Requisites

The First Set: Live At Minton’s ~ Eddie “Lockjaw” Davis & Johnny Griffin | By Eddie Carter 

Up next from the library this morning is the second of four live sets at Minton’s Playhouse by The Eddie “Lockjaw” Davis~Johnny Griffin Quintet.  The album released in 1964 is titled The First Set (Prestige PR 7309/PRST 7309) and the incredible trio of Junior Mance on piano; Larry Gales on bass and Ben Riley on drums anchors both saxophonists.  The other three records are The Tenor Scene released in 1961, later reissued as The Breakfast Show in 1965.  Live! The Midnight Show came out in 1964 and The Late Show also hit the stores in 1965.  The club was founded by retired tenor saxophonist Henry Minton in 1938, becoming famous for its many jam sessions and is credited for the birth of Bebop during the forties.  It’s also known for its role in the development of modern jazz during the fifties and if you’re new to this album and both saxophonists, Eddie is featured on the left speaker and Johnny is on the right.  My copy used in this report is the 1971 Stereo reissue (PRT 7309).

The quintet starts the beat by giving the audience some heat on the album opener, Billie’s Bounce by Charlie Parker, a jazz classic written in 1945 that was named for the secretary of Dizzy’s agent, and trumpet player Billy Shaw.  The tenor men lead the rhythm section on a sizzling theme treatment.  Eddie ignites the first solo with a melodic explosion of jet-propelled verses.  Junior steps in next glowing radiantly on a luminous statement, then Johnny produces a roaring fire on the closing solo.  Both horns exchange a few more short riffs into the closing chorus.

The first of two Thelonious Monk originals, Epistrophy was written in 1941 with drummer Kenny Clarke and ends Side One.  The quintet begins the quirky theme at midtempo, then Davis kicks off the solos with a very clever interpretation illustrating his firm-tone and remarkable phrasing.  Junior makes a terrific impression on the second statement.  Griff gives the third reading a bluesy beat that’s skillfully done and Larry delivers the final solo with an artistic maturity beyond his twenty-five years.

Side Two starts with the second Monk tune, Well, You Needn’t, composed in 1944 and dedicated to jazz vocalist Charlie Beamon, who when told the tune was going to be named after him replied: “Well, you need not”.  The ensemble’s opening chorus has a contagious beat that’s suitable for dancing that Monk liked to do on stage during several of his songs. Eddie strolls along at a leisurely pace on the first solo, delivering a charmingly, cheerful performance.  Junior gets the crowd to clap along on his superbly articulate solo next, then Johnny offers a resourcefully peppy reading. Larry concludes with a vivacious presentation with Ben providing perfect time and firm beat in support.

The finale is I’ll Remember April by Gene De Paul, Patricia Johnston, and Don Raye.  This song made its debut in the 1942 Abbott and Costello comedy, Ride ‘Em Cowboy and is one of the most popular jazz standards.  The quintet’s rendition is a fun tune to play and it swings from the start of the introduction.  Eddie wails with an assertive tone and limitless effervescence on the lead solo.  Junior cooks on the next reading with an electrifying statement, then Griff charges into the next solo with a robust workout of startling speed.  Ben gives an equally high-octane performance during the closing chorus into the climax ending a lively jazz set.

The First Set like the other three albums together documents a single night’s work by The Eddie “Lockjaw” Davis-Johnny Griffin Quintet that was recorded by Rudy Van Gelder.  Here, the legendary engineer makes magic with a beautifully recorded club performance with an excellent soundstage placing the listener in the audience for a “you are there” feeling.  The album clocks in just under thirty-five minutes, but the artistry, music, and musicianship make The First Set-Recorded Live at Minton’s an attractive acquisition that merits a serious audition and consideration for any jazz lover’s library!

~ Live! The Midnight Show (Prestige PR 7330/PRST 7330); The Breakfast Show (PR 7407/PRST 7407); The Tenor Scene (PRLP 7191); The Late Show (PR 7357/PRST 7357) – Source: Discogs.com ~ Billie’s Bounce, I’ll Remember April, Well, You Needn’t – Source: JazzStandards.com ~ Henry Minton, Minton’s Playhouse – Source: Wikipedia.org © 2020 by Edward Thomas Carter Quick Synopsis

The First Set is a live album by saxophonists Eddie “Lockjaw” Davis and Johnny Griffin recorded at Minton’s Playhouse on January 6, 1961 and released on the Prestige label in 1964. The album was the second release from the recordings at Minton’s after The Tenor Scene. The night was produced by Esmond Edwards.

Track List

  1. Billie’s Bounce (Charlie Parker) – 8:43
  2. Epistrophy (Thelonious Monk, Kenny Clarke) – 7:17
  3. Well, You Needn’t (Monk) – 8:58
  4. I’ll Remember April (Gene de Paul, Patricia Johnston, Don Raye) – 8:05
The Players
  • Eddie “Lockjaw” Davis, Johnny Griffin – tenor saxophone
  • Junior Mance – piano
  • Larry Gales – bass
  • Ben Riley – drums

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The Quarantined Jazz Voyager

The Quarantined Jazz Voyager wants you to be safe and encourages your diligence in staying healthy by not rushing to get back to normal. As we continue to practice social distancing by staying home, we can listen to great music and share that music with each other weekly to give you a little insight into the music choices during this sabbatical from jet setting investigations of jazz around the globe.

The world will be back and so will I. Until that outcome comes to fruition, this week’s entry is the 1964 album by vibraphonist Johnny Lytle titled The Village Caller, released on the Riverside Record label.

The quartet that filled out his quintet comprised of Milton Harris on organ, bassist Bob Cranshaw, drummer William “Peppy” Hinnant, and percussionist Willie Rodriguez recorded eight tunes of which four were contributed by Lytle. The compositions recorded are: The Village Caller (Lytle), On Green Dolphin Street, Can’t Help Lovin’ Dat Man, Pedro Strodder (Lytle), Kevin Devin (Lytle), You Don’t Know What Love Is, Unhappy, Happy Soul (Lytle), and Solitude.

CALIFORNIA JAZZ FOUNDATION

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Requisites

Hawkins! Eldridge! Hodges! Alive! At The Village Gate! ~ Coleman Hawkins, Roy Eldridge, Johnny Hodges | By Eddie Carter

I was in the mood to hear a live recording and came across a title I’ve not heard in a while, but always enjoyed.  Hawkins! Eldridge! Hodges! Alive! At The Village Gate! (Verve Records V6-8504) is one of the smoothest live performances ever recorded with a stellar lineup that needs no introduction. Roy Eldridge on trumpet; Johnny Hodges on alto sax; Coleman Hawkins on tenor sax; Tommy Flanagan on piano; Major Holley on bass and Edward Locke on drums. This album was recorded on August 15, 1962, at the Greenwich Village nightclub. My copy used in this report is the 1962 US Stereo release and Satin Doll starts the set. The 1953 jazz standard was written by Duke Ellington, Billy Strayhorn and Johnny Mercer who added the words after the instrumental became a hit. For those unaware, the song is named after a famous black stripper whose stage name was the inspiration for the song. Satin Doll is one of Ellington’s most recorded compositions and has been featured on jazz, pop, and even soul albums.

The rhythm section opens the song gracefully, then Roy’s muted trumpet leads the sextet through the opening chorus thoroughly relaxed with a lightly applied beat. His muted opening statement is executed with sensitive delicacy, then Hodges opens with a sinuously graceful performance next. Tommy shows off his chops next with a gorgeous interpretation that’s relaxed and gracious.  Hawk counters with flowing statements of beauty that develop nicely on the third performance and Major makes his presence felt with engaging ideas on the closer preceding the sextet’s strong culmination.

Perdido by Juan Tizol brings Side One to a close with a lively theme treatment that turns up the heat by the sextet and gets your foot tapping along from the outset. It was written in 1941, became a hit for Duke Ellington a year later on Victor, and lyrics were added by Ervin Drake and Hans Lengsfelder in 1944.  Hodges opens a dialogue of scintillating energy that drives the trio confidently through the opening statement. Eldridge takes over with a fiery conversation that’s hot enough to glow on the next reading.

Hawk steps up next for a sizzling performance as warm as the summer sun, then Flanagan shines brightly on the next reading with brisk intensity. Holley gets a few final words of utter enthusiasm preceding the ensemble’s rambunctious reprise, finale and appreciative applause by the audience. The Rabbit In Jazz is a slow-tempo blues by Hodges and Hawkins occupying the entire second side that gives the front line plenty of space to play. The sextet begins the song with a solemn opening chorus segueing into Johnny who glides sensuously through a contemplative performance.

Roy follows, enhancing the flavor of this succulent dish with a solo as sweet as sugar.  Coleman offers a textbook example of his virtuosity within the boundaries of the blues on the third statement. Tommy takes the final solo with a short and sweet interpretation emphasizing the expressive beauty of his playing into a fitting finale of a live set capturing three giants at their pinnacle.

The men behind the dials are three elite engineers of the recording industry, Frank Greenwald who worked on many Verve jazz albums. Tom Hidley who’s worked on records by Frank Zappa and The Mothers of Invention.  Val Valentin whose work appears on many classic MGM and Verve LPs of the sixties, plus other labels including Bethlehem, Contemporary, Pablo, and Tampa.

The result of their combined efforts is an excellent recording with a spacious soundstage that’s very impressive and perfectly matched to the brilliant musicianship exhibited by the sextet throughout the album. At just shy of forty-minutes, Hawkins! Eldridge! Hodges! Alive! At The Village Gate is a gem of a jazz album that I’m sure will make an invaluable addition to any jazz library! An additional live album by Coleman Hawkins hit the stores in 1963 titled Hawkins! Alive! At The Village Gate also featuring Tommy Flanagan, Major Holley, and Edward Locke!

~ Hawkins! Alive! At The Village Gate (Verve Records V-8509/V6-8509); Perdido (Victor 27880); Frank Greenwald, Tom Hidley, Val Valentin – Source: Discogs.com ~ Perdido – Source: jazzstandards.com ~ Satin Doll – Source: Wikipedia.org ~ © 2020 by Edward Thomas Carter

Hawkins! Eldridge! Hodges! Alive! At the Village Gate! is a live album by saxophonists Coleman Hawkins and Johnny Hodges with trumpeter Roy Eldridge recorded at the Village Gate in 1962 and released on the Verve label.

Track List | 39:01
  1. Satin Doll (Duke Ellington, Billy Strayhorn, Johnny Mercer) – 11:16
  2. Perdido (Juan Tizol) – 11:36
  3. The Rabbit in Jazz (Coleman Hawkins, Johnny Hodges) – 16:49
The Players
  • Coleman Hawkins ~ tenor saxophone
  • Roy Eldridge ~ trumpet
  • Johnny Hodges ~ alto saxophone
  • Tommy Flanagan ~ piano
  • Major Holley ~ bass
  • Eddie Locke ~ drums

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Daily Dose Of Jazz…

Diego Maroto was born on May 9, 1968 in Mexico City, Mexico. He started taking private lessons in 1985 from Larry Roussell and Alfonso Martinez. He enrolled in the Universidad Iberoamericana in 1987 and the following year joined a jazz workshop at Escuela Superior de Musica where he learned improvisation, arrangement, and composition. He went on to continue private lesson and became an active member of the IAJE, participating in several workshops.

2004 saw Diego putting together a sextet and recording his first album as a leader titled Mundo Paralelo and later in the year shared the stage with Antonio Sanchez at Dizzy’s Club at Lincoln Center. The following year he formed a trio with Gabriel Puentes on drums and Jorge Luri Molina on upright bass and spent the next couple of years performing at festivals, clubs, and paying tribute to Mexican jazz musicians.

As an educator, Maroto has been giving lessons, clinics, and seminars at including Tonica in Guadalajara, Jal alongside saxophonist Donny McCaslin. He is currently in post-production on his soon to be released album Diego Maroto Band Live at the Black Horse.

DOUBLE IMPACT FITNESS

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Requisites

Hear Ye!!!! Hear Ye!!!! ~ The Red Mitchell-Harold Land Quintet | By Eddie Carter

The simplest thing I can say about this morning’s choice from the library is it’s a first-rate West Coast Hard-Bop session. But rather than teasing you with a morsel or taste, I’ll attempt to deliver a full-balanced meal to nourish your jazz appetite. Hear Ye!!!! Hear Ye!!!! (Atlantic SD 1376) brings together two elite masters of this style; double-bassist, composer, lyricist, poet, Red Mitchell and composer, tenor saxophonist, Harold Land as co-leaders of a quintet consisting of Carmell Jones on trumpet; Frank Strazzeri on piano; and Leon Betties on drums.  My copy used in this report is the original 1962 US Mono release (1376).

Side One starts with Triplin’ Awhile, a midtempo tune by Land allowing everyone solo opportunities. It opens as a two-instrument dialogue between Harold and Red on the introduction before the ensemble adds to the conversation for the theme.  Land delivers the lead statement with a festive appeal perfectly suitable for dancing. The front line fills the gaps with a brief thematic interlude preceding Carmell’s response, a cheerfully bright performance with a good summer groove. Frank makes an intriguing examination next setting up a comfortable beat for Red who captures the soulful mood to perfection.  Leon takes the final spot on a feisty solo moving fluently towards a short coda.

The tempo moves upward for Rosie’s Spirit, the first of two Mitchell creations opening with the quintet’s vivaciously spirited theme.  Carmell leads off with an effervescent improvisation succeeded by Red’s sprightly statement of swift verses, then Harold seizes the opportunity for a short scorcher. Frank takes a furious flight on the next reading and Leon dives into a lively finale with a bristling passion ascending to a joyful climax.

The title tune, also by Mitchell, concludes the first side on a laid-back note beginning with an introduction by Harold and Red segueing into the quintet’s midtempo melody. Land opens with a bluesy, straightforward solo that’s neat and tidy, then Jones says plenty on the next performance with pinpoint accuracy. Strazzeri exhibits his strong chops on a frisky reading, and Mitchell makes a superb case as one of the best bassists in jazz on the closer.

Somara is from Carmell’s pen, opening Side Two on a brief introduction by the trio blossoming into a collective medium-fast melody.  Land launches the lead solo with high-octane velocity, then Mitchell tackles the second turn radiantly. Carmell cooks with ravenous energy next, followed by Strazzeri who’s on fire on the fourth reading.  Betties exchanges a concise reading of incandescent heat with both horns into the closing chorus.

Catacomb is the second Land original, slowing the speed to a moderate pace from the previous burner as evidenced on the ensemble’s melody.  Harold excels on the opening solo, blowing free and easy against the trio’s sterling groundwork. Red is confidently assertive and direct on the second reading with impeccable intonation, then Carmell melds each note of the third interpretation into a powerful work of inspired creativity. Frank follows, painting an aural picture of melodic emotion with rich and mellow hues.  Leon culminates with a brief presentation that holds together into the subtle climax.

The album wraps up with Frank Strazerri’s original, Pari Passu that fastens your seat belt and you take off on a thrill ride right from the start of a torrid introduction and theme in unison. Frank kicks off the first solo voraciously, then Carmell emits intense heat from his horn. Land comes in next with the ascending movement and violent fury of a twister or tornado.  Red and Leon both have brief words with the front line for a few radiant riffs before the ensemble’s closing chorus rings the curtain down on this very entertaining album.

The sound on Hear Ye!!!! Hear Ye!!!! is outstanding, capturing the vibrant tone and transparency of each instrument vividly, emerging from your speakers with breathtaking clarity. The quintet only remained together a short time, but the meeting that collectively brought them to record this album is one of the most enjoyable jazz LP’s I’ve heard and would enthusiastically recommend anyone audition.

The All Music review by noted author and historian, Scott Yanow states that “this is a fine effort from a group that deserved greater recognition at the time”. I couldn’t agree with him more and will only add that the verification of his statement can be found within the cover of Hear Ye!!!! Hear Ye!!!! by The Red Mitchell-Harold Land Quintet!

~ Excerpt by Scott Yanow – Source: AllMusic.com ~ I’m Old Fashioned, The Way I Feel – Source: Discogs.com

>~ © 2020 by Edward Thomas Carter

Hear Ye!!!! Hear Ye!!!! is an album by the Red Mitchell-Harold Land Quintet recorded in San Francisco, California on October 14th (tracks 1, 3 & 4) and December 13th (tracks 2, 5 & 6), 1961 and released on the Atlantic label in 1962.

Tracks | 52:41

  1. Triplin’ Awhile (Harold Land) – 7:46
  2. Rosie’s Spirit (Red Mitchell) – 5:26
  3. Hear Ye! (Mitchell) – 6:54
  4. Somara (Carmell Jones) – 6:42
  5. Catacomb (Land) – 8:21
  6. Pari Passu (Frank Strazzeri) – 4:55
The Players
  • Red Mitchell – bass
  • Harold Land – tenor saxophone
  • Carmell Jones – trumpet
  • Frank Strazzeri – piano
  • Leon Petties – drums

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