable agility. Cannonball follows with a swiftly paced presentation, and Joe has one of his best moments ahead of Yusef’s theme restatement and finale.

Orrin Keepnews produced Nippon Soul, but who recorded the album is unknown. However, don’t let that dissuade you. The sound quality is exquisite, with an excellent soundstage that places the listener in the Sankei Hall audience as the musicians perform. If you’re a Cannonball Adderley fan, I invite you to check out Nippon Soul the next time you’re out vinyl shopping. It’s a fantastic set capturing The Cannonball Adderley Sextet at the top of their game, and despite being sixty years old, it sounds as fresh today as when it was first released. This album also complements their New York and San Francisco live releases and is highly recommended for a spot in your library!

~ Jazz Workshop Revisited (Riverside RM 444/RS 9444), The Cannonball Adderley Sextet in New York (Riverside RLP 404/RLP 9404) – Source: Discogs.com ~ Come Sunday, Easy To Love – Source: JazzStandards.com © 2023 by Edward Thomas Carter

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