Requisites

Johnny Griffin’s Studio Jazz Party ~ Johnny Griffin | Eddie Carter

This title from the library brings renown jazzman Johnny  Griffin into the spotlight for his only live album as a leader  on Riverside Records. Submitted now for your approval is the 1961 LP, Johnny Griffin’s Studio Jazz Party (RLP-9338), recorded before a live audience that was invited to the recording session inside Plaza Sounds Studios. Joining the saxophonist are Dave Burns on trumpet; Norman Simmons on piano; Victor Sproles on bass and Ben Riley on drums. My copy is The Riverside Original Recording Series Japanese Stereo reissue (SMJ-6145), released in 1976 by Victor Musical Industries, Inc.

The performance is hosted by Babs Gonzales who welcomes the crowd to the session on the opening track, Party Time and introduces the first song, Good Bait by Count Basie and Tadd Dameron. This  standard was written in 1944, becoming a feature in Basie’s  and Dizzy Gillespie’s Orchestra. Griffin and the trio  introduce the song slowly, picking up immensely when the  melody moves to a medium-fast tempo. Dave sets the pattern for the song on the opening statement with punchy rhythms, crisp lines, and a crackling tone. Simmons strolls  into the next reading for an impressive interpretation which shows no strain as each phrase unfolds. Both horns share a few more statements before the ensemble returns for a  march-like closing chorus and amusing ending.

The first side ends on an uptempo note with the 1942  popular song, There Will Never Be Another You, written by Harry Warren and Mack Gordon for the musical film  Iceland, which premiered that same year. The first recording outside the film was a 78-rpm single (B-11574) by  vocalist Joan Merrill recorded for the RCA subsidiary, Bluebird. The trio opens with an abridged introduction,  stepping aside as Burns begins the opening chorus and the lead solo ambitiously with a drive which generates its own  excitement. Simmons is dazzling on the next reading with  choruses which illustrate a mature sound that swings freely. Griffin romps through the next statement of this cheery  bouncer with long, flowing lines that are rewarding in every respect to the delight of one fan who urges him on as his solo progresses. Sproles is up next to give a brief statement with an agility that shows he is much more than a solid  foundation and sets up the front line to share a few final  thoughts before the ensemble brings the song to a close to  the delight of the crowd.

Babs opens the second side with a message to the crowd, then the group tears into Dave Burns’ Toe-Tappin” which possesses great speed from the start and the interaction between the front line during the main theme is marvelous. Dave kicks off the lead solo with a passionate presentation which launches its own fireworks in perfect harmony on each note to the equally incandescent foundation by the rhythm section. Norman sustains the ferocious pace with a knockout performance on the next statement, then Johnny charges ahead with enthusiastic phrases on the tune’s longest interpretation which are constructed marvelously. Victor fuels the final reading with pure adrenalin for an  exclamation point that will have your fingers popping and your toes tapping to the contagious beat until the quintet’s soft fade finale and audience’s fervent expression of  approval.

The LP’s only standard is a classic from The Great American Songbook which Babs introduces in French. You’ve  Changed was written in 1942 by Carl Fischer and Bill Carey and has been covered by many vocalists in the jazz and pop  genres. The definitive vocal of this popular song, in my  opinion, was sung by Billie Holiday on the 1958 Columbia album, Lady In Satin (CL 1157/CS 8048). After a brief  introduction by the trio, Burns plays the first half of the  opening chorus with Johnny playing the second half to  ng, amiable final presentation that leads back to the closing chorus and a gentle ending as the applause fades to mark the end of this  very enjoyable Studio Jazz Party.

The original recording was engineered by Ray Fowler, the  man behind some of the greatest jazz albums on Riverside  and Jazzland with the mastering done by Jack Matthews of  Components Corporation for this Japanese LP. Both men have done their job well because the sound is vivid with each instrument providing a realistic soundstage that surrounds your sweet spot, placing you in the best seat to  enjoy the performance along with the crowd. The music which makes up the program is equally enjoyable, and I  even found Gonzales’ comments throughout the album colorful and its crystal-clear Babs was in a party mood as the set progressed. In short, Johnny Griffin’s Studio Jazz Party is a pleasurable program of music which still stands up well nearly six decades later and at nearly forty-six minutes, offers a benefit to the novice or knowledgeable listener that he or she will get their money’s worth from a performance they can revisit anytime.

~ Good Bait, There Will Never Be Another You, You’ve  Changed – Source: JazzStandards.com, Wikipedia.org © 2020 by Edward Thomas Carter

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Daily Dose Of Jazz…

Gabrielle Goodman was born October 23, 1964 in Baltimore, Maryland and her early years of singing in church in Baltimore gave her the skillset to blend jazz and gospel. As a protege of Roberta Flack began her international performance career as a backing vocalist for Flack in the mid-1980s while at the Peabody Institute. She continued to tour and record with her mentor for several years opening for Miles Davis, Ray Charles, the Crusaders and other legends in Japan, Switzerland, Brazil and others around the world.

Goodman’s breakthrough as a solo recording artist happened when she appeared on Norman Connors 1988 album Passion on Capitol Records. She sang lead on five songs, which led to her recording two jazz albums Travelin’ Light in 1993 and Until We Love the following year with Kevin Eubanks, Christian Mcbride, Gary Bartz, Gary Thomas, and Terri Lyne Carrington.

It would be another ten years before she would drop her third album which landed in the soul jazz category ~ Angel Eyes, Songs From The Book and Spiritual Tapestry for the Goodness label. As a touring and performing solo artist she has played festivals and with symphony orchestras.

Goodman has written and arranged songs for Chaka Khan and Roberta Flack, performed alongside Dee Dee Bridgewater and Michael Buble, and also provided vocals for Patti Labelle, Nona Hendryx, Jennifer Hudson, Mary J. Blige, Patrice Rushen, Freddie Jackson, Bryan Ferry, and George Duke.

Vocalist, composer, author, and educator Gabrielle Goodman has a four-octave vocal range and has been an associate professor of voice at Berklee College of Music since 1998.

BRONZE LENS

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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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