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
- Avars (Boyd) ~ 7:42
- Stella by Starlight (Young, Washington) ~ 5:05
- Why Not? (LaRoca) ~ 7:26
- Ease It (Chambers) ~ 10:35
- Samba De Orfeu (Luiz Bonfá) ~ 4:31
- West 42nd Street (Hardin) ~ 4:23
- Kenny Dorham – trumpet
- Rocky Boyd – tenor sax
- Walter Bishop Jr. – piano
- Ron Carter – bass
- Pete LaRoca – drums
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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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Daily Dose Of Jazz…
Hector Rodriguez was born on July 11, 1965 in Mexico City, Mexico. He began playing guitar at 14, which led to him playing rock covers in high school bands. By 18 he started privately studying with renowned Mexio City musicians and immersing himself in jazz and other genres.
After several years of studying and playing professionally in his hometown, he ventured to Berklee College of Music in Boston, Massachusetts, majoring in performance. With financial assistance from the World Scholarship Tour award, there he studied with a host of the faculty, graduating Summa Cum Laude with a Bachelor’s degree in performance in 2008.
Another scholarship led him to the New Egland Conservatory of Music in Harford, Connecticut studying with the likes of Jerry Bergonzi, Danilo Perez and Jason Moran among others. He graduated in 2011with a Masters in Jazz Performance.
Since then has performed at festivals in Central America, Mexico and the United States. Guitarist Hector Rodriguez continues to perform and conduct workshops and masterclasses.
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Daily Dose Of Jazz…
Litsa Jane Davies was born on June 27, 1963 in Hampshire, England. Growing up in Poole, Dorset, she attended Harry Harbin school where her music teacher recognized her vocal talent. At 14 she was singing with him on jazz gigs and appeared locally on television in 1977. By 1979 she was gigging with pianist Mike Hatchard and the following year began a six-year stint with the National Youth Jazz Orchestra. While with NYJO she sang on three albums, notably Why Don’t They Write Songs Like This Anymore?, which featured her throughout.
She performs with her own quintet and has toured with the European Jazz Orchestra. She has sung on radio with the BBC Big Band, the bands Night Owls and Bone Structure as well as her own group. During the early and mid-80s Litsa played festivals with her quintet, and sang with the Burch Trio and saxophonist Iain Ballamy. The following year she joined the cast of the London West End musical Chess at the Prince Edward Theatre going on to play the lead until the show closed in 1989. She continued to sing on BBC radio.
In 1990 Davies concentrated on raising her children while singing backup for Tom Jones and performing with various bands including the Ian Pearce Big Band, the Ross Mitchell Dance Orchestra and the Mark Graham Dance Band. By 1995 she reappeared with a week-long engagement at Ronnie Scott’s club.
Vocalist Litsa Davies, gifted with fine interpretative skills and intelligent phrasing, continues to deliver ballads and up-tempo songs with swing.
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