Requisites
Blue Hour ~ Stanley Turrentine With The Three Sounds | By Eddie Carter
In the hands of Stanley Turrentine, the tenor saxophone was an instrument of soulful creativity and immense power. From his 1960 debut, Look Out to his biggest hit, Sugar in 1971, Turrentine’s credentials were second to none as a giant of Hard-Bop, Modal, and Soul-Jazz. This morning’s choice from the library joins him with Gene Harris on piano; Andrew Simpkins on bass and Bill Dowdy on drums who were collectively known as The Three Sounds. Blue Hour (BLP 4057/BST 84057) was released in 1961 and is the second record where The Three Sounds backed a saxophonist, the other is 1959’s LD + 3 with Lou Donaldson. My copy used in this report is the 2015 Music Matters 33 1/3 Stereo audiophile reissue (MMBST-84057). I Want A Little Girl, written by Murray Mencher and Billy Moll in 1930 starts Side One. This infrequently heard ballad opens with an angelic introduction illustrating Harris’ attentiveness to the lyric and melody. Stanley brings a beautifully expressive sound and delicate sincerity to the opening chorus, then adds a graceful sensitivity to his solo. Gene’s interlude is brief but lovely and the closing by the quartet is captivating.
Gee Baby, Ain’t I Good To You was written in 1929 by Don Redman and Andy Razaf. Its first recording was by The King Cole Trio in 1943 and a year later, it became a hit for Nat King Cole and a jazz standard with numerous recordings to its credit. The Three Sounds provide a respectful treatment with a pensive introduction, allowing Turrentine to deliver the evocative theme with warm and affectionate feelings. The saxophonist also weaves a reverent spell of subtle lyricism on the opening solo. Harris is up next for the closer with a thoughtfully tender interpretation that speaks to the soul. The only original on the album ends the first side, Gene Harris’ Blue Riff takes the tempo to a medium beat during the first statement moving with a finger-popping, toe-tapping groove. The threesome states the melody, then Stanley takes over for a jubilant solo of vivacious spontaneity. Gene takes the next turn for a bouncy, bright presentation with a youthful spirit. Stanley returns for a few final compulsive choruses before the pianist takes the threesome into the fade-out.
Since I Fell For You by Buddy Johnson opens Side Two. He composed both the music and lyrics, introducing it in 1945 with his sister Ella on vocals. The Three Sounds start the song with a stylishly soft, slow-paced introduction as natural as if it was written for this quartet exclusively. This segues into a soothing opening melody by Turrentine who solos twice, putting his stamp on both interpretations displaying tranquil restraint on the first and closing statements. Harris contributes a tender reading that’s lovingly stated, anchored by Simpkins and Dowdy’s voluptuous foundation. Willow Weep For Me, written by Ann Ronell in 1932 begins with the exquisitely mellow tone of Stanley’s tenor sax having an intimate conversation with the rhythm section on the opening chorus. Gene’s first solo is elegant and laid-back, revealing its true beauty with gorgeous verses preceding an alluring climax. Stanley’s closing performance is soulful and bluesy like a leisurely walk on a warm summer evening with the trio proving the ideal companion to take the tune into a luscious coda.
Gene Harris, who was known for his gospel jazz style formed The Three Sounds in 1956 with Andy Simpkins and Bill Dowdy. The group became a hit with the public and when Blue Hour was recorded, the trio was amid a four-year run (1958-1962) recording a total of twelve albums for Blue Note including four in 1960 alone. The other three are Feelin’ Good, It Just Got To Be, and Moods. I believe that’s why Alfred Lion didn’t release the additional eight songs of this session on another album. The Three Sounds’ were together until 1970 when Harris left to embark on a successful solo career. Stanley Turrentine was a veteran of the Soul-Jazz style since the fifties and he recorded a total of seventeen LP’s for the label as a leader, plus several as a sideman with Donald Byrd, Kenny Burrell, Jimmy McGriff, Ike Quebec, Horace Parlan, Duke Pearson, Shirley Scott (who he was married to at the time), Jimmy Smith, and Art Taylor.
In his liner notes, noted author, jazz historian and journalist Ira Gitler offers one definition of the Blue Hour as that early morning time “when you reach across the pillow where your Baby used to lay” and find him (or her) not there. The sound quality is stunning, the remastering of Rudy Van Gelder’s original tapes by RTI Record Technology Incorporated is superb and the gatefold photos of each musician during the session compliments the music marvelously. This record is nearly thirty-nine minutes of enjoyable jazz by Stanley Turrentine and The Three Sounds that adds weight to any jazz library. It’s well worth auditioning for a spot in your library and an LP that’s perfect to enjoy any time of the day, evening, or early morning during the Blue Hour.
~ Feelin’ Good (Blue Note BLP 4072/BST 84072); Gee Baby, Ain’t I Good To You (Capitol 169); It Just Got To Be (Blue Note BLP 4120/BST 84120); LD + 3 (Blue Note BLP 4012/BST 84012); Look Out (Blue Note BLP 4039/BST 84039); Moods (Blue Note BLP 4044/BST 84044); Sugar (CTI Records CTI 6005) – Source: Discogs.com
~ I Want A Little Girl, Gee Baby, Ain’t I Good To You, Since I Fell For You, Willow Weep For Me – Source: Wikipedia.org
© 2020 by Edward Thomas Carter
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Daily Dose Of Jazz…
Lorenzo Paesani was born on August 9, 1977 in Teramo, Abruzzo, Italy and studied piano since childhood. He graduated Summa Cum Laude at 21 from the Niccolò Piccinni Conservatory of Bari. He studied improvisational music all over Europe and the U.S. with John Taylor, Fabrizio Puglisi, Franco D’Andrea, Ralph Alessi, Tim Berne, Marc Ducret, among others.
He collaborated with Norma Winston, Massimo Manzi, Claudio Fasoli, Sound Sketches Orchestra, Sidma Jazz Orchestra, and the Turin Philharmonic Orchestra among others.
Since 2014 he has performed at a variety of jazz festivals across Europe, recorded with different ensembles but all projects have a particular blend of jazz, original compositions and open improvisation, spanning from modern jazz to contemporary music. In his role as a composer, he collaborates with Kairostudio, a cultural association that produces documentaries and movies about the safeguard of the environment. Pianist and bandleader Lorenzo Paesani continues to perform, record and explore the realm of music
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The Quarantined Jazz Voyager
The Quarantined Jazz Voyager is pulling off the shelf for your listening pleasure comes from Black Orchid. It’s an album by jazz group The Three Sounds featuring performances recorded on March 7, 1962 (1-4, 6) and March 8, 1962 (5, 7-8) at Rudy Van Gelder Studios in Englewood Cliffs, New Jersey. It was released on the Blue Note label in 1964. The session was produced by Alfred Lion.
A 1998 reissue on compact disc added seven additional songs and as you listen to the below recording you will hear all fifteen compositions.
Track Listing | 42:37
- Black Orchid (Cal Tjader) – Erroneously credited to (Neal Hefti) – 5:25
- A Foggy Day (Gershwin, Gershwin) – 6:46
- For All We Know (Coots, Lewis) – 5:31
- Oh Well, Oh Well – 3:45
- At Last (Gordon, Warren) – 5:37
- Secret Love (Sammy Fain, Paul Francis Webster) – 5:44
- Don’t Go, Don’t Go – 5:08
- Saucer Eyes (Randy Weston) – 4:41
Personnel
- Gene Harris – piano
- Andrew Simpkins – bass
- Bill Dowdy – drums
Remain diligent my fellow voyagers in staying healthy, continue practicing social distancing, and don’t be so anxious to rush back to the new normal. It has been said that music soothes the savage beast, so listen to great music. I share that music to give you a little insight into the choices this voyager has made over the years during this sabbatical from jet setting investigations of jazz around the globe.
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Requisites
I begin this morning’s discussion with a 1961 album by The Barry Harris Trio titled Preminado (Riverside RLP 354/RLP 9354). I’ve been a fan of the pianist since hearing Barry Harris at The Jazz Workshop (1960), Listen To Barry Harris (1961), Live In Tokyo (1976), The Sidewinder (1964), and Two Trumpets (1957). My copy used in this report is the 1974 Riverside Original Recording Series Japanese Stereo reissue (Milestone SMJ-6047). Harris is joined on this date by Joe Benjamin on bass and Elvin Jones on drums.
My Heart Stood Still by Richard Rodgers and Lorenz Hart first appeared in the 1927 Broadway musical, A Connecticut Yankee. It opens the album with the trio showing tender emotions on the sentimentally nostalgic theme. Barry steps up first for a straightforward performance of poise and glamour that’s laid out beautifully. Joe strolls into the next interpretation at a relaxed tempo, then Elvin exchanges a few carefree thoughts on the song’s final reading with Barry.
The title tune is a Harris original with a march-like introduction by the pianist before the ensemble kicks up the tempo into a vibrantly spirited theme. Barry starts the soloing with a nimble statement that’s worth the price of admission. Elvin shows why he was a master timekeeper and a significant part of The John Coltrane Quartet next with infectious enthusiasm. I Should Care by Alex Stordahl, Paul Weston, and Sammy Cahn was composed in 1944 and featured in the 1945 musical, Thrill of a Romance.
Barry weaves the warmth and feeling of the lyrics into an alluring performance that’s a moment of perfect bliss. Side One ends with There’s No One But You by Austen Croom-Johnson and Redd Evans. This 1946 song was rumored to be written for the film-noir drama, Gilda, but did not appear in the film. The trio moves in a medium groove for the melody’s amorous atmosphere. Harris and Benjamin are the featured soloists dispensing affectionate love and desire on two readings.
The pianist’s One Down is an easy flowing blues that begins with an airy introduction and opening chorus. Barry turns in a charming performance on the lead solo, and Joe adds a brief comment that’s cheerfully carefree. It’s The Talk of The Town is a 1933 pop standard by Jerry Livingston, Allen J. Neiburg, and Marty Symes. The lyrics recount the breakup of a couple before their wedding and the ensuing gossip spread throughout the town in the aftermath. On the song’s only solo, Barry examines the subtlest nuances of this ballad with a quiet lament and tender lyricism that’s poignantly beautiful. Play, Carol, Play is named after Barry’s young daughter and brings the trio back to an uptempo beat. This tune opens with an effervescent introduction and melody, then Barry moves briskly on the first reading. Jones blends beautifully with Harris and Benjamin on the closing statement sharing an exuberant exchange ahead of the reprise and climax.
The finale is a popular jazz standard from The Cole Porter Songbook, What Is This Thing Called Love? It premiered in the 1929 London and Broadway musicals, Wake Up and Dream, and was also featured in the 1946 Porter biographical film, Night and Day. The trio starts the enthusiastic opening chorus briskly. Harris takes off first on this musical speedway with unbounded drive and vitality. Benjamin’s bass comes out breathing fire next, then Jones brings the solos to a rapid resolution in a brief exchange with the pianist.
Preminado was originally recorded by Ray Fowler with the mastering done by Jack Matthews. The sound quality by Victor Musical Industries is a demonstration class with a breathtaking soundstage. Every so often the jazz public is treated to a musician who’s in some way, very special. Pianist Barry Harris is just such a musician as he illustrates on this date. If you’re a fan of piano jazz, I invite you to check out Preminado by The Barry Harris Trio. It’s an album of music that’s skillfully crafted, superb musicianship that’s exemplary in every sense and one you shouldn’t miss on your next vinyl hunt!
~ Barry Harris at The Jazz Workshop (Riverside RLP 326/RLP 1177); Listen To Barry Harris (Riverside RLP 392/RLP 9392); Live In Tokyo (Xanadu 130); The Sidewinder (Blue Note BLP 4157/BST 84157); Two Trumpets (Prestige PRLP 7062) – Source: Discogs.com
~ I Should Care, It’s The Talk of The Town, My Heart Stood Still, There’s No One But You, What Is This Thing Called Love? – Source: Wikipedia.org
© 2020 by Edward Thomas Carter
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Daily Dose Of Jazz…
Fay Victor was born on July 26, 1965 in Brooklyn, New York City. After spending her early childhood years in New York, Zambia, and Trinidad & Tobago, her mother settled in Long Island, New York where she spent her teenage years. After her mother’s sudden death, she re-discovered music and singing, and after a three-month stint at a club in Fukui City, Japan with pianist Bertha Hope, she decided to start a career as a jazz singer.
In 1996, Fay settled in Amsterdam, The Netherlands and performed and toured through the country, as well as Spain, Germany, the UK, Sweden, Russia, and India. While living in the Netherlands, Victor branched out into blues, songwriting, and forms of improvising outside the standard jazz canon.
Returning to the States in 2003, Victor has made her home in New York City. She has worked with the likes of Randy Weston, Roswell Rudd, Anthony Braxton, Misha Mengelberg, Vijay Iyer, Tyshawn Sorey, Wadada Leo Smith, Nicole Mitchell, Marc Ribot, Martine Syms, Daniel Carter, William Parker, Darius Jones, Wolter Wierbos, Ab Baars, Joe Morris, Sam Newsome, and Reggie Nicholson.
Victor has coined the term “freesong” to describe her vocal approach. In her jazz repertoire, he has specialized in the work of Thelonious Monk, Ornette Coleman, and Herbie Nichols.
Vocalist, composer, lyricist, and educator Fay Victor, who originally sang in the traditional jazz field, has expanded her repertoire to include blues, opera, free improvising, avant-garde, modern classical music, and occasional acting, continues to perform and record.
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