The Quarantined Jazz Voyager

Social distancing and masking are still forefront in the pursuit of health and this time has given me a steady flow of opportunities to sit and listen to albums I played songs from during my tenure at WCLK. This is one of those times that I am rediscovering music that has fed my soul for years. This week I turn to a 1965 album whose title is so appropriate for these times, Lucky Strikes by tenor and soprano saxophonist Lucky Thompson.

Recorded on September 15, 1964 at the Van Gelder Studios in Englewood Cliffs, New Jersey, it was released on the Prestige record label the following year. The album was produced by Don Schlitten, engineered by Rudy Van Gelder, and the liner notes were written by David A. Himmelstein.

This was his sixth studio recording and of the eight compositions on this date, six are originals by Thompson, and two songs selected by the saxophonist are In A Sentimental Mood by Duke Ellington/Irving Mills, and the Bronisław Kaper composition Invitation.

Track Listing | 39:25

  1. In a Sentimental Mood ~ 5:49
  2. Fly With the Wind ~ 4:01
  3. Mid-Nite Oil ~ 5:08
  4. Reminiscent ~ 4:04
  5. Mumba Neua ~ 4:47
  6. I Forgot to Remember ~ 6:36
  7. Prey-Loot ~ 4:05
  8. Invitation ~ 4:55
Personnel 
  • Lucky Thompson – tenor, soprano saxophone
  • Hank Jones – piano
  • Richard Davis – bass
  • Connie Kay – drums

CALIFORNIA JAZZ FOUNDATION

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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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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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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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