Requisites
Full House ~ Wes Montgomery | By Eddie Carter
In a game of poker, a full house is a five-card hand containing three-of-a-kind and a pair of another. The three-of-a-kind in this morning’s discussion to begin April is a brilliant trio that at the time was Miles Davis’ rhythm section but also a spectacular group in their own right. The pair is a little giant who was diminutive only in height but possessed a robust sound and an extraordinary guitarist who’d taken the jazz world by storm with his playing. Full House (Riverside RLP 434/RS 9434) is a 1962 live date by Wes Montgomery performed with a world-class quartet, Johnny Griffin on tenor sax, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. My copy used in this report is the 1974 Victor Musical Industries Japanese Stereo reissue (Riverside SMJ-6069).
The opener, Full House is an original by Wes welcoming everyone inside the club with the quintet’s festive theme. The leader cooks on the first solo with an infectiously happy groove. Johnny comes in next, swinging strongly on the second reading. We’re then treated to a rollicking finale by Wynton punctuated by the rhythm section’s groundwork leading to the climax. I’ve Grown Accustomed To Her Face by Frederick Loewe and Alan Jay Lerner made its debut in the musical, My Fair Lady (1956). This is a trio tune with Wes supported only by Paul and Jimmy. The guitarist approaches the melody and song’s only solo with an intimate beauty and graceful lyricism that’s gorgeously rendered culminating in a tender finale receiving appreciative applause from the crowd.
Blue ‘N’ Boogie by Dizzy Gillespie and Frank Paparelli begins with the ensemble’s vigorous melody. Montgomery begins in good spirits with a lively opening statement, then Kelly shows a masterful hand on the keys. Griffin thrills the listener with utter delight on the next interpretation. Cobb shares an energetic exchange with Wes, Johnny, and Wynton before taking the spotlight himself leading to the ensemble’s reprise and exit. Cariba, the guitarist’s second tune opens Side Two with a positively tropical flavor in the quintet’s theme. Paul lays down some bluesy bass lines on the first solo. Wynton opens the second presentation with exceptionally smooth execution. Griff delivers a good deal of happy excitement in the third reading. Wes adds a pleasant punctuation with a light-hearted, friendly finale.
Come Rain or Come Shine by Harold Arlen and Johnny Mercer premiered in the Broadway musical, St. Louis Woman (1946). Montgomery and the trio pick up the tempo on the introduction and theme. Johnny kicks things off with some exciting blowing. Wes propels the second solo with tasteful playing, and Wynton closes with an eminently enjoyable interpretation before the song’s conclusion. This delightful set concludes with an uptempo cooker by Wes, S.O.S. The ensemble soars collectively in the opening chorus, then Griffin delivers the first solo with a fiery passion. Wes follows with an equally assertive second statement. Wynton adds a bit of effervescent energy to the third reading. Jimmy provides the final fireworks in a conversation with Griff and Wes into the group’s finish.
A few months after the quintet recorded Full House, Tsubo closed, later reopening as The Jabberwock, offering its patrons folk music. It remained open a few more years until the doors closed for good in 1967. This album was produced by Orrin Keepnews and Wally Heider was the recording engineer. Victor Musical Industries has done a fantastic job with the mastering because this reissue sounds incredible with an outstanding soundstage placing the listener in the club with exceptional clarity. If you’re a fan of Wes Montgomery, Johnny Griffin, or Wynton Kelly, I offer for your consideration on your next vinyl expedition, Full House. The music throughout is excellent and there’s superb playing from all hands, making this a perfect title for any jazz library!
~ Come Rain or Come Shine – Source: JazzStandards.com
~ Blue ‘N’ Boogie, I’ve Grown Accustomed To Her Face, The Jabberwock – Source: Wikipedia.org
© 2022 by Edward Thomas Carter
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Requisites
Live at Memory Lane ~ Nat Adderley | By Eddie Carter
This morning’s choice from the library is one of my favorite records that always takes me back to my childhood each time it’s on the turntable. Live at Memory Lane (Atlantic 1474/SD 1474) by Nat Adderley is a 1966 release recorded on Halloween night before an enthusiastic audience. Nat is featured on trumpet exclusively with a stellar supporting cast including his brother Cannonball’s rhythm section. Joe Henderson (tracks: A2 to B3) on tenor sax, Joe Zawinul on piano, Victor Gaskin on bass, and Roy McCurdy on drums complete the ensemble. I was thirteen when I first heard it at Record Rendezvous in Cleveland, Ohio and it still delivers all treats and no tricks. My copy used in this report is the original US Mono album.
Side One starts with On My Journey Now, an original by Nat Adderley endowed with the spirit of a sanctified church song. The leader kicks off the melody with a lively energy advancing to an uplifting opening statement. Zawinul follows with an extremely funky performance that’s sure to get your foot stomping to the rhythm section’s contagious beat preceding Nat leading the congregation out. Adderley’s second composition, Fun, is exactly that. It first appeared on Mercy, Mercy, Mercy (1967) with the trio anchoring both brothers. The group heats up the opening chorus, then Joe steps up first to cook with a fiery passion. Nat speaks with bright and brassy enthusiasm next. Zawinul follows with a feisty attack on the closer before the ensemble’s theme comes to a standstill.
Good Old Summertime by George Evans and Ren Shields is a pretty song from Tin Pan Alley. Nat begins the mid tempo melody on mute accompanied by the trio, then continues floating like a cloud over a picturesque landscape with a discretely rich tone. Henderson is equally enchanting on the second statement, and Joe unfolds a simply gorgeous interpretation ahead of Nat’s tender muted climax. Side Two opens with the first of two from Joe Zawinul’s pen, Lavender Woman. Nat begins with a brief introduction, then picks up the pace for the ensemble’s theme. Henderson takes the lead and swings adventurously. Adderley comes after him and perks up our ears on the second solo. Zawinul soars to great heights on an imaginatively conceived and executed finale into the theme’s return.
Painted Desert is simply breathtaking in its lyrical beauty and the ensemble opens with a gorgeous theme. Henderson is in the spotlight first and delivers an exquisitely beautiful reading. Adderley takes the reins next for an emotionally charged interpretation. Zawinul approaches the finish line with a degree of sensitivity that segues into a vivacious presentation, then the quintet reassembles for a final word. Theme by Nat Adderley and Joe Zawinul brings the set and album to an upbeat close. The group takes off on the opening chorus and Henderson, Adderley, and Gaskin (in his only solo) each take a turn to cook. Nat adds the exclamation mark by acknowledging his bandmates and thanking the audience during the closing chorus.
Nesuhi Ertegun supervised Live at Memory Lane and Wally Heider was the recording engineer for the ensemble’s performance. The sound quality is excellent for a fifty-five-year-old release surrounding your sweet spot with great music that’s a fantastic listen. This was Nat’s first live album leading his own group and I wish he’d recorded more as a leader. The quintet swings like crazy with superb musicianship that makes the listener feel he or she is part of the audience enjoying the music. If you’re a fan of live jazz, just becoming acquainted with the music of Nat Adderley, or only know of his work with Cannonball, I invite you to check out Live at Memory Lane on your next viny hunt. It’s a thoroughly enjoyable album deserving of reaching a wider audience!
~ Mercy, Mercy, Mercy (Capitol Records T 2663/ST 2663) – Source: Discogs.com
~ In The Good Old Summertime – Source: Wikipedia.org
© 2022 by Edward Thomas Carter
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The Quarantined Jazz Voyager
Not belaboring the point, with all that is going on in the world, I am continuing to remain ever vigilant relative to the pandemic which is ever present in our lives. I can only hope you are doing the same.
My latest offering for those who enjoy good music comes from Moon Beams, a 1962 album by pianist Bill Evans. It is the first trio album recorded by Evans after the death of Scott LaFaro.
Bassist Chuck Israels replaced LaFaro and Evans recorded several songs on May 17, 1962 (#5,9), May 29, 1962 (#1, 8), June 2, 1962 (#2-4, 6-7) and June 5, 1962 (#10-11) at Sound Makers Studio, New York City. The album was released in December 1962 on the Riverside label and is a collection of ballads recorded during this period.
The recording sessions were produced by Orrin Keepnews, the woman on the album cover is Nico, who would later achieve recognition as a musical artist herself, the photographer was Peter Sahula and the cover design was by Ken Deardorff.
Track Listing: 39:00- Re: Person I Knew (Bill Evans) ~ 5:44
- Polka Dots and Moonbeams (Johnny Burke, Jimmy Van Heusen) ~ 5:01
- I Fall in Love Too Easily (Sammy Cahn, Jule Styne) ~ 2:42
- Stairway to the Stars (Matty Malneck, Mitchell Parish) ~ 4:53
- If You Could See Me Now (Tadd Dameron) ~ 4:29
- It Might as Well Be Spring (Richard Rodgers, Oscar Hammerstein II) ~ 6:05
- In Love in Vain (Leo Robin, Jerome Kern) ~ 5:00
- Very Early (Bill Evans) ~ 5:06
- Bill Evans – piano
- Chuck Israels – bass
- Paul Motian – drums
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Daily Dose Of Jazz…
Tina May was born March 30, 1961 in Gloucester, England. She lived in Frampton-on-Severn when she was young and attended Stroud High School.
She has recorded twenty-five albums as a leader and three as a guest artist, of which18 albums are on the 33 Records label. She has worked with Tony Coe, Nikki Iles, Stan Sulzmann, Ray Bryant, Enrico Pieranunzi and Patrick Villanueva.
In 1989 she married jazz drummer and bandleader Clark Tracey and recorded several albums with him in the 1990s. Vocalist Tina May continues to perform, record and explore the azz idiom.
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Daily Dose Of Jazz…
Stacey Kent was born March 27, 1965 in South Orange, New Jersey. After graduating from Sarah Lawrence College, she crossed the pond to study music at the Guildhall School of Music and Drama in London, England where she met and married saxophonist Jim Tomlinson.
In the 1990s, she began her professional career singing at Café Bohème in London’s Soho. After two or three years, she began opening for established acts at Ronnie Scott’s Jazz Club in London. By 1995, she appeared in the film Richard III singing Come Live with Me and Be My Love. Her debut album, Close Your Eyes, was released in 1997.
In 2020, Kent released a series of singles and EPs, including “Christmas in the Rockies”, “Three Little Birds”, “Lovely Day”, “Landslide”, “I Wish I Could Go Travelling Again”, “Bonita” and “Craigie Burn” as a duet with her longtime pianist Art Hirahara. Several of these singles become part of an album released on Sept 17, 2021, called “Songs From Other Places.”
She has received several awards and honors including receiving the Chevalier dans l’Ordre des Arts et des Lettres (Order of Arts and Letters) in 2009. Grammy-nominated vocalist Stacey Kent has recorded nearly two dozen albums and continues to explore the realm of her music.
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