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 1965 album Angel Eyes by tenor saxophonist Gene Ammons.

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Requisites

Waltz For Debby ~ Bill Evans Trio | By Eddie Carter

By 1961, pianist Bill Evans not only had one of the best trios in the United States but one of the best groups in jazz with bassist Scott LaFaro who would replace Sam Jones and Paul Motion on drums.  Together, this threesome made four incredible albums for Riverside Records. Portrait in Jazz in 1960, Explorations in 1961, and two albums recorded in performance at The Village Vanguard, on June 25, 1961.  Sunday at The Village Vanguard released the same year and the subject of this morning’s discussion, Waltz For Debby (RLP 399/RS 9399) in 1962. These LP’s became a standard of excellence among other piano-bass-drums records that followed.  My copy used in this report is the 2000 Mono audiophile reissue (DIW-9011 – RLP-399) by DIW Records. This is the third Japanese pressing of Waltz For Debby, but the first Mono reissue manufactured by Victor Entertainment, Inc. The previous two albums released in 1975 and 1984 were both Stereo reissues by Victor Musical Industries, Inc.

The opening track, My Foolish Heart was written in 1949 by Ned Washington and Victor Young!  This timeless evergreen became a well-recorded jazz standard and was featured on the silver screen in the film dramatization, the same year.  The introduction is a suspenseful and ingeniously planned affair where the trio interacts beautifully so that no one voice dominates or falls subordinate to the others.  Bill is ideally suited to this serene standard as the song’s only soloist because he could create compelling improvisations in any context. Here, he crafts a stately delicate reading that unfolds its beauty gently.  Scott and Paul complement the pianist with a subtle expression of intimacy that’s beautiful and as lush as any I’ve heard.

Bill’s contribution to the album is the title tune, named for the pianist’s niece and one of two selections heard here that made their first appearance on the 1956 album, New Jazz Conceptions.  The introduction is a mild two instrument dialogue by Bill and Scott evolving into a midtempo theme treatment when Paul joins the conversation. Evans’ opening solo is a gorgeous tour-de-force surging with vibrant activity, then LaFaro gives a vigorous exercise on the closer delivered with the utmost assurance that’s impossible not to tap your foot to.

Detour Ahead by bassist and violinist, John Frigo, guitarist Herb Ellis, and pianist Lou Carter is a song that hasn’t lost its charm by being done too often.  This jazz standard was written in 1947 after all three musicians left The Tommy Dorsey Orchestra to form a trio, The Soft Winds. Bill masterfully negotiates the opening statement affectionately with skillfully paced cues of rich intonation.  Scott closes with an expressive reading that’s inexpressibly poignant and heartfelt into an elegant coda.

My Romance by Richard Rodgers and Lorenz Hart was written in 1935 for the Broadway musical, Jumbo and also returns in the 1962 musical film, Billy Rose’s Jumbo.  This evergreen opens with a marvelous solo introduction by Evans, then LaFaro and Motion shine joining him for a midtempo theme treatment that doesn’t fail to please the audience and listener.  Bill’s opening solo is on point, emphasizing his remarkable technique and facility for complex melodic invention. Scott moves with supreme confidence and a lively rhythmic drive on the final reading propelled by the nostalgic reinforcement of the piano and drums until the blissful ending.

The opening notes of Some Other Time by Leonard Bernstein, Betty Comden, and Adolph Green recall Evans’ and Paul Chambers’ introduction to Miles Davis’ Flamenco Sketches two years earlier on Kind of Blue.  This tune was written in 1944 and featured in the musical, On The Town. The pianist originally planned to record it on his 1958 album, Everybody Digs Bill Evans, but used another Bernstein, Comden, Green composition instead, Lucky To Be Me that’s also heard in the film.  The trio presents the melody with a collective warm glow, and Bill delivers a gentle tenderness and tranquility on the song’s only solo that’s bewitching. Scott and Paul add a lovingly subtle supplement that’s just the right touch culminating with a tender climax and warm response from the crowd.

The album closes, paying homage to Evans’ old boss Miles Davis with a scintillating rendition of Milestones, first performed by the trumpeter as the title tune of his 1958 album.  This jazz standard opens with a medium-fast introduction by the trio that shifts into uptempo for the melody.  Evans is extremely entertaining on the first solo, working efficiently to the sparkling groundwork of his bandmates.  The highlight though is the fireworks LaFaro creates on a marvelously energetic closer that’s a perfect finish to a phenomenal set and album.

Scott LaFaro was a gifted hard-bop bassist who was highly engaging.  He also added a dimension of artistic delicacy, maturity and meticulousness to the four albums he appeared as a member of The Bill Evans Trio.  LaFaro was considered one of the best musicians in jazz and was slated to do greater things in the years ahead. Sadly, that wouldn’t happen because just ten days after this recording was made, he would die in an automobile accident devastating Evans personally and the loss to jazz itself was incalculable.  The six selections on this LP were splendidly recorded originally by Dave Jones and the remastering by JVC Mastering Center for this reissue is extraordinary. Like its companion, Sunday at The Village Vanguard, Waltz For Debby is an evocative, riveting live performance that’s captured at its apex and a musical treat by The Bill Evans Trio that I strongly recommend auditioning and occupying a spot in your jazz library!

~ Everybody Digs Bill Evans (Riverside RLP 12-291/RLP 1129); Explorations (RLP 351/RLP 9351); Kind of Blue (Columbia CL 1355/CS 8163); Milestones (Columbia CL 1193/CS 9428); New Jazz Conceptions (RLP 12-223); Portrait in Jazz (RLP 12-315/RLP 1162); Sunday at The Village Vanguard (RLP-376/RLP 9376); Waltz For Debby (Riverside Original Recording Series SMJ-6118); (Riverside Jazz Golden 50 VIJ-113) – Source: Discogs.com

~ Detour Ahead, My Foolish Heart, My Romance, Some Other Time – Source: JazzStandards.com

~ Victor Entertainment, Inc. is the new name for Victor Musical Industries, Inc.

~ Jumbo, Billy Rose’s Jumbo, On The Town, Lucky To Be Me, The Soft Winds – Source: Wikipedia.org

© 2020 by Edward Thomas Carter

Waltz for Debby is a 1962 live album by jazz pianist and composer Bill Evans recorded June 21, 1961 at the Village Vanguard. It was released in early 1962.  The album was the fourth and final effort from the unit as bassist Scott LaFaro died in a car accident just ten days after this live date.

1. My Foolish Heart (Victor Young/Ned Washington) – 4:58
2. Waltz for Debby [Take 2] (Bill Evans/Gene Lees) – 7:00
3. Detour Ahead [Take 2] (Lou Carter, Herb Ellis, Johnny Frigo) – 7:37
4. My Romance [Take 1] (Richard Rodgers/Lorenz Hart) – 7:13
5. Some Other Time (Leonard Bernstein/Betty Comden/Adolph Green) – 5:11
6. Milestones (Miles Davis) – 6:30

• Bill Evans ~ piano
• Scott LaFaro ~ bass
• Paul Motian ~ drums

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The Quarantined Jazz Voyager

The Quarantined Jazz Voyager has but one desire and that is for you to be safe from this pandemic. If you must go out wear gloves and mask, distance yourself and return to your haven as quickly as possible. There are those who have family members they must care for, so travel is a necessity. I encourage your diligence in staying healthy from this virus.

There is no next stop for this voyager except my safe haven for the near future where I am quarantined until this pandemic is over. But what this jazz guy will do while at home, is listen to some great music and share that music with each of you weekly to give you a little insight into this voyager’s choices during this unprecedented sabbatical from jet setting investigations of jazz around the globe.

The world will be back to traveling and so will I. My album choice for this week’s listen is A Bluish Bag by Stanley Turrentine, released in 1967.

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Requisites

Manhattan Project is an album by Jamaican-born jazz trumpeter Dizzy Reece featuring performances recorded at Blue Rock Studio, N.Y.C. on January 17, 1978 and released on the Bee Hive label.

1. Con Man – 8:55
2. Manhattan Walk – 7:59
3. Yule On The Hudson – 9:05
4. Woody ‘n’ You (Dizzy Gillespie) – 13:20
5. One For Trane (Mickey Bass) – 7:57

• Dizzy Reece – trumpet
• Clifford Jordan – tenor saxophone
• Charles Davis – tenor saxophone
• Albert Dailey – piano
• Art Davis – bass
• Roy Haynes – drums

Manhattan Project ~ Dizzy Reece Sextet | By Eddie Carter

Submitted for your consideration now is an album by trumpet player Dizzy Reece. Manhattan Project (Bee Hive Records BH 7001) is the only album he recorded for the Evanston, Illinois label. Reece was born in Kingston Jamaica and attended the Alpha Boys School where he began playing the baritone sax before switching to the trumpet at the age of fourteen. It’s also during this time where he got his nickname Dizzy, which has nothing to do with Dizzy Gillespie. He became a professional musician by the age of sixteen and has played with some of the greatest jazz musicians in the United States, England, and France. On this date, he performs with an outstanding quintet; Charles Davis, and Clifford Jordan on tenor sax; Albert Dailey on piano; Art Davis on bass and Roy Haynes on drums. My copy used in this report is the 1978 Stereo album, the only release on LP.

Con Man, the first of three tunes from Reece’s pen starts Side One with a brief trio introduction that segues into the ensemble’s speedy theme.  Dizzy begins a lengthy performance that swings with limitless energy convincingly. Clifford and Charles take the reins next for two incendiary solos of intense heat.  Albert maintains the high-voltage current on the next reading with his fingers providing plenty of electricity. Roy adds a brisk footnote that glows brightly preceding the sextet’s lively closing chorus.  Dizzy’s Manhattan Walk takes the sextet on an adventurous evening stroll through the city with the group speaking in unison on the modal melody led by the front line. Reece goes first, haunting the streets like a restless spirit but with a hypnotic emotion that’s irresistibly seductive. Jordan gets the next turn, revealing his abundant lyricism and Dailey follows exhibiting formidable creativity preceding the ensemble continuing their walk down the street into the fadeout. The first side closes with the third Reece tune; Yule on The Hudson flies from the opening notes of the trio’s introduction with an astounding workout by Roy into the ensemble’s high-powered theme treatment. Dizzy takes his trumpet for a thrilling ride on the first solo; Clifford illuminates the next interpretation with some splendid work.  Charles takes over for a spirited presentation possessing equal amounts of speed and energy. Albert continues with an incisively, infectious exploration that takes hold of you and doesn’t let go. The front line reconvenes for an exciting conversation among themselves, then Roy joins them to wrap up the solos with a few final remarks of musical bliss before the climax.

The ageless jazz standard, Woody ‘n’ You by Dizzy Gillespie opens Side Two making a grand out-of-harmony ensemble entrance with Dizzy in front segueing into the familiar rapid melody pace. Reece takes off first with a supercharged solo establishing he’s in complete control of his instrument.  Clifford offers an exceptional display of his mastery on the tenor sax with a radiant reading. Charles gives a breathtaking performance next that travels to stratospheric heights. Albert gives a brilliant solo that’s extremely clever and inspired by Art’s bouncy bass and Roy’s impeccable timekeeping.  Dizzy launches his second reading like a rocket with an invigorating presentation, then shares the spotlight with Roy for a few red-hot exchanges into the out-of-step climax. One For Trane by bassist Mickey Bass is a blues dedicated to John Coltrane and the sextet turns the heat up on the uptempo theme collectively. Albert solos first, dispensing passionate fury that sinks its teeth into the opening statement with fiery intensity and joyous spontaneity.  Dizzy steps into the spotlight next with an exhilarating account illustrating his flawless technique and stylistic versatility. Charles charges into the third solo with cheerful optimism, then Clifford wails his behind off on the next scintillating performance. Albert has the final word on a vigorously energetic presentation culminating with the ensemble’s stunning finish.

Manhattan Project was produced by Jim Neumann, a noted jazz record producer, and the founder of Bee Hive Records, and Fred Norsworthy whose excellent work as an engineer and producer can also be found on jazz recordings for Black Lion Records, Interplay Records, Jazzbank, Muse Records, PJL, Storyville and Trip Jazz.  The album was pressed at Wakefield Manufacturing in Phoenix, Arizona. The lacquer was cut by Mastering engineer Brian Gardner who worked at Trident Studio in London, before working at Allen Zentz Mastering and Bernie Grundman Mastering in Hollywood, California. He currently owns Brian Gardner Mastering and the listener can tell a lot of care went into making the best sounding record at the time.  Recording Note: To achieve a tight, cohesive sound, Dizzy removed some of the sound baffles in the studio. This creates a close blending of instruments not unlike some of the ’50s. The album has a superb soundstage throughout the treble, midrange and bass spectrum and delivers a crystal-clear sound of the instruments.

Dizzy Reece, now eighty-eight years young is still active as a musician and writer and has recorded albums for Blue Note, and other labels including Futura, Interplay Records, Jasmine, Jazz Vision, and New Jazz.  On this album, the leader and his colleagues serve up a Hard-Bop feast with lots of energy that’s put together very well and shows these guys have a perfect balance of technique, intellect, and emotion. If you’re a fan of jazz trumpet, I invite you to audition Manhattan Project for a spot in your library.  It’s a compelling album that’s sure to satisfy almost any jazz appetite by the other trumpeter named Dizzy whose recognition as a bandleader, composer, and gifted musician is long overdue.

Recording Note – Source: Album liner notes by Brian Davis Woody ‘n’ You – Source: JazzStandards.com, Wikipedia.org

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Requisites

Coltrane’s Sound is an album credited to jazz musician John Coltrane, released in 1964 on Atlantic Records, catalog SD 1419. It was recorded at Atlantic Studios during the sessions for My Favorite Things, assembled after Coltrane had stopped recording for the label and was under contract to Impulse! Records. Like Prestige and Blue Note Records before them, as Coltrane’s fame grew during the 1960s Atlantic used unissued recordings, releasing them without either Coltrane’s input or approval.

Track Listing | 38:18 ~ Original Recording / 50:33 CD Reissue *All compositions are by John Coltrane except where mentioned

1. The Night Has A Thousand Eyes ~ Buddy Bernier, Jerry Brainin ~ 6:51
2. Central Park West ~ 4:16
3. Liberia ~ 6:53
4. Body and Soul ~ Edward Heyman, Robert Sour, Frank Eyton, Johnny Green ~ 5:40
5. Equinox ~ 8:39
6. Satellite ~ 5:59

• John Coltrane ~ tenor saxophone except for soprano Central Park West
• McCoy Tyner ~ piano
• Steve Davis ~ bass
• Elvin Jones ~ drums

• Nesuhi Ertegün ~ production
• Tom Dowd ~ engineering
• Marvin Israel ~ photography
• Ralph J. Gleason ~ liner notes

Fans of Modern Jazz know that John William Coltrane was in a league of his own as a bandleader, composer, soprano and tenor saxophonist, making some of his most substantial contributions to the music genre recording for Atlantic, Impulse and Prestige. The album up for discussion is Coltrane’s Sound (Atlantic 1419), originally recorded in 1960 at the same session that also gave the jazz world, My Favorite Things.  This album was released in 1964, three years into Coltrane’s contract with Impulse Records, capitalizing on his increasing popularity during the first half of the sixties. Though criminally underrated, it’s an outstanding program of two timeless evergreens and four original tunes that Coltrane demonstrates are just as enjoyable as the standards. This album in my opinion also helps solidify his place as one of the most important musicians of the twentieth century. Completing the quartet are McCoy Tyner on piano, Steve Davis on bass and Elvin Jones on drums. My copy used in this report is the 2010 Rhino Records US Stereo Audiophile Reissue (SD 1419–R1 1419).

Side One opens with a sparkling rendition of The Night Has a Thousand Eyes, written in 1948 by Jerry Brainin and Buddy Bernier.  This jazz and pop standard made its introduction in the film noir crime drama Night Has a Thousand Eyes, released that year. The movie was based on the 1945 novel by author Cornell Woolrich. The song is one of the most popular standards in The Great American Songbook and has been recorded numerous times as a vocal and instrumental. Sometimes played and sung sublimely, the quartet offers a lively theme treatment that’s inspiring. John starts the soloing charging out the gate with a vigorous performance.  McCoy heats up the closing reading with exuberant enthusiasm into the coda. Trane turns to the soprano sax for Central Park West, the first of four tunes by the leader. It opens with an alluring introduction and ends with an equally tender melody led by John who also expresses gentle feelings on the opening statement with a soft timbre. The song’s final solo by McCoy is an intimately polite presentation anchored by the affectionate infrastructure of Steve and Elvin.

The first side wraps up with Coltrane’s Liberia, returning the foursome to an uptempo beat with a sprightly theme treatment in unison.  John takes the opening statement, gradually building each verse efficiently into a passionate climax. Tyner displays his strong chops on a short closing solo that’s stunning into Trane’s reappearance for the finale. The ageless classic Body and Soul begins the second side with a midtempo rendition by the quartet. It was written in 1930 by Frank Eyton, Johnny Green, Edward Heyman, Robert Sour. The most famous instrumental version was made in 1939 by Coleman Hawkins for Bluebird and it’s one of the most recorded standards in the history of music. The trio led by McCoy’s cheerful piano introduces this chestnut and John provides a succulent treat of what’s in store on the opening melody and heightens the mood on the lead solo. McCoy flavors the next reading with a joyful swing to the infectious beat, then Coltrane makes a final statement that’s brief, but clever leading to the blissful conclusion.

Up next is Equinox, a slow tempo blues by John that was named by his first wife, Naima. The equinox occurs twice a year, the first one around March 21^st and the second by September 23^rd. It’s the point when the sun crosses the equator with day and night, everywhere on earth approximately at an equal length. The rhythm section opens the song sensuously into Trane’s elegantly tender opening chorus and passionate solo. Tyner concludes the readings with a delicately gentle performance over the soothing support of Davis’ bass and Jones’ elegant timekeeping. Coltrane’s Satellite, the album finale is a trio performance following in the footsteps of Sonny Rollins’ trio LP’s with just the bass and drums providing the power behind him.  This tune is a jubilant joyride with John blowing fire on the theme and excitingly fierce solo. Steve dazzles with feisty exuberance and Elvin brings the heat with aggressive brushwork behind John’s reprising the theme into the climax.

The man behind the dials of the original recording was one of the best engineers in the business, Tom Dowd and Nesuhi Ertegün supervised the album’s production. Bernie Grundman cut the lacquers from the original analog masters, utilizing premium 180-gram audiophile vinyl by RTI (Record Technology Incorporated). The sound quality of Mr. Dowd’s work has been beautifully remastered and is amazing throughout the treble, midrange and bass spectrum with a very revealing soundstage for the instruments placing the listener’s favorite chair in the center of the studio alongside the musicians. If you’re in the mood for an album of Hard-Bop and Modal Jazz, I invite you to audition Coltrane’s Sound by John Coltrane.  It’s a great LP that makes a profound statement to a legendary jazz giant and a title that should not only appease and delight the serious jazz aficionado but the first-time listener as well! See you next month and Happy Listening Gang!

~ Body and Soul (Bluebird B-10523-A); My Favorite Things (Atlantic 1361/SD 1361) – Source: Discogs.com

~ The Night Has a Thousand Eyes, Body and Soul – Source: JazzStandards.com

~ Equinox – Source: The Merriam-Webster Unabridged Dictionary, Wikipedia.org

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