Requisites

Something In Common ~ Sam Jones | By Eddie Carter

Up next from the library is a 1978 album by bassist Sam Jones titled Something In Common (Muse Records MR5149). If you’re unfamiliar with him, he’s recorded as a leader for East Wind, Interplay, Riverside, SteepleChase, and Xanadu. For five years, he was an essential member of the quintet and sextet of Cannonball Adderley. He’s also appeared on some of the most important jazz LP’s ever recorded and worked with Nat Adderley, Gene Ammons, Donald Byrd, Al Cohn, Arnett Cobb, Lou Donaldson, Kenny Dorham, Red Garland, Dizzy Gillespie, Johnny Hodges, Clifford Jordan, Duke Jordan, Yusef Lateef, Thelonious Monk, Sonny Stitt, and Bobby Timmons among others. For this date, Jones assembled an excellent quintet, Blue Mitchell on trumpet; Slide Hampton on trombone; Bob Berg on tenor sax; Cedar Walton on piano and Billy Higgins on drums. My copy used in this report is the original US Stereo release.

The briskly paced Slide Hampton tune, Every Man Is A King kicks off Side One with Sam presenting a gentle solo introduction that evolves into a swinging affair on the melody. The solo order is Hampton, Mitchell, Berg, Walton, Higgins, and the front line’s strength is in evidence on three exhilarating readings. Cedar kicks it up a notch when his turn comes, followed by Billy who makes a brief closing comment. For All We Know is a jazz and pop standard that was written in 1934 by Fred Coots and Sam Lewis. The ensemble begins with a very pretty melody reminiscent of the cool jazz sound Miles Davis, Gil Evans, and Gerry Mulligan achieved on the LP, Birth of The Cool. Sam shapes the opening statement thoughtfully into an elegant interpretation. The beat moves upward for a brief reading by Blue into the ensemble’s soothing coda.

Mitchell’s Blue Silver ends the first side with the group taking the main theme at a speedy velocity. Blue takes flight first with a joyously, happy lead solo. Bob, Slide, and Cedar follow with three brief energetic interpretations, then Higgins takes the final bow exchanging short riffs with all four soloists preceding the out-chorus. Something In Common is the first of two tunes from Cedar’s pen and starts Side Two swinging from the melody with the sextet showing off their chemistry. Walton opens with an aggressive solo, then Berg shines on a marvelous statement that’sa knockout. Mitchell responds to the saxophonist with exuberant energy next. Hampton follows, making an authoritative entrance into the fourth presentation with passionate emotion. Higgins delivers the final performance with aggressive incisiveness, providing the perfect counterpoint to each artist.

Bolivia, one of Cedar’s most famous compositions made its debut on the 1975 album, Eastern Rebellion with Jones, Higgins, and George Coleman joining the pianist. Blue is featured during the robust melody and end theme but does not solo here. Slide jumps out the box first with enthusiastic authority, then Cedar gives a fiery display on a jubilant statement. Bob makes a bold statement of robust wailing on the next reading. Sam completes the solos with luminous intensity ahead of the ensemble’s reprise and fadeout. Jones’ Seven Minds is the longest track on the album, affording solo opportunities for everyone except Mitchell and Higgins. Sam opens auspiciously with an extended solo vamp, developing into the sextet’s expedient theme. Walton opens with a fiercely, exciting first statement. Hampton demonstrates the tools of a master craftsman with a cooking reading next. Berg follows, producing incandescent heat, then Jones culminates the set with a delightful improvisation.

This release was recorded by one of the best engineers in the business, Chuck Irwin whose list of credits includes many albums across several genres. The LP also has a fine tonal balance of treble, midrange, and bass with superb sound quality as though we’re in the studio with the musicians, eavesdropping. If you’re a fan of Hard-Bop, or Post-Bop, or are looking for an album showcasing superb bass, I offer for your consideration and also recommend Something In Common by Sam Jones. It’s a great set of excellent jazz that should become an essential addition to any library!

~ Birth of The Cool (Capitol Records T-762); Eastern Rebellion (Timeless SJP 101) – Source: Discogs.com

As you listen to this version of the album, be mindful that three songs, Shoulders, One for Amos, and You Are the Sunshine of My Life, have been added to the compact disc release of this album that are not included on the original release. For what reason I am not aware.

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Daily Dose Of Jazz…

Linda Ciofalo was born on August 28, 1972 in New York City, New York. She began singing from a very early age, first appearing in public at the age of nine. The music at this time in her life was traditional church music but later, after deciding upon a career as a singer, she studied at the Juilliard School of Music.

Encouraged by educator Howlett Smith to explore jazz, Linda studied at jazz workshops, learning from singers such as Sheila Jordan and Mark Murphy. She also performed with Murphy, as well as pianist Barry Harris.

In the mid-80s her professional career was launched when she was chosen from three hundred applicants to sing with a big band. Although her chosen field is jazz, Ciofalo has also sung with reggae and rock bands, and has performed in the musical theatre. Her performances take her from small clubs to festivals, and is mainly centred on the East Coast states.

Vocalist Linda Ciofalo, who is also an accomplished songwriter, sings a wide-ranging repertoire, incorporating sultry ballads and raunchy blues songs.

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The Quarantined Jazz Voyager

The Quarantined Jazz Voyager is continuing to practice social distancing and as my personal quarantine continues, I’m selecting one of my favorite albums, Speak Like A Child by Herbie Hancock.

This is the sixth album by pianist Herbie Hancock, recorded and released by Blue Note Records in 1968. This session features Hancock’s arrangements for an unusual front line of alto flute, bass trombone and flugelhorn.

The pianist wanted to represent here a childlike, but not childish, philosophy. He felt this music didn’t reflect the social turmoil of the late 1960s in America, that is riots and a problematic economy but a picture of a more upbeat, brighter future, He wanted to go back and rediscover certain childhood qualities that are lost to adulthood. There is a purity, a spontaneity that children have and it is then they are at their best. Hence this album aims to translate as think and feel in terms of hope, and the possibilities of making our future less impure.

The cover photograph was taken by David Bythewood, an acquaintance of Hancock. The photo depicts Hancock in silhouette kissing his wife-to-be, Gigi Meixner.

Track Listing | 37:05

All compositions by Herbie Hancock, except First Trip, composed by Ron Carter.

Side A

1. Riot ~ 4:40
2. Speak Like a Child ~ 7:50
3. First Trip ~ 6:01

1. Toys ~ 5:52
2. Goodbye to Childhood ~ 7:06
3. The Sorcerer ~ 5:36

• Herbie Hancock — piano
• Ron Carter — bass
• Mickey Roker — drums
• Jerry Dodgion — alto flute (not on #3)
• Thad Jones — flugelhorn (not on #3)
• Peter Phillips — bass trombone (not on #3)

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Daily Dose Of Jazz…

Marlon Jordan was born August 21, 1970 in New Orleans, Louisiana, one of six performers of a prominent family of New Orleans musicians. He is the son of saxophonist Edward “Kidd” Jordan and classical pianist Edvidge Jordan, and his brother Kent is a flutist, his sister Rachel is a violinist, and sister Stephanie is a jazz singer.

Starting on playing trumpet in the fourth grade, he graduated from the famed New Orleans Center for the Creative Arts. A major influence was Wynton Marsalis and Terence Blanchard who he knew when he was a child. Marlon recorded as a sideman with his brother Kent in 1987 and Dennis González in 1988.

In 1988 at age 18 he recorded his debut album as a leader, For You Only, with Branford Marsalis, brother Kent, and Elton Heron. Taking his quintet on the road, with Wynton Marsalis, Miles Davis and George Benson, he was billed as one of the headlining act in a series of JVC Jazz Festival dates. They would go on to play some of the country’s top jazz clubs, as well as in concerts.

He has recorded with his immediate family, Stephanie, Edward, Rachel, Kent, along with uncle Alvin Batiste, cousin Jonathan Bloom, uncle Maynard Chatters, and Chatters’ son, Mark.

In 2005, Marlon and sister Stephanie toured Bucharest, Germany, Lithuania and Ukraine as Jazz Ambassadors on a European Tour as part of the Higher Ground Relief effort sponsored by the U.S. Department of State, and Jazz at Lincoln Center to thank the people of Europe for their support of New Orleans and the Gulf region following Hurricane Katrina. Trumpeter, composer and bandleader Marlon Jordan continues to perform, record, and tour.

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Daily Dose Of Jazz…

Jeanie Barton was born on August 18, 1978 in London, England. She spent years as a principal in the National Youth Music Theatre, then studied jazz harmony at Morley College in London as well as improvisation with BBC Jazz award winner Anita Wardell. She also cut her teeth as a singer for bebop pioneer Laurie Morgan’s trio, fronting their famous North London weekly gig, Downstairs at The King’s Head in Crouch End for over a decade.

She went on to support Georgie Fame, as well as backing vocals for Luddy Samms of The Drifters. Barton has performed for Samuel L Jackson,  Shirley Bassey, and Pierce Brosnan. She has sung at The Jazz Cafe, The 606 Club, Ronnie Scott’s and The National Theatre, as well as a Parisian cruise on the Seine and the Cannes Film Festival.

Vocalist Jeanie Barton was voted Best Newcomer at the Marlborough Jazz Festival 2015, and in addition writes for the London Jazz News and Nottingham Live, formally the Nottingham Post.

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