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

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,saxophone

Daily Dose Of Jazz…

Woody Witt was born on March 16, 1969 in Omaha, Nebraska and started on the clarinet in fourth grade and switched his focus to saxophone the following year. A professional musician from the age of 16, he studied at the University of Houston, earned a Master’s degree in Jazz Studies from the University of North Texas, and a doctorate from the University of Houston’s Moores School of Music.

As a saxophonist, Witt has recorded ten albums as a leader and over twenty-five albums as a sideman. He has collaborated with major jazz artists such as Randy Brecker, Tim Hagans, Jim Rotondi, the late James Moody, David Liebman, and Tim Armacost, Conrad Herwig, Larry Ham, Joe LoCascio, Mark Levine, Louis Hayes, Adam Nussbaum, Billy Hart, and Nancy King. He has worked with the Houston Symphony and Houston Ballet and has been featured on major third-stream works that blend together jazz and classical music.

The winner of the 2010 Chamber Music America French American Cultural Exchange grant and the 2014 International Jazz Saxophone Competition in Taiwan, Woody is the booker and the artistic director at Houston’s top jazz club, Cezanne. He has taught at Houston Community College since 2000, is an Affiliate Artist at the University of Houston, and conducts a countless number of workshops and masterclasses throughout the United States, France, Romania, Germany, and Asia. Currently, saxophonist Woody Witt is involved in several different group projects.

More Posts: bandleader,educator,history,instrumental,jazz,music,saxophone

Requisites

Today and Tomorrow is the fourth album by jazz pianist McCoy Tyner. It was produced by Bob Thiele and recorded for the Impulse! label in 1963 and 1964.

Tracks | 38:44 ~ All compositions by McCoy Tyner except where noted

1. Contemporary Focus ~ 8:28
2. A Night in Tunisia (Gillespie) ~ 5:07
3. T ‘N A Blues (Jones) ~ 4:05
4. Autumn Leaves (Kosma) ~ 6:10
5. Three Flowers ~ 10:12
6. When Sunny Gets Blue (Marvin Fisher, Segal) ~ 4:42

• McCoy Tyner ~ piano
• Jimmy Garrison ~ bass (4-9)
• Albert Heath ~ drums (4-9)
• John Gilmore ~ tenor saxophone (1-3)
• Thad Jones ~ trumpet (1-3)
• Frank Strozier ~ alto saxophone (1-3)
• Butch Warren ~ bass (1-3)
• Elvin Jones ~ drums (1-3)

I was in the mood to hear some piano jazz a few nights ago when I came across a title I’d not listen to for a while. I’ve never heard anything by pianist McCoy Tyner that I didn’t like and the album up for discussion before learning of his passing on March 7, 2020, is no exception. I placed the record on my Dual 1246 turntable, dropped the stylus and became immersed in the music of this gifted musician.  Today and Tomorrow (Impulse! A-63) was recorded and released in 1964 while McCoy (only twenty-five years old at the time) was still a member of The John Coltrane Quartet.  Here, he’s featured in three sextet and trio settings each leading an all-star group of Thad Jones on trumpet; Frank Strozier on alto sax; John Gilmore on tenor sax; Butch Warren on bass; Elvin Jones on drums (tracks: A1, A3, B2); Jimmy Garrison on bass; Tootie Heath on drums (tracks: A2, B1, B3).  My copy used in this report is the 1972 Stereo reissue (Impulse!-ABC Records AS-63), the fourth US pressing.

Contemporary Focus, the first of three tunes by McCoy opens this six-song journey with a rousing collective midtempo theme treatment led by Thad who wails strongly on the lead solo. John and Frank demonstrate their strengths with vibrant enthusiasm for the next two readings.  McCoy follows with a briskly swinging interpretation, then Butch and Elvin make the most of two brief juicy opportunities ahead of the closing chorus and fadeout.

A Night In Tunisia by Dizzy Gillespie and Frank Paparelli is a jazz standard from 1942 with many notable vocal and instrumental recordings to its credit. Jimmy Garrison and Tootie Heath provide the musical backing for this uptempo trio rendition beginning with an exhilarating theme treatment in unison. The pianist begins the opening statement at a very high temperature of molten intensity, then Tootie responds with a riveting performance that has lots of fireworks ahead of the pianist’s exuberant finale.

T’N A Blues, also by Tyner strolls in next to end the first side at midtempo with a relaxed attitude by the sextet on the opening chorus. Gilmore and Tyner are the featured soloists and John goes to work first with an infectiously happy groove. McCoy provides the summation on a leisurely paced performance that’s very danceable leading to the ensemble reassembling for the coda.

Side Two opens with the 1945 popular jazz standard Autumn Leaves by Joseph Kosma, Jacques Prévert who wrote the French lyrics for the song’s original title, Les Feuilles Mortes (The Dead Leaves), and Johnny Mercer who created the English lyrics. The trio exhibits their infectious chemistry on a lively intro that evolves into the sprightly opening chorus. McCoy kicks off the solos with a dazzling display of finger dexterity with a spirited performance of effortless spontaneity. Jimmy steps in next, walking his bass with bristling vitality and tastefulness, then Tyner communicates a few final choruses of brisk dialogue preceding the effervescent reprise and climax.

Three Flowers is the leader’s longest composition on the album, a mid-tempo waltz offering substantial solo space to himself, Thad, Frank, and John. The sextet opens with a delightfully charming melody and Tyner starts the soloing with an engaging reading possessing incredible beauty and enchantment. Thad follows with a beautifully phrased, vivaciously soulful presentation that’s lyrically pleasant. Frank keeps the ingredients stirring on the next solo with inherent high spirits, and buoyant lyricism.  John takes the last spot with an exquisite solo that swings with a swagger into the melody reprise and coda.

The 1956 jazz standard, When Sunny Gets Blue by Marvin Fisher and Jack Segal brings the album to a close with a thoughtfully tranquil theme treatment led by Tyner. McCoy has the solo showcase to himself and gives an enchanting reading of elegant tenderness bringing the listener home with a gentle closing chorus and culmination.

The recording by Rudy Van Gelder is splendid with an excellent soundstage throughout the treble, midrange, and bass spectrum. Each instrument emerges from your speakers to your listening chair as if you’re in the studio with the musicians as they’re recording, producing a gorgeous sound reminiscent of his Blue Note recordings of the period. I had the pleasure of seeing McCoy Tyner three times live, twice here in Atlanta where I got to meet him and once at The Village Vanguard in New York City. He was an incredible musician and wonderful man who was never too busy to meet and chat with his fans, yours truly among them. If you’re a fan of piano jazz or are looking for a terrific album of Modal Jazz and Post-Bop that’s subdued, subtle, and also energetic, I offer for your consideration, Today and Tomorrow by McCoy Tyner. An extremely skilled musician who whether in performance or on record always brought out the absolute best in each of his bandmates.

Autumn Leaves, Night In Tunisia – Source: JazzStandards.com When Sunny Gets Blue – Source: Wikipedia.org © 2020 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,piano

Daily Dose Of Jazz…

Ofer Assaf was born in Israel on March 10, 1976 and started learning to play the saxophone as a youth. He attended the Thelma Yellin High School of the Arts dividing his time between his two passions ~ music and dance the latter actually training as a professional ballet dancer at the age of eight before switching over to a full-time jazz career. As a member of the Air Force and IDF Orchestras of the Israeli Army, he performed for former President Bill Clinton, former Prime Minister Yitzhak Rabin, for Jerusalem’s 3,000th-anniversary celebration. During the Nineties, he was a member of the Tel Aviv Big Band as well as performing on a diverse array of national TV and radio shows.

After moving to New York City, he entered The New School University’s jazz program and studied with tenor saxophonist Billy Harper, bassist Reggie Workman, pianist Richie Beirach, trumpeter Jimmy Owens, percussionists Bobby Sanabria and Jamey Haddad. In 2002 upon graduation he performed with Wayne Shorter and Herbie Hancock at Carnegie Hall as part of the JVC Jazz Festival.

In 1991 he won the Israeli National Competition in Jazz and Contemporary Music for young musicians, received scholarships and awards from the Eubie Blake National Jazz Institute from 1999 to 2001, and was pre-nominated for the Grammy Awards in the “Best Jazz Instrumental Album” category in 2009 for his debut album Tangible Reality on Summit Records. He was joined by trumpeter Jim Rotondi, Don Pate and Essiet Essiet on the bass and drummer Bruce Cox. With the Bernie Worrell Orchestra, he was awarded “Best Funk/Fusion/Jam Song of the Year” at the 12th annual Independent Music Awards in 2013. Tenor saxophonist, composer and educator Ofer Assaf continues to perform and record.

More Posts: bandleader,history,instrumental,jazz,music,saxophone

Requisites

The Newborn Touch is an album by American jazz pianist Phineas Newborn Jr. recorded on April 1, 1964 at the Contemporary Records Studio in Hollywood, California but wasn’t released by the Contemporary label until 1966.

• A Walkin’ Thing (Benny Carter) – 4:37
• Double Play (Russ Freeman) – 3:59
• The Sermon (Hampton Hawes) – 2:40
• Diane (Art Pepper) – 4:17
• The Blessing (Ornette Coleman) – 3:08
• Grooveyard (Carl Perkins) – 3:07
• Blue Daniel (Frank Rosolino) – 3:18
• Hard to Find (Leroy Vinnegar) – 4:04
• Pazmuerte (Jimmy Woods) – 3:30
• Be Deedle Dee Do (Barney Kessel) – 4:04

1. Phineas Newborn Jr. – piano
2. Leroy Vinnegar – bass
3. Frank Butler – drums

Submitted for your consideration this morning is an excellent album titled The Newborn Touch (Contemporary S7615).  He’s working alongside two of the best rhythm men in jazz, Leroy Vinnegar on bass and Frank Butler on drums and my copy used in this report is the original 1966 Mono LP (M3615).

Side One opens with A Walkin’ Thing by multi-instrumentalist Benny Carter that originally appeared on his 1958 album, Jazz Giant featuring Mr. Vinnegar.  The trio performs this tune at midtempo with a strong rhythm throughout featuring the pianist as the lone soloist. Leroy’s bass and Frank’s drums provide the power with a steady beat fitting perfectly into a luxurious finale.  Pianist Russ Freeman’s beautiful composition Double Play made its debut as the title selection of Freeman’s 1957 album with fellow pianist André Previn.  Newborn introduces the song with an enticingly haunting melody, then creates a reading tastefully applied with great beauty sustained by the thoughtful accompaniment by Vinnegar and Butler.  The trio takes on pianist Hampton Hawes’ The Sermon next and the most remarkable thing about this performance is Phineas plays the entire song with just his left hand.  Hampton originally recorded this midtempo blues on the 1956 album, Everybody Loves Hampton Hawes, Volume 3: The Trio. A very short introduction by Newborn evolves into an irresistible melody flowing along in a happy, relaxed frame of mind.  Phineas turns in a very passionate interpretation gliding gently and serenely with personal touches added by Leroy and Frank in the background.

Diane is a very pretty ballad from the pen of alto saxophonist Art Pepper who wrote it for his wife.  He first performed it on his 1957 album, The Art Pepper Quartet for the West Coast jazz label, Tampa Records and would later reprise it three years later on Getting Together.  The trio opens with a slow treatment of the melody in unison preceding Phineas’ voluptuously lush delivery on a sensually appealing interpretation leading to a tender coda. The first side ends with an uptempo rendition of Ornette Coleman’s The Blessing that he wrote in 1952 but didn’t record until his 1958 debut album, Something Else-The Music of Ornette Coleman.  After a pleasingly tangy melody by the trio, Phineas springs into an aggressive opening statement that moves like a musical twister through each verse.  Frank gets his first opportunity to share solo space with the leader in an exchange of hard-driving explosiveness before the closing chorus.

Grooveyard, the midtempo blues by pianist Carl Perkins starts Side Two.  It originally appeared on the 1958 LP, Harold In The Land of Jazz by tenor saxophonist Harold Land.  Perkins who played alongside Vinnegar and Butler on that album began recording professionally at the age of twenty-one in 1949.  He was on track to a promising career before a drug overdose ended his life in 1958 at age twenty-nine, leaving the jazz world with an irreplaceable loss of great talent.  The infectious melody is taken at a very relaxing tempo and the lone reading by Phineas effectively conveys a carefree feeling that’s simple and straightforward. This tune was Carl’s final composition before his passing on March 17th that year and for the Stereo release, the title of the album was changed to Grooveyard as a dedication and tribute to Perkins.

Blue Daniel by trombonist Frank Rosloino first appeared on the 1960 album, Shelly Manne and His Men at The Black Hawk, Volume 1.  This is a jazz waltz that opens with an easy groove on the melody, piano-led by Newborn with Vinnegar and Butler providing the rhythmic backing.  The gorgeous solo by Phineas swings with a good driving beat. The only flaw of the song occurs on the closing chorus when the pianist hits one wrong note, but even that doesn’t take away from the remarkable interplay all three members exhibit as the song unfolds. Alto saxophonist Jimmy Woods is the composer of Pazmuerte, a hauntingly lovely original he recorded for his 1963 album Conflict.  The title, he describes is “a combination of the Spanish words for peace (Paz) and death (Muerte), the ultimate alternatives in all situations of conflict”.  The pianist provides a brief solo introduction that evolves into an elegant melody by the trio, followed by a dainty presentation of graceful tenderness by Phineas concluding with a delicately subtle fadeout.  The finale Be Deedle Dee Do is a down-home medium-paced blues by guitarist Barney Kessel who recorded it on a tremendous 1958 trio session titled The Poll Winners Ride Again.  The trio introduces the song with a concise talk developing into a formal discussion during the opening chorus. Phineas as the only soloist lays down a finger-snapping, toe-tapping groove with exhilarating execution into a vivacious finale.

Lester Koenig, founder of Contemporary Records produced and engineered The Newborn Touch with one of the label’s top engineers, Howard Holzer.  Together their work results in a superbly mastered LP with marvelous sound quality that’s absolutely clear, placing the listener’s favorite chair in the studio surrounded by the trio with excellent definition across the treble, midrange, and bass spectrum.  The album is well balanced with a great mix of tunes from nine of the elite jazz musicians worldwide. You can also feel the energy from Phineas, Leroy, and Frank giving you an abundant dose of jazz one would hear in a nightclub with friends or that special someone.  If you’re a fan of piano jazz, trio jazz or are just discovering his music, I happily offer for your consideration to audition, The Newborn Touch by The Phineas Newborn, Jr. Trio. It’s an exceptional example of his genius, every track shines brilliantly and once heard, I believe it will become a favorite album in your jazz library that you can enjoy repeatedly!  The 1986 Original Jazz Classics Stereo reissue (OJC-270) and 1977 Contemporary Jazz 1500 Series Japanese Stereo reissue (LAX 3133) adds one additional track that was omitted on the Mono LP, Hard To Find by Leroy Vinnegar.

Source: Album liner notes by Lester Koenig © 2020 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music