Requisites

Soul Message ~ Richard “Groove” Holmes | By Eddie Carter

This morning’s choice from the library is an album I first heard on our then R&B station in Cleveland, Ohio, WJMO 1490 AM. I knew the song Misty from my uncle’s weekend jazz listening sessions but had never heard it played on the organ before. I called the station and that’s how I discovered organist Richard “Groove” Holmes.  Soul Message (Prestige PR 7435/PRST 7435) serves up six delicious tunes of Soul-Jazz that are something special. Gene Daniels on guitar and Jimmie Smith complete the trio, and my copy used in this report is the 1965 US Stereo pressing. Daniels played with Holmes on two earlier albums in 1961 and 1962, Groovin’ With Jug and After Hours. This was Smith’s only time recording with Richard, but he would go on to enjoy a successful career playing with Toshiko Akiyoshi, Benny Carter, Eddie “Lockjaw” Davis, Erroll Garner, Gene Harris, Terry Gibbs, and Joe Pass.

Groove’s Groove, a soulful blues by Holmes starts with an infectious melody compelling one to snap their fingers and tap their toes right away. Richard hits a groove immediately with a marvelous interpretation. Gene follows with a statement as succulent as a huge Sunday meal from Mom’s or Grandma’s kitchen. Holmes returns for a brief anecdote ahead of the finale. Dahoud by Clifford Brown moves the tempo up to a tropical flavor in the opening chorus. Daniels emerges first with a perfectly constructed opening solo. Holmes delves down into the tune’s roots, stating his point with excellent enunciation into the trio’s reprise. Misty by Erroll Garner and Johnny Burke begins on an upbeat note with Richard soaring at length after the melody. Gene and Jimmie propel the song forward into a charming climax. Misty became Richard’s biggest hit and his signature song whenever he performed live.

Side Two starts with the trio easing into the melody of Song For My Father by Horace Silver. Daniels brings blues-rooted energy to the first solo, then Holmes builds on the momentum with a happy performance that he manages tastefully. The Things We Did Last Summer is a beautiful song by Jule Styne and Sammy Cahn. The trio cultivates an irresistible warmth on this 1946 evergreen with a remarkably respectful opening chorus. Richard approaches every note of the lead and closing solos softly and tenderly. Gene completes the gentle mood with a lovely interpretation of romantic reflection before the trio’s delightfully delicate ending. The title track, Soul Message wraps up this set with a cheerful sermon by Holmes who preaches a concise mellow statement with light and airy verses after the catchy melody.

Soul Message was recorded by Rudy Van Gelder and it’s a good recording, but not perfect. On Groove’s Groove during Richard’s second solo, and on Misty, the microphone picks up a bit of distortion in the upper register lasting about one verse on Groove’s Groove and during the second, third and fourth verses on Misty. This is particularly noticeable if you are wearing a good pair of headphones as I do when listening to jazz late at night. These two issues aside, the instruments have a good soundstage on the remainder of the album. Richard also recorded for Groove Merchant, Muse Records, and Pacific Jazz. He passed away from a heart attack on June 29, 1991, at the age of sixty after battling prostate cancer. If you are a fan of the jazz organ or are just discovering the music of Richard “Groove” Holmes, I invite you to audition Soul Message for a spot in your jazz library. It’s a vibrant, inspired album by the organist, and after you’ve heard it, I’m almost certain you’ll get the message!

~ After Hours (Pacific Jazz PJ-59/ST-59), Groovin’ With Jug (Pacific Jazz PJ-32/ST-32) – Source: Discogs.com
~ Misty – Source: JazzStandards.com
~ Richard “Groove” Holmes, Jimmie Smith, The Things We Did Last Summer – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

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Requisites

Jazz Workshop Revisited ~ Cannonball Adderley Sextet | By Eddie Carter

The Cannonball Adderley Sextet steps into the spotlight with a favorite album from my childhood that takes us to The Jazz Workshop.  Three years earlier, the group made their first trip to the renowned club, and The Cannonball Adderley Quintet In San Francisco was released to rave reviews.  This morning’s choice from the library, Jazz Workshop Revisited (Riverside RLP 444/RS 9444) was released in 1963 documenting their return to the venue, this time as a sextet.  Nat Adderley on cornet, Cannonball Adderley (tracks: A1 to A3, B1, B3) on alto sax, Yusef Lateef (tracks: A1, B1, B2) on flute, (track: A1) on oboe, (tracks: A2, A3) on tenor sax, Joe Zawinul on piano, Sam Jones on bass, and Louis Hayes on drums.  My copy used in this report is the 1965 US Stereo reissue.

Side One starts with an opening comment by Cannonball introducing the first tune, an original titled Primitivo.  Yusef and the trio set the mood perfectly in the introduction.  Cannonball states the haunting melody, segueing into a tenderly expressed first solo.  Yusef follows on oboe with a tantalizingly seductive statement.  Nat gives a passionate performance next, and Joe puts an elegant touch on the finale before the ensemble’s gentle closing chorus.  The group invites us to celebrate Jessica’s Birthday by Quincy Jones with a festive melody to begin the party.  Cannonball leads the solos with zestful energy on the opening statement.  Nat bristles with joyful creativity on an exciting reading next, then Lateef blazes into the third interpretation with incandescent energy.  Joe swings to an enthusiastic groove on the closer.

Marney by Donald Byrd builds to a brisk melody in unison.  Cannonball steps up first to give a vivaciously spirited opening solo.  Nat breathes fire on the next interpretation, then Yusef dispenses ferocious energy into the third reading.  Joe keeps things cooking on the closer and Sam and Louis don’t pull any punches in their support.  The altoist starts Side Two with another few words before the sextet dives into Nat Adderley’s bossa nova hit, The Jive Samba.  The trio starts with a danceable introduction ahead of the ensemble’s captivating melody.  Cannonball is especially funky on the opening statement, then Nat rocks the second reading with some spicy soul food.  Lateef answers with a light and airy sound that swings.  Zawinul shines brilliantly on an effervescent performance and Jones increases the finger-popping during the theme’s reprise with a concise comment.

Lillie by Sam Jones is a beautiful ballad that’s a showcase for Nat as the primary soloist.  Yusef backs him on the flute during the opening and ending theme.  Nat begins with a gracefully beautiful first reading and Joe has an alluring moment before the close.  Yusef Lateef’s Mellow Bruno begins with a brisk theme stated by Cannonball who takes charge on the first solo with some spirited blowing.  Nat applies some energetic exuberance to the second statement.  Lateef provides plenty of infectious enthusiasm next.  Zawinul wraps up this stellar session with a short performance before Cannonball takes the song out.  Afterward, he lets the crowd know that it’s time to go – really!  Wally Heider is the man behind the dials on Jazz Workshop Revisited.  The soundstage is stunning and places you in the club among the crowd to enjoy the group at their best.

One of the things I always loved about Cannonball’s live performances is his rapport with an audience.  In my opinion, Jazz Workshop Revisited is a great live album that perfectly complements his other two West Coast releases.  If you’re a fan of his earlier Riverside records, I offer for your consideration on your next vinyl hunt, Jazz Workshop Revisited by The Cannonball Adderley Sextet.  It doesn’t disappoint on any level and is essential listening for any jazz lover!

~ The Cannonball Adderley Quintet at The Lighthouse (Riverside RLP 344/RS 9344), The Cannonball Adderley Quintet In San Francisco (Riverside RLP 12-311/RLP 1157) – Source: Discogs.com
~ © 2021 by Edward Thomas Carter

 

 

 

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Requisites

Open House~Jimmy Smith | By Eddie Carter

During his time at Blue Note, any album by Jimmy Smith was considered something special to have in one’s library. Jimmy knew his instrument and his contributions to help popularize the Hammond B3 organ in Hard-Bop and Soul-Jazz are a notable achievement. Open House (Blue Note BLP 4269/BST 84269) was recorded in 1960 but remained shelved until 1968. The gentlemen joining Jimmy for this informal session are Blue Mitchell (tracks: A1, B1) on trumpet, Jackie McLean (tracks: A1, B1, B2) on alto sax, Ike Quebec (tracks: A1, A2, B1) on tenor sax, Quentin Warren on guitar, and Donald Bailey on drums. This lineup also appears on the companion album, Plain Talk, and my copy used in this report is the 1970 US Stereo reissue.

Side One starts with a visit inside Jimmy’s Open House. The ensemble builds the melody gradually with Jimmy alternating sections with the front line. Blue opens the lead solo with a relaxing informality, then Jackie takes over in low gear on the second reading, building steadily to a satisfying groove. Ike comes in next for a delightful interpretation and Jimmy wails on the closing statement preceding the ending theme and fadeout. Old Folks by Willard Robison and Dedette Lee Hill is one of the prettiest jazz standards ever recorded. It was composed in 1938 and Quebec gets the honors as the only horn, backed by the trio. Ike’s deeply thoughtful stating the pensive theme and also gives a tender first statement. Jimmy closes with a reflective comment before Quebec returns to take the song out with a tender ending.

The sextet begins Side Two with a visit to Jimmy’s Sista Rebecca. After a brief collective theme by the ensemble, Ike moves into a steady medium tempo on the opening chorus with the trio comfortably backing him. Blue follows, sailing smoothly with a sassy groove that’s sure to get the listener to snap their fingers and tap their toes. Jackie’s alto flows nicely on the third reading and Jimmy adds the final touch with some down-home country cooking leading to the theme’s reprise and fadeout. A pretty introduction and melody by McLean begins the 1928 song, Embraceable You by George and Ira Gershwin. The altoist creates a romantic atmosphere with a dreamy lead solo, then Jimmy briefly conveys a loving sentiment into an elegant ending.

Open House was produced by Alfred Lion and engineered by Rudy Van Gelder.  The good news is the musicians are excellent, the music features great solos from the principals and solid support from Warren and Bailey. The issue I have with the record is the microphone placement for Jimmy’s organ has a tone of harshness as he’s playing on two of the tunes (tracks: A1, B1). I think that’s the reason the album wasn’t released after the session was recorded. That issue aside, if you’re a fan of Jimmy Smith, Soul-Jazz, or enjoy jazz organ, I invite you to audition Open House for a spot in your library. It’s one of the albums deserving greater recognition and with a stellar supporting cast of Blue Mitchell, Jackie McLean, and Ike Quebec is worth the price of admission!

~ Plain Talk (Blue Note BST 84296) – Source: Discogs.com
~ Embraceable You, Old Folks – Source: JazzStandards.com
© 2021 by Edward Thomas Carter

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The Quaratined Jazz Voyager

Still not all that anxious to mingle as safeguards are being lifted and society is comfortable in bigger groups. I am staying to my schedule of grocery, doctor visits, home.

The album I’ve chosen for this week is the 1970 Blue Note album Fancy Free by trumpeter Donald Byrd. It was recorded May 9, and June 6, 1969 at Van Gelder Studio in Englewood Cliffs, New Jersey. The album was produced by Duke Pearson.

This album has Byrd leading a large ensemble that prominently featured Frank Foster on tenor, Lew Tabackin and Jerry Dodgion on flute, along with several percussionists. This date has Duke Pearson playing electric piano and marks the first time Byrd utilized the instrument. On this project the trumpeter concentrated more on grooves and beats, accompanying them on his trumpet rather than being driven by them.

Track Listing | 39:10
  1. Fancy Free (Donald Byrd) ~ 12:06
  2. I Love the Girl (Donald Byrd) ~ 8:48
  3. The Uptowner (Mitch Farber) ~ 9:16
  4. Weasil (Charles Hendricks) ~ 9:00
#2, #4 recorded on May 9th, #1, #3 recorded on June 9th Personnel
  • Donald Byrd – trumpet
  • Julian Priester – trombone
  • Frank Foster – tenor and soprano saxophone
  • Jerry Dodgion (#1, 3) – flute
  • Lew Tabackin (#2, 4) – flute
  • Duke Pearson – electric piano
  • Jimmy Ponder – guitar
  • Roland Wilson – bass guitar
  • Joe Chambers (#2, 4), Leo Morris (#1, 3) – drums
  • Nat Bettis – percussion
  • John H. Robinson Jr. – percussion

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Requisites

Consequence, as defined in the Merriam-Webster Dictionary, is “something that happens as a result of a particular action or set of conditions”. In effect, that’s a perfect way to describe this morning’s choice from the library, Consequence (Blue Note Classic LT-994). Alto saxophonist Jackie McLean’s two previous releases, One Step Beyond and Destination Out expressed an abstract style toward progressive jazz and both were still selling well. I think this is why Alfred Lion didn’t release the album after it was recorded. However, this 1965 date pairs McLean with one of his favorite collaborators, Lee Morgan on trumpet.  The rhythm section is equally stellar, Harold Mabern on piano, Herbie Lewis on bass, and Billy Higgins on drums. My copy used in this report is the original 1979 Stereo LP.

Bluesanova, the first of two tunes by Morgan starts Side One with a dazzling theme led by the front line. Lee takes off first on an enthusiastic rhythmic flight succeeded by Jackie who wails with exciting freshness. Harold weaves a happy spell on the closing performance, then the front line makes one final comment each before the ensemble dissolving into nothingness. Consequence, also by McLean is a speed demon from the outset of the brisk opening chorus. The leader opens the soloing like a meteorite streaking across the sky. Morgan raises the temperature to the searing heat of a tropical summer on the second reading.  Mabern delivers a ferocious statement next, then Higgins has a rapid-fire exchange with Lee and Jackie into an abrupt climax.

My Old Flame by Sam Coslow and Arthur Johnston made its debut in the 1934 film, Belle of The Nineties. The lyrics of this beautiful ballad describe a woman recalling a former lover with reflective affection, and the group presents a passionately tender interpretation. Jackie takes the first step with a touching opening statement.  Harold and Lee turn in two beautifully expressed readings before Jackie appears again for a delicately elegant ending. A festive mood gets Side Two underway with McLean’s Tolypso, a danceable mid~tempo tune providing the ideal setting for a graciously inviting lead presentation by the altoist. Morgan adds some hot and spicy sauce to this festive occasion and Mabern sizzles with an effervescent spontaneity before the trio leads the partygoers into a fadeout.

Slumber is by Lee Morgan and during the melody, I thought I’d heard it before and was experiencing déjà vu. It turns out I did recognize it because it was recorded two years later on The Procrastinator (1978) as Soft Touch. After the ensemble’s unhurried melody, Lee opens the first solo expressing an enjoyable, relaxed mood. Jackie’s alto swings brightly next and Harold captivates on the closing reading. McLean’s Vernestune was originally recorded as The Three Minors in 1962 for an album that was shelved until its release in Japan, Jackie McLean Quintet (1977). It begins with a speedy main theme in unison. McLean provides plenty of fireworks on the first solo, then Morgan answers with a quick attack. Mabern blazes brightly on the closing presentation with a ferocious determination that doesn’t stop until the upbeat exit.

McLean and Morgan were a perfect match together and Alfred Lion utilized their talents whenever he could. Jackie performed on Lee’s LP’s: Leeway (1961), Cornbread (1967), Charisma (1969), The Sixth Sense (1970), Tom Cat (1980), and Infinity (1981). Lee returned the favor on Jackie’s album Jacknife (1975).  The sound of the original recording by Rudy Van Gelder is quite good without a bit of harshness from top to bottom. I did an A-B listening comparison between Consequence and Record Five of The Complete Blue Note 1964-66 Jackie McLean Sessions (1993), which duplicates the LP song sequence. The sound of the Mosaic album is exceptional with a significant improvement in the highs, midrange, and bass. If you like jazz or are a fan of Jackie McLean, Consequence is a solid straight-ahead session with an extraordinary supporting cast that you can’t listen to without tapping your feet. Together, they create thirty-six minutes of enjoyable listening worthy of occupying a spot in any Hard-Bop or Post-Bop library!

Charisma (Blue Note BST 84312), Destination Out (Blue Note BLP 4165/BST 84165), Infinity (Blue Note Classic LT-1091), Jacknife (The Blue Note Reissue Series BN-LA457-H2), Leeway (Blue Note BLP 4034/BST 84034), One Step Beyond (Blue Note BLP 4137/BST 84137), The Complete Blue Note 1964-66 Jackie McLean Sessions (Mosaic Records MQ6-150), Jackie McLean Quintet (Blue Note LNJ-80118), The Procrastinator (Blue Note Classic Jazz Series BN-LA582-J2), Tom Cat (Blue Note Classic LT 1058) – Source: Discogs.com

~ My Old Flame – Source: JazzStandards.com ~ Belle of The Nineties – Source: Wikipedia.org ~ Bluesanova – https://www.youtube.com/watch?v=pBEDJ1Ke5l0 ~ Consequence – https://www.youtube.com/watch?v=-YKe7O6KDxM © 2021 by Edward Thomas Carter

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