Requisites

Miles Davis In Europe ~ Miles Davis | By Eddie Carter

This morning’s choice from the library is a 1964 live album by Miles Davis that’s an overlooked gem, in my opinion, Miles Davis In Europe (Columbia CL 2183/CS 8983). It documents the trumpeter in concert at the 1963 Antibes International Jazz Festival during a successful European tour that was also broadcast over RTF (Radiodiffusion-Télévision Française). He’s joined on stage by George Coleman on tenor sax, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums who also appeared on Seven Steps To Heaven recorded a few months earlier. My copy used in this report is the original US Mono album and Side One opens with the introduction of the quintet by Master of Ceremonies, André Francis.

Autumn Leaves by Joseph Kosma, Johnny Mercer, and Jacques Prévert opens with Miles’ muted introduction and excellent support by the rhythm section. They begin with a deceptively easy melody; he then picks up the pace on the opening chorus with a carefree swing. George steps up next with a buoyant statement that cooks, then Herbie takes flight for a scintillating interpretation. Ron walks with assurance briefly on the closer ahead of the group’s ending theme. The leader’s Milestones is off to the races on the quintet’s speedy melody. Davis soars into the stratosphere on the lead solo. Coleman shows he’s equally adept for speed on the second statement, and Hancock closes with a highly energetic performance leading to the group’s vigorous ending.

The quintet turns up the temperature a little more on Joshua by Victor Feldman with a torrid opening chorus. Miles takes off like a speedy gazelle on the first statement. George comes in next, dispensing a fierce intensity on the second reading, then Herbie goes on a high-spirited flight in the closer preceding the ensemble’s lively summation. Side Two gets underway with Miles returning to the mute for Cole Porter’s All of You. It first appeared in the Broadway musical, Silk Stockings (1955). He and the trio begin the song with an attractive melody. Davis starts the solos with a charmingly articulate interpretation. Coleman offers some cheerful notes in the second performance. Hancock takes the final solo swinging easily into the trumpeter’s closing chorus and soft climax.

Walkin’ by Richard Carpenter opens with a quick melody and a furious opening statement by Miles. Tony takes the stage next and sparkles on an energetic interpretation. George swings with a fiery flavor in the third reading and Herbie closes the solos with a thoroughly entertaining performance leading to the theme’s reprise and finish. Miles Davis In Europe was produced by Teo Macero and RTF was behind the dials for the broadcast recording. The sound quality is superb, placing the listener in the festival audience to enjoy the quintet’s set. Everyone is in top form throughout, this album captures the quintet’s fire during their performance, and the music cooks from start to finish. If you’re in the mood for some swinging live jazz, I offer for your consideration, Miles Davis In Europe. It’s worthy of wider recognition and makes a perfect complement to the group’s other live albums, My Funny Valentine and ‘Four’ & More!

~ ‘Four’ & More (Columbia CL 2453/CS 9253), My Funny Valentine (Columbia CL 2306/CS 9106), Seven Steps To Heaven (Columbia CL 2051/CS 8851) – Source: Discogs.com ~ Autumn Leaves – Source: JazzStandards.com ~ All of You – Source: Wikipedia.org © 2022 by Edward Thomas Carter

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Daily Dose Of Jazz…

Michel Delville was born on April 30, 1969 in Liège, Belgium. He has been performing and composing alternative music since the mid-1980s. His bands include The Wrong Object, douBt, Machine Mass feat. Dave Liebman, Alex Maguire’s Electric 6tet, the New Texture Pan Tonal Fellowship, the Ed Mann Project, and the Moving Tones.

He has worked with Elton Dean, Annie Whitehead, Harry Beckett, Richard Sinclair, Ed Mann, Dagmar Krause, Benoît Moerlen, Karen Mantler, Geoff Leigh, Markus Stauss, Guy Segers, Klaus Blasquiz, Gilad Atzmon, and Dirk Wachtelear.

In 2009 Delville created the trio douBt with Alex Maguire and Tony Bianco and released their debut album, Never Pet a Burning Dog. The following year he was invited to join and coordinate Comicoperando, a tribute to the music of Robert Wyatt. The band toured Europe and Canada as a sextet in 2011, then went on to  collaborate with the international collective 48 Cameras and Robin Rimbaud. In 2018 he was voted one of the three best electric guitarists of the year by Arnaldo DeSouteiro’s Annual Jazz Station Poll.

He has authored, edited or co-edited numerous books about comparative poetics and interdisciplinary studies and has been awarded several times for his writings.  The rank of Officer of the Order of Leopold I was bestowed upon him in 2009, and he received the 2009 Prix Wernaers for research and dissemination of knowledge. He has recorded more than three dozen albums across the groups he has founded or been a part of.

Guitarist, writer and critic Michel Delville, who composes and performs in the jazz fusion and progressive rock genres, teaches literature at the University of Liège, and continues to compose and perform.

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Requisites

Wanted To Do One Together ~ Ben Webster and Sweets Edison | By Eddie Carter

Benjamin Francis Webster and Harry “Sweets” Edison were two of jazz’s most beloved and respected musicians. Ben was affectionately known as “The Brute” for his sometimes coarse, harsh, or rough sound by his Ellington bandmates. However, he could also express deep feelings on any ballad or standard with a quiet intensity that always amazed fans listening to one of his albums or during his live performances. Webster was also an essential part of Duke Ellington’s orchestra before having a successful solo career. Johnny Hodges was a huge influence on Ben, and he credits the altoist with teaching him how to play the saxophone.

Harry was one of the most sought-after musicians in jazz and became a proficient trumpet accompanist and soloist for nearly twenty-five years. “Sweets” performed with Count Basie, toured with the Jazz at The Philharmonic All-Stars, and led his own orchestra. He also played in bands led by Gil Fuller, Dizzy Gillespie, Quincy Jones, Buddy Rich, and Shorty Rogers. Lester Young gave him the nickname “Sweets”, and his artistic proficiency and willingness to develop as jazz itself progressed made him one of the best trumpet players ever. Edison also possessed a bright, buoyant sound that could also be soft-spoken and serene.

In 1962, the two friends wanted to record an album together. The joyous result of their collaboration is Wanted To Do One Together (Columbia CL 1891/CS 8691), this morning’s choice from the library. The front line is fortified by Hank Jones on piano, George Duvivier on bass, and Clarence Johnson on drums. My copy used in this report is the original Mono album. Ben Webster’s Better Go opens Side One with a bouncy, upbeat melody by both horns. “Sweets” is off and running with an exhilarating muted performance. George delivers an enjoyable statement next, then Ben provides some enchantingly melodic lines on the third reading. Hank injects some vigorous passion into the finale ahead of the reprise and close.

Up next is George and Ira Gershwin’s evergreen from the musical, Funny Face (1928), How Long Has This Been Going On? Ben makes this song his own as if the duo wrote it, especially for him. After a soft duet introduction by the pianist and tenor man, the ensemble states the theme. As the sole horn and featured soloist, Ben tells an intimate story of delicacy and sensitivity in a tender performance. The trio backs him with elegant groundwork into a dainty climax. Harry Edison’s Kitty strolls casually into view on the ensemble’s mischievous theme. “Sweets” switches to a mute for the easy-going opening statement, then Ben displays a cheerfully playful personality next. Hank follows with a leisurely walk on the closing chorus that sends the kitty sauntering out of the room as the first side ends.

My Romance by Richard Rodgers and Lorenz Hart begins Side Two with a lovely introduction by Hank. Ben, George, and Clarence join him for a respectfully polite and nostalgic melody of sensual beauty. The saxophonist continues with a pretty performance that’s so deeply moving, even if you’re intimately acquainted with this song, you’ll feel as if you’re hearing it for the very first time. The beat moves back to mid tempo on the Ben Webster original, Did You Call Her Today? After the rhythm section’s introduction, both horns deliver the melody with a relaxed attitude. “Sweets” opens with a cheerfully pleasant performance. Ben keeps the beat alive with flawless execution in the next reading. Hank swings smoothly on the finale preceding the quintet’s perky ending.

Embraceable You by George and Ira Gershwin is one of their prettiest songs from the Broadway musical, Girl Crazy (1930). “Sweets” is the only horn featured here and his opening chorus with Hank is an oasis of calm and serenity. George and Clarence come in to complete the melody, then “Sweets” beautifully renders the song’s only solo into a tenderhearted ending. The album was produced by Mike Berniker and recorded at Columbia 30^th Street Studio. The sound quality is absolutely amazing with a stunning soundstage surrounding your sweet spot. If you’re a fan of Ben Webster or Harry “Sweets” Edison, I offer for your consideration Wanted To Do One Together. It’s an album with tight musicianship and marvelous music that belongs in every jazz library and pays big dividends with every listen!

~ My Romance, Embraceable You – Source: JazzStandards.com ~ How Long Has This Been Going On? – Source: Wikipedia.org © 2022 by Edward Thomas Carter

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Daily Dose Of Jazz…

Esther Miller was born on April 12, 1968 and raised in the east coastal motor city of Port Elizabeth, South Africa. It is here that she sang in church and school choirs and raided the family Nat King Cole albums for early inspiration.

Leaving Port Elizabeth to study medicine at Cape Town University, she soon gave in to the lure of jazz. Esther started her professional career as the vocalist with Gerry Spencer’s Jazz Cyclone, one of the leading bands on the South African jazz circuit at the time.

During this early apprenticeship Miller worked with some excellent players on both sides of the pond, Herb Ellis, Alan Skidmore,  Johnny Fourie, Errol and Alvin Dyers, Winston Mankunku and Ezra Ngkukana, to name but a few.

Esther has honed her technique with classical singing lessons and delved into jazz history, gleaning inspiration from Sarah Vaughan, Billie Holiday, Shirley Horn, Blossom Dearie, Frank Sinatra, and of course, Nat King Cole.

She performed in South African jazz festivals, concert halls  and jazz clubs before settling in the United Kingdom for 10 years. There she performed and recorded with some excellent musicians including Steve Melling, Steve Waterman, Zoltan Dekany, Karen Sharp, among others.

Possessing an outstanding technique and sensitive interpretation, with a half dozen albums under her belt, vocalist Esther Miller has moved to Denmark where she continues to add to her repertoire as she explores the Scandinavian jazz scene.

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Requisites

Full House ~ Wes Montgomery | By Eddie Carter

In a game of poker, a full house is a five-card hand containing three-of-a-kind and a pair of another. The three-of-a-kind in this morning’s discussion to begin April is a brilliant trio that at the time was Miles Davis’ rhythm section but also a spectacular group in their own right. The pair is a little giant who was diminutive only in height but possessed a robust sound and an extraordinary guitarist who’d taken the jazz world by storm with his playing. Full House (Riverside RLP 434/RS 9434) is a 1962 live date by Wes Montgomery performed with a world-class quartet, Johnny Griffin on tenor sax, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. My copy used in this report is the 1974 Victor Musical Industries Japanese Stereo reissue (Riverside SMJ-6069).

The opener, Full House is an original by Wes welcoming everyone inside the club with the quintet’s festive theme. The leader cooks on the first solo with an infectiously happy groove. Johnny comes in next, swinging strongly on the second reading. We’re then treated to a rollicking finale by Wynton punctuated by the rhythm section’s groundwork leading to the climax. I’ve Grown Accustomed To Her Face by Frederick Loewe and Alan Jay Lerner made its debut in the musical, My Fair Lady (1956). This is a trio tune with Wes supported only by Paul and Jimmy. The guitarist approaches the melody and song’s only solo with an intimate beauty and graceful lyricism that’s gorgeously rendered culminating in a tender finale receiving appreciative applause from the crowd.

Blue ‘N’ Boogie by Dizzy Gillespie and Frank Paparelli begins with the ensemble’s vigorous melody. Montgomery begins in good spirits with a lively opening statement, then Kelly shows a masterful hand on the keys. Griffin thrills the listener with utter delight on the next interpretation. Cobb shares an energetic exchange with Wes, Johnny, and Wynton before taking the spotlight himself leading to the ensemble’s reprise and exit. Cariba, the guitarist’s second tune opens Side Two with a positively tropical flavor in the quintet’s theme. Paul lays down some bluesy bass lines on the first solo. Wynton opens the second presentation with exceptionally smooth execution. Griff delivers a good deal of happy excitement in the third reading. Wes adds a pleasant punctuation with a light-hearted, friendly finale.

Come Rain or Come Shine by Harold Arlen and Johnny Mercer premiered in the Broadway musical, St. Louis Woman (1946). Montgomery and the trio pick up the tempo on the introduction and theme. Johnny kicks things off with some exciting blowing. Wes propels the second solo with tasteful playing, and Wynton closes with an eminently enjoyable interpretation before the song’s conclusion. This delightful set concludes with an uptempo cooker by Wes, S.O.S. The ensemble soars collectively in the opening chorus, then Griffin delivers the first solo with a fiery passion. Wes follows with an equally assertive second statement. Wynton adds a bit of effervescent energy to the third reading. Jimmy provides the final fireworks in a conversation with Griff and Wes into the group’s finish.

A few months after the quintet recorded Full House, Tsubo closed, later reopening as The Jabberwock, offering its patrons folk music. It remained open a few more years until the doors closed for good in 1967. This album was produced by Orrin Keepnews and Wally Heider was the recording engineer. Victor Musical Industries has done a fantastic job with the mastering because this reissue sounds incredible with an outstanding soundstage placing the listener in the club with exceptional clarity. If you’re a fan of Wes Montgomery, Johnny Griffin, or Wynton Kelly, I offer for your consideration on your next vinyl expedition, Full House. The music throughout is excellent and there’s superb playing from all hands, making this a perfect title for any jazz library!

~ Come Rain or Come Shine – Source: JazzStandards.com

~ Blue ‘N’ Boogie, I’ve Grown Accustomed To Her Face, The Jabberwock – Source: Wikipedia.org © 2022 by Edward Thomas Carter

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