Requisites

I’ve Got A Woman ~ Jimmy McGriff | By Eddie Carter

This morning’s subject of discussion to begin March is a 1962 Soul-Jazz album by organist Jimmy McGriff who steps into the spotlight with his debut, I’ve Got A Woman (Sue Records LP 1012/LPST 1012). He would make quite an impression on the jazz world in the early sixties. McGriff was twenty-six when he recorded it, and the title tune became his first of ten hits over the next three years. Accompanying him is his working trio at the time, Morris Dow on guitar and Jackie Mills on drums. The LP used in this report is a friend’s copy of the 1962 Mono deep groove release.

Side One kicks off with a rapid reworking of I’ve Got A Woman by Ray Charles. Jimmy takes flight on the song’s only solo with a vigorously spirited performance that sizzles to the rhythm section’s supplement into an enthusiastic fadeout.

On The Street Where You Live by Fredrick Loewe and Alan Jay Lerner offers a subtle change of pace from the previous cooker. It was written in 1956 and featured in the Broadway musical, My Fair Lady that year, and also in the 1964 film version. McGriff steers clear of the pitfall of imitation on the melody and song’s only statement with a quaint and very charming reading preceding the climax. Satin Doll by Duke Ellington, Johnny Mercer, and Billy Strayhorn was written in 1953.  It’s one of Ellington’s most popular and recorded songs and is considered one of his best compositions in The Great American Songbook. Jimmy leads the threesome on the melody, then continues on a brief pretty solo. Morris delivers a short meaningful interlude with Jackie provides significant support into the ensemble’s climax.

Thelonious Monk is represented by the most famous of all his tunes, ‘Round Midnight was written in 1944 with Bernie Hanighen and Cootie Williams. It debuted on the album, Genius of Modern Music, Volume 1 (1952), and Miles Davis also recorded it under the title, Round About Midnight (1957). McGriff starts the song with a passionately majestic opening statement, then continues in that vein on a lead solo that’s the personification of elegance. Dow follows with a tender reading as affectionate as a loving embrace or kiss. McGriff returns for a final intimate thought culminating with a delightfully delicate finale. Jimmy’s original, All About My Girl expresses the highly elated and joyful feeling one has about that special woman in their life.  The organist opens with an exhilarating statement, and Morris gives with a scintillating reading before the upbeat reprise and coda.

Side Two starts with a medium tempo blues by McGriff, M.G. Blues possessing a sassy attitude that the leader states proficiently in the opening chorus and song’s only solo. It’s a fun tune that’s full of high spirits and enhanced by the rhythm section’s groovy groundwork. Jimmy’s That’s The Way I Feel establishes a sanctified rhythm on the melody that would be perfectly at home in that setting.  The trio begins the tune with an earthy, down-home flavor, then Jimmy swings hard on a short reading into the close. After Hours by Avery Parrish, Robert Bruce, and Buddy Feyne is the perfect blues for late-night listening. McGriff honors the 1946 jazz standard by reaching into the heart of the melody with a lengthy warm, affectionate performance that’s sure to bring tears to your eyes as the threesome disappears into nothingness.

Flying Home by Benny Goodman, Lionel Hampton, and Sid Robin was composed in 1939 during a cross-country flight while Hampton was a member of Goodman’s orchestra. Jimmy gives this ageless favorite a vigorously fast workout on the introduction, main theme, and opening statement.  Jackie makes a brief comment in his only reading before Jimmy catapults the closing chorus into a rousing finale. McGriff gives a nod to his friend Jimmy Smith with a rocking performance of The Sermon that Smith recorded with an all-star group four-years earlier and released in 1959. McGriff gets good and funky on the lead solo at a swifter speed than the original. Dow fuels the next reading with an energized performance that cooks into McGriff’s return to express a bit more joy before the ending theme trails off into a slow fade.

On the strength of three hits, I’ve Got A Woman, All About My Girl, and M.G. Blues, Jimmy recorded six more albums for Sue Records that ultimately produced seven more hits for the label, making a convincing argument for his reputation as a Soul-Jazz organist. The date was engineered by Irving Greenbaum, and produced by label co-owners, Henry “Juggy” Murray, Jr. and Bobby Robinson. The sound quality is not up to the engineering level by Roy DuNann, Jack Higgins, and Rudy Van Gelder. However, it’s good enough to crank up the volume because the music radiates an infectious enthusiasm and is fun to listen to. If your musical appetite is craving some soul-food for your ears, I offer for your consideration, I’ve Got A Woman by Jimmy McGriff. It’s an appetizing dish of finger-popping, toe-tapping jazz organ that’s worth seeking out on your next vinyl hunt!

~ Genius of Modern Music, Volume 1 (Blue Note BLP 5002), Round About Midnight (Columbia CL 949/CS 8649), The Sermon (Blue Note BLP 4011/BST 84011) – Source: Discogs.com
~ After Hours, Flying Home, ‘Round Midnight, Satin Doll – Source: JazzStandards.com
~ On The Street Where You Live – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

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Requisites

Flute Fever ~ The Jeremy Steig Quartet | By Eddie Carter

The word impossible as defined in the Merriam-Webster Dictionary is “something that’s incapable of being or of occurring”. In the annals of music, some amazing musicians and vocalists have met the challenge of their disabilities head-on and in doing so, changed the word impossible to I’m possible instead! Jeremy Steig was an artist, graphic designer, and musician who began playing the flute at twelve and jazz at fifteen. At age nineteen, a motorcycle accident paralyzed one side of his face that might have ended his music career. It didn’t, because he used the paralysis within his mouth to blow air into the flute with the help of a special blinder-like mouthpiece that was placed inside his cheek, allowing him to play.

This morning’s album from my library is titled Flute Fever (Columbia CL 2136/CS 8936) by The Jeremy Steig Quartet. The other members are Denny Zeitlin on piano, Ben Tucker on bass, and Ben Riley on drums. An example of Jeremy’s artistic talent appears on the front cover. He also penned four drawings of the group on the back cover, and my copy used in this report is the 1964 Stereo LP.

Side One opens with Oleo by Sonny Rollins, he wrote it in 1954 and premiered it on the album, Miles Davis With Sonny Rollins. Jeremy and Tucker start the song as a duet with a strong rhythmic beat that takes off by leaps and bounds when Denny and Riley come in for the collective theme. Jeremy infuses the opening reading with zestful virtuosity as he vocalizes along on a vigorously swinging interpretation. Denny revs up the short and sweet closing statement with a soaring, exhilarating lyricism ahead of the leader’s ending theme and abrupt climax.

Lover Man (Oh, Where Can You Be?) by Jimmy Davis, Roger Ramirez, and Jimmy Sherman was composed in 1941 for singer-songwriter Billie Holiday. The quartet’s rendition opens with Steig leading a delicately gentle melody. Zeitlin gives a very touching performance on the song’s only solo preceding the foursome’s haunting tenderness on the coda. Sadly, omitted from this version are two elegant performances by Steig and Tucker, and a well-deserved compliment from the engineer at the song’s end that appears on the CD-album.

What Is This Thing Called Love?The Cole Porter song from the 1930 Broadway musical, Wake Up and Dream takes the foursome back to uptempo.  After an effervescent melody, Jeremy begins with an exhilarating reading. Denny answers the flutist with an electrifying solo that excites intensely until the foursome’s coda. Miles Davis’ So What begins with Steig wailing on the opening, then continuing with a lengthy adrenaline rush of energy on the first interpretation. Zeitlin takes the next reading for a sizzling rollercoaster ride, then Tucker briskly walks on the closer.

The quartet takes on Thelonious Monk’sWell You Needn’t to begin Side Two.  Monk wrote the tune in 1944 and was going to name it after jazz vocalist, Charlie Beamon, who upon hearing that replied, “Well, you need not”.  The song starts at medium-fast speed for the quartet’s collective opening chorus.  Jeremy steps into the spotlight first, igniting his solo with the brightness of an incandescent sun.  Denny begins the final statement with no accompaniment for one chorus, before settling into a dazzling performance that’s a bebopper’s dream.

The beautiful 1932 song Willow Weep For Me by Ann Ronell is enchantingly rendered collectively with Jeremy’s flute conversing her lyrics daintily over a politely subdued supplement from the rhythm section. Denny contributes a brief interlude that’s beautifully constructed in between the opening and ending melodies by Jeremy culminating with a heart-warming finale. The LP ends with the album’s longest tune, Blue Seven by Sonny Rollins. The guys have fun right out of the gate with Steig and Tucker starting an easy-flowing duet that develops into a bluesy mid tempo opening chorus when Zeitlin and Riley join them.  Jeremy and Denny have the two lengthiest statements and both men provide two meticulous but playful performances that take no prisoners. Tucker lays down some new soil on the next reading with a laid-back lyricism shadowed closely by Riley who doesn’t solo but contributes some bouncy brushwork that’s infectiously light-hearted and complements the soloists very well.

Jeremy Steig is the son of cartoonist William Steig whose work appeared in the weekly magazine, The New Yorker. His father also created the character Shrek, and Jeremy played the role of The Pied Piper on flute for the film, Shrek Forever After (2010). His mother, Elizabeth Mead Steig is the head of the fine arts department at Lesley University in Cambridge, Massachusetts. He recorded with pianist Bill Evans on the album, What’s New (1969), a critical success for both musicians. Steig became even more successful in the jazz-rock fusion genre in the seventies, recording a total of twenty-two albums during his career.  Jeremy lived with his wife Asako in Japan and passed away from cancer at age seventy-three on April 13, 2016.

Pianist Denny Zeitlin, the lone survivor of the quartet, impressed producer John Hammond so much with his performance on Flute Fever, he also produced his debut album, Cathexis (1964). He recorded three more LP’s over the next three years, Carnival (1964), Shining Hour – Live at The Trident (1966), and Zeitgeist (1967). Denny recorded thirty-five albums over his five-decade career playing with some of the greatest names in jazz. He’s currently a clinical professor of psychiatry at the University of California in San Francisco, and also has a private practice there and in Marin County.

Bassist Ben Tucker has a very lengthy resume of the albums he appeared on and the musicians he played with. Ben worked with The Dave Bailey Quintet in 1961 and composed the song Comin’ Home Baby. It became a hit for Bailey on 2 Feet In The Gutter that year, and flutist Herbie Mann on Herbie Mann at The Village Gate (1962). Tucker owned two stations in his hometown of Savannah, Georgia, WSOK-AM and WLVH-FM. He passed away at age eighty-two in a traffic collision on June 4, 2013.

It might be easier to tell you who Ben Riley didn’t play with because his list of recordings is also enormous. He’s most known as the drummer in The Thelonious Monk Quartet.  He was also a member of The New York Quartet and in the group Sphere. He passed away on November 18, 2017, at the age of eighty-four.

The album was produced by John Hammond but does not offer any other information on the recording engineer. However, the sound quality is absolutely sensational with a superb soundstage that’s startingly clear from your speakers to your sweet spot. If you’re a fan of jazz flute, I submit for your consideration on your next vinyl hunt, Flute Fever by The Jeremy Steig Quartet. It’s one illness, you won’t mind catching and requires only one listen to make you feel much better!

~ Carnival (Columbia CL 2340/CS 9140); Cathexis (Columbia CL 2182/CS 8982); Herbie Mann at The Village Gate (Atlantic 1380/SD 1380); Miles Davis With Sonny Rollins (Prestige PRLP 187); Shining Hour – Live at The Trident (Columbia CL 2463/CS 9263); 2 Feet In The Gutter (Epic LA 16021/BA 17021); What’s New (Verve Records V6-8777); Zeitgeist (Columbia CL 2748/CS 9548) – Source: Discogs.com
~ Oleo, Well You Needn’t, What Is This Thing Called Love? – Source: JazzStandards.com

~ John Hammond, Ben Riley, Ann Ronell, Jeremy Steig, William Steig, Elizabeth Mead Steig, Ben Tucker, Denny Zeitlin – Source: Wikipedia.org

~ Oleo – https://www.youtube.com/watch?v=t1bX-9Q6Qsc
~ So What – https://www.youtube.com/watch?v=jsBruIp_qnI
© 2021 by Edward Thomas Carter

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Requisites

Soul Hits ~ Les McCann | By Eddie Carter

In 1972, I was in my senior year at Glenville High School and starting my first year at Cuyahoga Community College’s Metro Campus in Cleveland, Ohio. I studied radio and had an hour-long program titled Edward Carter and All That Jazz playing albums from my library for the students and faculty on school stations, WGHS and WCCC. My goals at that time were to work at Record Rendezvous once I graduated, get my broadcast license, and become a disc jockey at Cleveland’s then jazz station, WCUY 92.3 FM. Sadly, neither of these came to fruition, but I mention it because a few nights ago, I listened to the album that became the inspiration for this morning’s discussion, and it brought back some great memories. Soul Hits (Pacific Jazz PJ-78/ST-78) by pianist Les McCann hit the stores in 1964 and is his ninth record for Richard Bock and Roy Harte’s label. His bandmates are Joe Pass on guitar, Paul Chambers on bass, and Paul Humphrey on drums. My copy used in this report is the original Stereo album.

Jimmy Smith’s Soul-Jazz classic, Back At The Chicken Shack starts Side One at a lively tempo for the quartet’s melody. Joe kicks off the solos swinging easily, then Les gives the next performance a carefree groove ahead of the closing chorus and slow fade. The beat moves upward for Sack O’ Woe by Julian Cannonball Adderley. I first heard it on The Cannonball Adderley Quintet at The Lighthouse. The ensemble crackles with energy on the opening chorus, then Pass swings like mad on an invigorating solo. McCann takes over, fanning the flames with fire on the closing statement into the out-chorus and quick fadeout.  Groove Yard is by pianist Carl Perkins and was the song I used to end each radio show with. It’s a very pretty melody that’s a centerpiece for Joe on the melody, reprise, and the respectful grace he demonstrates on the song’s only solo. The trio’s interaction behind him is subtle and beautifully detailed.

Sermonette by Nat Adderley is an infectious tune with an attractive gospel-flavored rhythm by the foursome in unison. The solo order is Pass, Humphrey, and McCann, and each musician preaches an irresistible abbreviated lesson designed to have the listener clap their hands and tap their toes before a soft fade into nothingness. The first side concludes with a brisk workout of Sonnymoon For Two by Sonny Rollins. The quartet’s collective opening chorus is a sheer delight for the ears. Joe is first in the spotlight with an emotionally charged interpretation, then Les performs impressively on a brief closing statement with Chambers and Humphrey providing firm support into the coda.

Milt Jackson’s 1954 standard, Bags’ Groove (pronounced Bag’s Groove here) opens Side Two with McCann opening the song with a spirited statement of optimistic joy.  Joe cruises into the melody at a comfortable speed, then the foursome disappears into darkness on a short ending. Shiny Silk Stockings aka Shiny Stockings was written by Frank Foster in 1955 and the quartet treats this young lady to a lovely night on the town with Joe delivering a relaxing theme treatment.  Les takes over for a delightfully, dazzling performance preceding the foursome’s reprise and affectionate finale.

The beat moves to mid tempo for Horace Silver’s 1959 standard, Sister Sadie that premiered on Blowin’ The Blues Away that year.  The quartet’s rendition is pure fun from first note to last with a danceable beat that compels you to move your feet.  Joe is up first and engages the ear with a delightful performance of vivacious licks that’s a pleasure to listen to.  Les gets down to business on the second solo with some home cooking that builds nicely into the closing chorus by Paul who executes a flawless interpretation convincingly before the quartet takes the tune out.

The final two tracks on the album are Neal Hefti’s 1957 timeless standard Li’l Darlin’ and Nat Adderley’s contemporary classic Work Song.  On Li’l Darlin’, McCann is the featured soloist, and he delivers a deeply thoughtful presentation of warm beauty with Pass providing the perfect punctuation culminating into an intimate ending.  Work Song was written in 1960 and is one of Nat Adderley’s finest works as a composer.  It’s also the title tune for what many feel is his best studio album.  Oscar Brown, Jr. added lyrics to the instrumental and recorded it on his LP, Sin & Soul, making the song a favorite jazz standard among musicians and vocalists around the world.  Pass leads the foursome through a very strong opening chorus raising the temperature to a cooking tempo on Joe’s lead solo.  Paul’s bass is impeccable on the second reading and Les wraps up the album with a robust exuberance that you can move to.

Richard Bock produced and engineered Soul Hits and the sound is stunning with the incredible definition of each instrument that surrounds your perfect place to listen with sweet sounds throughout the treble, midrange, and low end.  The quartet communicates a wonderful sense of delight and sheer pleasure in the music they’re making.  Though out of print since the 1981 US reissue by Liberty Records, Soul Hits by Les McCann is an album of great music that’ll delight the fan discovering his music for the first time, the seasoned collector who’s a fan of piano jazz, or if you already own the record as I do, it’ll bring back some great memories!

~ Back at The Chicken Shack (Blue Note BLP 4117/BST 84117); Blowin’ The Blues Away (Blue Note BLP 4017/BST 84017); Sin & Soul (Columbia CL 1577/CS 8377); Soul Hits (Liberty Records LN-10079); The Cannonball Adderley Quintet at The Lighthouse (Riverside RLP 344/RLP 9344); Work Song (Riverside RLP 12-318/RLP-1167) – Source: Discogs.com

~ Shiny Stockings, Li’l Darlin’ – Source: JazzStandards.com

~ Bags’ Groove, Work Song – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

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Daily Dose Of Jazz…

Annette Neuffer was born on January 15, 1966 in Munich, Germany. She didn’t start playing the trumpet until he was 18. Three years later she began studying music at the Graz University of Music , majoring in jazz trumpet . Another two yearsand she moved to the Stuttgart University of Music and Performing Arts, where she completed her diploma under Claus Stötter in 1996.

As a trumpeter she has worked with the Sarah Morrow Allstars in Paris, Benny Golson, Hal Singer, Mike Carr, Benny Waters, Jimmy Woode, and Horst Jankowski. In 1994 Annette was invited by the Sunday Night Orchestra as a singer for a project with Al Porcino. In 1995 she brought Porcino into his own big band, of which she was a singer for eleven years.

Since 2001 she has released four albums with her own quintet. She is an active composer and lyricist. She performed with the Bobby Burgess Big Band Explosion, Alexander’s Swingtime Band and Pete York. Vocalist, trumpeter, composer and lyricist Annette Neuffer continues to compose, perform and record.

CONVERSATIONS

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Requisites

Dear Old Stockholm ~ John Coltrane | By Eddie Carter

Fans of modern Jazz know that during his lifetime, John William Coltrane redefined the sound of jazz on the tenor sax, making some of his most important contributions while recording for Impulse Records from 1961 to his passing in 1967. It’s with one of the lesser-known releases in his discography that I begin this first report of 2021. Dear Old Stockholm (Impulse GRD-120) is a 1993 CD-album featuring Coltrane playing to the beat of a different drummer, Roy Haynes. Roy replaced the quartet’s regular drummer, Elvin Jones on the two sessions comprising this delightful album, April 29, 1963 (tracks: 1 and 2), and May 26, 1965 (tracks: 3 to 5).  McCoy Tyner on piano, and Jimmy Garrison on bass complete the quartet.

Dear Old Stockholm is a traditional Swedish folk song that Miles Davis liked enough to record several times. John adapts this tune as easily as if it were created for jazz with a very impressive opening statement, weaving gracefully in unison with Jimmy’s bass and Roy’s assertive timekeeping.  McCoy contributes some stirring solo work on the finale before the foursome takes the song out.

After The Rain is one of the most beautiful compositions Coltrane ever wrote and opens with a passionate gracefulness by the saxophonist on the melody. He continues with an intimate reading conveying a refined elegance leading to a hauntingly beautiful climax. The quartet returns to uptempo on the saxophonist’s One Down, One Up. John charges into the lead solo of this fire-breathing cooker with an incandescent performance relentlessly. McCoy continues the aggressive beat with a dynamic high-octane reading that’ll leave the listener’s ears sizzling. The tenor man gives a few final exhilarating statements before the song’s closing moments.  After The Crescent opens with an introduction to the children’s song, Ring Around The Rosie. The similarity ends there because Trane and his bandmates take us on an exuberant joyride with two ferocious readings from Tyner and Coltrane. The walloping tones from Garrison’s bass and the brilliant brushwork by Haynes give both soloists a propulsive lift that’s exciting preceding the ensemble’s closing chorus.

The closer is a mid~tempo tune by John titled Dear Lord. This song is a perfect vehicle for a passionate performance by John Coltrane who shows his lyrical side on the first solo with charming simplicity. McCoy makes an indelible impression on the closing statement with a delicately tender interpretation, ahead of John’s return for the emotionally touching coda.  The album was originally recorded by Rudy Van Gelder and digitally remastered by Robert Stoughton.

In my opinion, he did a fantastic job because the sound quality is superb with a stunning soundstage that brings the musicians into your listening room for your enjoyment. To some fans, this CD-album may not have the infinitely explosive spirit of the classic Coltrane quartet with Elvin Jones that so many are acquainted with.  However, in my opinion, Dear Old Stockholm is an enticing invitation to explore and enjoy a fascinating album showing John Coltrane’s versatility as one of the legendary masters of jazz! Do your ears a favor and check it out, it’s sure to become a welcome addition to your jazz collection!

Dear Old Stockholm – Source: Wikipedia.org

© 2020 by Edward Thomas Carter

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