Daily Dose Of Jazz…

Cuong Vu was born on September 19, 1969 in Saigon, Vietnam and immigrated to Seattle with his family when he was six. At 11 he began to play the trumpet and later received a scholarship from the New England Conservatory of Music.

After graduation, in 1994 Vu moved to New York City and formed the group Ragged Jack with Jamie Saft, Andrew D’Angelo, and Jim Black. Since that time he has worked with Laurie Anderson, David Bowie, Dave Douglas, Myra Melford, Gerry Hemingway, and Mitchell Froom.

While a member of the Pat Metheny Group, he won two Grammy Awards for Best Contemporary Jazz Album: Speaking of Now and The Way Up. Cuong worked with Metheny mainly as a trumpeter, but also contributed vocals, guitar and various small percussion.

As an educator, he serves as chair and professor in the jazz studies department of the University of Washington’s School of Music. Trumpeter Cuong Vu has recorded eleven albums as a leader, thirty-three as a sideman, and continues to lead his own band with bassist Stomu Takeishi and drummer Ted Poor.

CALIFORNIA JAZZ FOUNDATION

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The Quarantined Jazz Voyager

As the Jazz Voyager continues to social distance and wears his mask inside stores when grocery shopping and following doctor office protocol, he is still finding time to listen to great jazz. This week coming off the shelves is an album titled Blossom Time at Ronnie Scott’s by pianist and vocalist Blossom Dearie and is a live recording at Ronnie Scott’s Jazz Club in Soho, London, England in 1966. This was her first live album and was  released on the British record label, Fontana. The liner notes were written by Jimmy Parsons.

Her personal favorite recording, the swinging trio will intoxicate you with this set of songs just as if you were there in the intimate space listening. Her girlish, soft voice is her signature as she executes each song with style. This is the first of four albums she will record on the Fontana label.

Track List | 39:23

  1. On Broadway (Barry Mann, Cynthia Weil, Jerry Leiber, Mike Stoller) ~ 3:55
  2. (Ah, the Apple Trees) When the World Was Young (Michel Philippe-Gérard, Angele Vannier, Johnny Mercer) ~ 4:20
  3. When in Rome (Cy Coleman, Carolyn Leigh) ~ 4:45
  4. The Shadow of Your Smile (Johnny Mandel, Paul Francis Webster) ~ 4:13
  5. Ev’rything I’ve Got (Richard Rodgers, Lorenz Hart) ~ 4:29
  6. Once Upon a Summertime (Eddie Barclay, Michel Legrand, Eddy Marnay, Johnny Mercer) ~ 3:51
  7. I’m Hip (Dave Frishberg, Bob Dorough) ~ 2:48
  8. Mad About the Boy (Noël Coward) ~ 5:05
  9. The Shape of Things (Sheldon Harnick) ~ 2:42
  10. Satin Doll” (Duke Ellington, Johnny Mercer, Billy Strayhorn) ~ 5:15
Trio
  • Blossom Dearie ~ piano, vocals
  • Jeff Clyne ~ double bass
  • Johnny Butts ~ drums

CALIFORNIA JAZZ FOUNDATION

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Requisites

Ready For Freddie ~ Freddie Hubbard | By Eddie Carter

Freddie Hubbard steps into the spotlight of this morning’s discussion with an excellent 1962 blowing session titled Ready For Freddie (Blue Note BLP 4085/BST 84085). This choice from the library is the trumpeter’s fourth album as a leader and he’s working with a stellar supporting cast. Bernard McKinney on euphonium, Wayne Shorter on tenor sax, McCoy Tyner on piano, Art Davis on bass, and Elvin Jones on drums complete the sextet. For those who don’t know about the euphonium, it’s a medium-sized, tenor-voiced brass instrument that’s usually featured in a brass band and is a member of the tuba family. My copy used in this report is the 1995 Blue Note Connoisseur Series US Stereo Audiophile reissue (B1-32094).

Arietis by Freddie Hubbard starts Side One with the sextet grabbing the listener’s attention from the opening notes of their swinging melody. Freddie takes us on an exuberant joyride in the opening solo. Wayne continues surging ahead on the second statement, then Bernard digs into the third reading with agility. McCoy soars into a satisfying summation ahead of the song’s finale. Weaver of Dreams by Jack Elliot and Victor Young begins at a deceptively slow tempo with McKinney and Shorter’s introduction segueing into Hubbard’s sensitive theme. The pace picks up for a beautifully delicate opening statement by Freddie. McCoy comes in next for an affectionate interpretation leading to Hubbard’s haunting climax.

Wayne Shorter’s Marie Antoinette affords everyone except Elvin a solo opportunity beginning with the group establishing a relaxed mood in the opening chorus. Wayne begins with an easy-going toe-tapper. Freddie infuses an optimistic spirit into the second solo. Bernard moves things along at a comfortable pace, then McCoy gives us a few compelling moments. Art adds to the fun with a few airy bass notes leading to the closing chorus that dissolves into nothingness. Birdlike by Freddie Hubbard begins Side Two at a brisk beat with the group’s collective melody. Hubbard gets things going first, then Shorter puts together a mesmerizing performance. McKinney has a few attractive lines in the third spot. Tyner and Davis keep the energy going with two quick readings into the quintet’s finale.

Freddie Hubbard’s Crisis opens with the trio’s simple introduction segueing into a soothing melody. Freddie, Wayne, Bernard, and McCoy all make their point in four enchanting interpretations. Elvin offers an impressive climax into the sextet’s reprise and fadeout. Ready For Freddie was produced by Alfred Lion and Rudy Van Gelder was the recording engineer. The reissue producer is Michael Cuscuna and Larry Walsh did the mastering from the original analog tapes. The sound quality is excellent with a spacious soundstage and the instruments come through your speakers vibrantly as if the musicians are playing in front of you. The record is pressed on 180-gram Virgin Vinyl and is silent until the music starts. If you’re in the mood for an excellent Hard-Bop album, I invite you to check out Ready For Freddie by Freddie Hubbard. It’s sure to occupy a proud place in any novice or seasoned jazz fan’s library for years to come!

~ Euphonium – Source: Wikipedia.org
~ © 2022 by Edward Thomas Carter


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The Quarantined Jazz Voyager

The pandemic has eased up related to the massive numbers of contractions, hospitalizations, deaths experienced over the past two years. If you’ve been listening and watching you know it is not over. Follow your conscience.

This week I bring you the 1961 album Ease It recorded by the Rocky Boyd Quintet which features trumpeter Kenny Dorham. It is the only known recording by the saxophonist, and was first released by Jazztime Records. It was also released thirteen years later by Muse Records in 1974 as Ease It!.

Once again in 1989 Black Lion released a CD edition retitled West 42nd Street. It was credited to Kenny Dorham and comprised all the takes from the session. Only tracks 1 & 6 have a single take.

Fred Norsworthy was the producer and Bill Stodard the engineer on the recording session that took place on March 13, 1961 at Bell Sound Studios in New York City. The cover photography was taken by Gary Gladstone, the liner notes were written by Don Riches.

Track List | 39:42

  1. Avars (Boyd) ~ 7:42
  2. Stella by Starlight (Young, Washington) ~ 5:05
  3. Why Not? (LaRoca) ~ 7:26
  4. Ease It (Chambers) ~ 10:35
  5. Samba De Orfeu (Luiz Bonfá) ~ 4:31
  6. West 42nd Street (Hardin) ~ 4:23
Personnel
  • Kenny Dorham – trumpet
  • Rocky Boyd – tenor sax
  • Walter Bishop Jr. – piano
  • Ron Carter – bass
  • Pete LaRoca – drums

CALIFORNIA JAZZ FOUNDATION

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Requisites

Setting The Pace ~ Booker Ervin | By Eddie Carter

I love a good blowing session, especially one featuring a tenor sax. I became a fan of Booker Ervin after hearing That’s It! (1961), Exultation! (1963), and Back From The Gig (1976). This morning’s album submitted for your approval is a 1967 release by the saxophonist, Setting The Pace (Prestige PR 7455/PRST 7455). Booker was born in Denison, Texas, and began playing the trombone as a youngster. He taught himself the tenor sax while serving in the Air Force and stationed in Okinawa. He later attended Berklee College of Music after completing his service and began playing with trombonist Ernie Fields. Ervin moved to New York a few years later and worked with Charles Mingus. Sharing the spotlight with him on this date is Dexter Gordon on tenor sax, Jaki Byard on piano, Reggie Workman on bass, and Alan Dawson on drums. My copy used in this report is the 1973 US Stereo reissue (Prestige PRT-7455).

The quintet dives straight into the first of two tunes by Dexter Gordon. Setting The Pace occupies the entire first side and both horns begin with an ear-opening introduction evolving into the ensemble’s lively melody. Dexter is up first with a lengthy performance of high-spirited delight. Booker keeps his foot on the pedal with long phrases soaring ambitiously to the stratosphere. Reggie makes a brief bass comment, then Jaki gets into something interesting on the next reading. Dex and Book return to share a brisk conversation. Alan concludes the solos with a short workout into the song’s climax. Side Two takes off with the rhythm section’s introduction and quintet’s theme to Dexter’s Deck. Booker starts things off vigorously in his opening statement. Dexter takes charge next on an enthusiastic nine-and-a-half-minute reading. Reggie responds with an inspired bit of bass walking preceding the song’s conclusion.

Setting The Pace was produced by Don Schlitten and Willy Schmidt was the man behind the dials. This reissue is a gorgeous recording possessing a very impressive soundstage. The instruments emerge from your speakers with crystal-clear clarity. Booker recorded a total of nine albums for Prestige, and seven more for Bethlehem, Blue Note, Candid, Pacific Jazz, and Savoy. He also made quite a few recordings as a sideman working with some of the best jazz musicians. He passed away at age thirty-nine from kidney failure on August 31, 1970. If you’re a fan of either Booker Ervin or Dexter Gordon and are in the mood for some adventurous Hard-Bop, I invite you to check out Setting The Pace on your next vinyl shopping spree. It’s forty-two-and-a-half minutes of splendid jazz that’s sure to have the listener hungering for more!

~ Back From The Gig (The Blue Note Reissue Series BN-LA488-H2), Exultation! (Prestige PRLP 7293/PRST 7293), That’s It! (Candid CJM-8014/CJS-9014) – Source: Discogs.com ~ Booker Ervin – Source: Wikipedia.org © 2022 by Edward Thomas Carter

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