Requisites

Oscar Peterson et Joe Pass á Salle Pleyel ~ Oscar Peterson and Joe Pass | By Eddie Carter

Back in 1987, I had the opportunity to see pianist Ellis Marsalis give a solo concert at the Tri-C Jazz Fest in Cleveland, Ohio. He shared a thought with the audience that I never forgot: “I enjoy performing solo, it’s just you and the audience. You can’t hide behind other musicians, and you have to hold their attention for an hour or two.” I bring this up because this morning’s album from the library is an excellent collaboration between pianist Oscar Peterson (tracks A1 to B2, C3 to D4) and guitarist Joe Pass (tracks B3 to D4). Oscar Peterson et Joe Pass à Salle Pleyel (Pablo Records 2657-015) is a captivating two-record set that captures both jazz legends at the height of their skills, performing solo and together before a lively audience. The copy I own is the 1975 U.S. mono release.

Oscar Peterson opens the evening with I’ve Gotta Right to Sing The Blues by Harold Arlen and Ted Koehler. The pianist brings out the jazz standard’s elegance in a delightful rendition that ends softly before the crowd erupts in applause. The pace picks up for Mirage by Oscar Peterson, with a brisk melody leading into the pianist’s effervescent reading, which builds to a peak of undeniable pleasure before descending back to the closing chorus and a rousing climax. Tenderly, by Walter Gross and Jack Lawrence, is one of the most beautiful and evocative jazz standards ever recorded. Oscar starts with the cascading piano notes dancing across the keyboard into the theme, followed by a tastefully elegant presentation, then returns to the melody’s reprise for a gorgeous finish.

(Back Home Again in) Indiana by James F. Hanley and Ballard MacDonald began as a charming 1917 Tin Pan Alley pop song and ultimately became a jazz standard. Oscar’s rendition is full of energy, allowing him to glide skillfully through each verse vigorously. The familiar theme reappears, earning him enthusiastic, well-deserved applause from the audience. The first side concludes with a forties show tune, It Never Entered My Mind by Richard Rodgers and Lorenz Hart. Peterson slows the tempo to a subdued pace, beginning an elegantly peaceful introduction and melody. In this song, he shows he is a master of ballad interpretation, delivering a very pretty performance that precedes the closing chorus and an attractive finale.

Side Two gets underway with a medley of Ellingtonia, beginning with one of Duke’s theme songs, Take the A’ Train by Billy Strayhorn. Peterson opens this classic with an astounding performance, before slowing down to begin In a Sentimental Mood by Duke Ellington, Manny Kurtz, and Irving Mills. Oscar turns in an intimately delicate rendition, then turns the page to open Duke’s Satin Doll, written with Billy Strayhorn and Johnny Mercer, where he has plenty to say in a short space. Lady of the Lavender Mist, a little-known Duke Ellington ballad, is up next and receives a heartwarming, sultry, and sincere treatment ahead of the medley’s finale, Things Ain’t What They Used To Be by Mercer Ellington and Ted Persons. Peterson’s solo is beautiful, the epitome of grace and warmth, and ends with the crowd’s approval.

Oscar brings his set to a close with a rollicking rendition of Sweet Georgia Brown by Ben Bernie, Ken Casey, and Maceo Pinkard. The pianist makes the piano sing as his fingers fly effortlessly over the keys through the opening and closing chorus and a short, speedy solo that dresses up the old twenties song. He exits to thunderous applause, and Joe Pass takes over to begin his portion of the evening’s performance with Darn That Dream, by Jimmy Van Heusen and Eddie De Lange. The guitarist navigates the melody and an extensive solo as efficiently as if he were speaking to an old friend. Joe carefully crafts each chorus into an exquisitely well-behaved and delicately stylish reading until the standard’s climax and a rapturous ovation from the audience.

Pass ends the first record by giving the crowd a two-song medley of his own. The Summer Knows (theme from“Summer of ‘42”) and What Are You Doing The Rest of Your Life? by Alan and Marilyn Bergman and Michel Legrand. In the opener, Joe opens with a passionately soothing melody and a solo of romantic tenderness. In the closer, he reaches into the heart of the melody, and his solo reveals a polite sensitivity that culminates in a lovely finale. Side Three of the concert begins with the first of two Cole Porter originals, Everything I Love. Joe delivers a very tender melody and solo ahead of a tranquil ending. It’s All Right With Me moves the beat upward for a brisk theme, radiating a rich tone as his fingers fly through the uptempo groove, each note drawing the audience’s attention deeper into the song before the close and their ovation.

Stella By Starlight by Victor Young and Ned Washington starts with Joe’s introduction deceptively at a ballad tempo, when Oscar returns and joins him for a lightly swinging melody. Pass leads off with an impeccable opening statement, then Peterson follows, delivering an enticing performance, wrapping up with energy to spare in the song’s upbeat ending and huge ovation. Just You, Just Me by Jesse Greer and Raymond Klages opens as a playful chase with Oscar and Joe trading lines through the melody. Pass goes first, his fingers flying over the strings while Peterson lays down a driving support. The pianist takes over and soars into the stratosphere in a breathtaking display of virtuosity. Finally, both men converge for a rapid run in the theme’s reprise, earning a thunderous ovation from the crowd.

If by David Gates is a pretty song that became a hit for his group, Bread. It opens Side Four with the duo’s disciplined performance, featuring a beautiful introduction and a tender theme. Pass takes the lead with a graceful interpretation, then Peterson enriches every note of a heartfelt performance, culminating in a hauntingly tranquil and satisfying ending. Honeysuckle Rose by Fats Waller and Andy Razaf was initially a dance number in a 1929 revue. Oscar and Joe get things off to a good start with their collaborative melody. The guitarist opens with crisp, exuberant verses that pack an aggressive impact. Peterson follows with a robust reading, then both Joe and Oscar exchange thoughts in a captivating conversation before the theme’s restatement and finish.

The final two selections of the evening’s performance are two originals by Joe Pass and Oscar Peterson, beginning with Blues For Bise. It kicks off with a lively, high-octane romp through the melody. Pass sets a blistering pace in the opening statement, then Peterson continues with electrifying speed in a brilliant blur of syncopated rhythm. The two musicians then converge to bring the song home together, prompting a thunderous ovation from the audience lasting nearly two minutes. Pleyel Bis signs off the duo’s performance, slowing the pace to a medium groove for Joe and Oscar to explore the introduction and theme together. Joe takes the lead solo at a comfortable pace, then Oscar responds with an inspired interpretation. Both musicians take flight last, in a pleasant reading that precedes the reprise and climax.

Norman Granz produced this live date, but it’s unknown who recorded the album during the musician’s performance. The sound quality on my copy is quite good, with a delightful soundstage transporting the listener to the Salle Pleyel audience. Both Oscar Peterson and Joe Pass would return to the venue three years later to record another live album with Niels Pedersen. Oscar Peterson et Joe Pass à Salle Pleyel showcases two phenomenal artists performing at the very height of their abilities. If you’re on the fence about adding this LP to your library, I invite you to check it out the next time you’re visiting your favorite record shop. It’s an outstanding live album that serves as an excellent gateway to the rich body of work each artist has created, and I highly recommend it for a spot on your shelf!

~ The Paris Concert: Salle Pleyel, 1978 (Pablo Live 2620-112) – Source: Discogs.com
~ Back Home Again in Indiana, Darn That Dream, Honeysuckle Rose, In a Sentimental Mood, It’s All Right With Me, It Never Entered My Mind, Satin Doll, Stella By Starlight, Sweet Georgia Brown, Take The ‘A’ Train, Tenderly, Thing Ain’t What They Used To Be – Source: JazzStandards.com
~ I Gotta Right to Sing The Blues, If, What Are You Doing For The Rest Of Your Life? – Source: Wikipedia.org
>© 2026 by Edward Thomas Carter

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Requisites

Philly Mignon ~ Philly Joe Jones | By Eddie Carter

This morning’s album from my library is a hidden gem led by the talented drummer Philly Joe Jones. He brings together an outstanding group on his 1978 release, Philly Mignon (Galaxy GXY 5112). My first introduction to Jones’s artistry was through his work on Miles Davis’s four Prestige quintet records, where his impeccable timekeeping really stood out to me. The ensemble includes Nat Adderley on cornet (tracks: A1, B1, B3), Dexter Gordon (tracks: A2, B2), and Ira Sullivan (tracks: A1, B3), on tenor saxophone, (track: B1) on soprano saxophone, George Cables (tracks: A1, A2, B2, B3) on piano, and Ron Carter on bass. The copy I own is the original 1978 U.S. Stereo pressing!

The album opens with a spirited rendition of Confirmation by Charlie Parker. Philly’s introduction kicks things off ahead of the lively theme led by Ira. George has the first solo and drives vigorously. Nat takes over, fueling the second statement with a brassy bite. Ira comes in next, riding hard on a robust reading, then the front line gives Philly space for a robust workout before the group’s theme reprise takes things out. Neptunis by Benny Bailey sets an easy tempo from the start of Dexter and George’s introduction that develops into the melody. The saxophonist leads the soloing with a relaxing joyride. George follows, each chorus unfolding efficiently and smoothly. Dexter and Philly share the spotlight briefly before the drummer has the last word and the foursome wraps up. 

Jim’s Jewel by Charles Bowen Jr. is a completely different animal, with Nat and Ira featured in a piano-less foursome. Ron introduces the song, segueing into the front line’s theme, propelled by Philly’s drums. Nat’s first solo is particularly compelling. Ira follows with a soprano sax reading that will move the listener to sit up and take notice. Philly enters the spotlight last with a concise comment before the closing chorus and the group’s exit. Polka Dots and Moonbeams by Jimmy Van Heusen and Johnny Burke is up next. Dexter’s spoken introduction of the opening lyrics blossoms into his saxophone, continuing the tender melody. The trio provides an elegantly lush foundation for Dexter’s delicately tender first solo. George follows with a lovely reading leading to the gorgeous closing chorus and the soft ending.

United Blues by Ron Carter is an upbeat tune that brings Nat and Ira back for the album’s closer. Philly’s short introduction kicks things off ahead of the quintet’s theme. Nat is up first with a spirited statement, then Ira grabs the second spot, back on tenor sax and hooks you from the start. George strolls in next for a short stay, and Philly does a great deal in a short time before the reprise of the melody finishes on a good note. Ed Michel produced Philly Mignon, while Baker Bigsby and Wally Buck managed the recording console. David Turner handled the album’s mastering, and the sound quality is exceptional. The stereo presentation is vivid, the horns truly sparkle, and the bass sounds full and resonant. It’s also an excellent pressing, and the record is dead silent until the music starts.

Philly Joe Jones led 16 albums and contributed as a sideman to a wide array of exceptional recordings, making his discography one of the most impressive in jazz history. Whether you’re passionate about jazz drumming or curious to explore Jones’s artistry, I highly recommend checking out his album Philly Mignon by Philly Joe Jones during your next visit to the record store. This release offers a delightful listening experience for jazz lovers at any hour, appealing even to the most discerning musical tastes. Just a word of caution, though, once you start listening, you may find yourself completely captivated!

~ Cookin’ With The Miles Davis Quintet (Prestige PRLP 7094), Relaxin’ With The Miles Davis Quintet (Prestige PRLP 7129), Steamin’ With The Miles Davis Quintet (Prestige PRLP 7200), Workin’ With The Miles Davis Quintet (Prestige PRLP 7166) – Source: Discogs.com

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Requisites

After The Morning ~ John Hicks | By Eddie Carter

Feeling exhausted after a long week, I sought an album that offered a gentle, soothing escape. I went to the turntable, and put on After The Morning (West 54 WLW 8004) by John Hicks, and playing it was like a thoughtful act of self-kindness, gently easing my tension. Hicks’ piano work is both delicate and confident, creating a sense of tranquility reminiscent of a fresh morning. This album marks his third session as a band leader, but it was his first release. Joining him are Walter Booker, Jr. on bass (tracks: A1, A3, B1, B3), and Clifford Barbaro on drums (track: B1). The copy I own is the 1979 U.S. stereo release.

Side One opens with the title tune, After The Morning, by John Hicks. John is merry and playful as the melody is skillfully presented, and he continues swinging softly through the song’s only solo. Walter provides excellent support throughout, leaving the listener spellbound as the duo’s theme reprise gently closes. Serenata by Leroy Anderson and Avery Parrish provides Hicks with an unrestricted canvas in which to work in a solo performance. The song opens with a tranquil introduction and theme, then transitions into a breezy solo that captivates the listener, culminating in an exquisite ending.

Dierdre de Samba by Clifford Barbaro is a beautiful ballad that begins with a short introduction from the duo and unfolds into a lush, rich melody. John shines again as the song’s only soloist, playing with elegance and sensitivity ahead of a gorgeous reprise and a peaceful climax. Some Other Spring by Arthur Herzog, Jr. and Irene Kitchings is Hicks’ second solo performance, and a song he associated with the early morning of the day. Here, he delivers a delicately passionate and tender performance, and every note and phrase weaves a haunting spell ahead of the pianist’s return to take the song out softly.

The Duke by Dave Brubeck is a tribute to Duke Ellington, and John’s final solo performance of the first side. His introduction and melody feel like the calm of a new morning, showcasing his virtuosity in one of the album’s most beautiful moments. Impact by Charles Tolliver is the trio’s only appearance together and is the most adventurous song on the album. The cascading introduction rolls in like a severe, sudden thunderstorm, before Hicks takes charge of the theme ahead of a sizzling interpretation propelled by Booker’s bass and Barbaro’s brushwork, preceding a quick return to end on a sudden stop.

Until The Morning by John Hicks opens with a very pretty introduction that blossoms into a beautifully flowing theme of refined elegance. As the song’s only soloist, he offers an interpretation that’s both carefully crafted and deeply expressive, culminating in a touchingly delicate finale. Night Journey by Andrew “Tex” Allen wraps up the album with a delightful introduction by John and Walter into a vivacious theme. As the song’s only soloist, his tone is as airy as ever, and he explores several points of interest as the interpretation unfolds before the duo reprises the theme and brings the song to a graceful conclusion.

Roger Pola produced After The Morning, and Bob Cubbage was the recording engineer behind the dials. The album’s sound quality is excellent, with an outstanding soundstage. Your sweet spot will feel like you’re in the studio with the musicians as they’re recording. John Hicks recorded over 30 albums as a leader and contributed as a sideman to more than 300 releases. If you’re a fan of jazz piano and looking for something soothing, I offer After The Morning by John Hicks for your consideration on your next record-shopping trip. It’s a perfect album to begin your journey into his music, and after a tough day or week, a terrific companion to help you unwind and catch your breath!

© 2026 by Edward Thomas Carter

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Requisites

Cunningbird ~ Jimmy Knepper Quintet | By Eddie Carter

A few years back, during our anniversary trip to Honolulu, Hawaii, my wife and I took a walk along Bethel Street in Chinatown and found our way into Skull-Face Books and Vinyl. There, I came across an album by the Jimmy Knepper Quintet, which I listened to a few nights ago, inspiring me to feature it in this morning’s discussion. Cunningbird (SteepleChase Records SCS-1061) is a 1977 Danish release, the trombonist’s fourth as a bandleader. He’s best known for working with Charles Mingus, Gil Evans, the Mingus Dynasty, and the Thad Jones-Mel Lewis Orchestra. Here, he’s joined by Al Cohn on tenor saxophone, Roland Hanna on piano, George Mraz on bass, and Dannie Richmond on drums. The copy I own is the 1980 U.S. stereo reissue that shares the original catalog number.

Side One opens with Figment Fragment, the first of six originals by Jimmy Knepper. The opening ensemble is a spirited romp by the group with Knepper and Cohn at the forefront. Jimmy is up first and gives an energetic solo, then Al jumps in with a lively bounce. Roland follows with a delightful reading, and George walks with assurance next. Knepper and Cohn share a short workout ahead of the closing chorus. Languid is a lovely ballad that begins with a touchingly tender ensemble melody. Knepper’s opening solo is executed with warmth and intimacy. Hanna delivers a short statement, delicately leading to the group’s elegant reprise and ending.

Just Tonight is a fast bopper that gets busy right from the start of the ensemble’s speedy theme. Jimmy kicks things off with a fiery opening statement. Cohn takes over, pouring energy into every note. Roland builds the third reading with a compelling intensity next. George steps in last and walks briskly before the quintet wraps up with a vigorous restatement of the theme. Cunningbird, the title selection, opens the second side solemnly, then picks up the pace for Knepper to state the theme. Knepper cruises comfortably into the lead solo. Mraz follows and solos effectively. Cohn swings lightly next, and Hanna takes aim last, making a concise comment into the reprise and close.

Noche Triste is a haunting ballad with a Latin groove underpinning the ensemble’s graciously inviting melody. Jimmy leads the way with a thoughtfully tender solo. Al fills the next interpretation with a soft, elegant beauty. Roland etches a reading of lyrical grace next, and George gets the last words to deliver a wonderfully soothing statement preceding the group’s gentle reprise and fadeout. Spotlight Girl ends the album on an upbeat note with the quintet’s theme. Knepper gets to the point right away in the first solo. Mraz responds vigorously in the following reading. Hanna finds new avenues to explore in the third statement, and Knepper and Cohn have a brief conversation that leads back to the lively reprise and climax.

Nils Winther produced Cunningbird, and Elvin Campbell managed the recording console. The album’s sound quality is excellent with no harshness from top to bottom. The record is silent until the music starts, and the soundstage of each instrument is splendid. If you’re a hard bop fan and are in the mood for a great ensemble album, I invite you to consider Cunningbird by the Jimmy Knepper Quintet on your next record-shopping trip. It’s a terrific album by one of the unsung heroes of the slide trombone, who’s deserving of greater recognition and serves as a perfect introduction to his discography as a leader and sideman!

© 2026 by Edward Thomas Carter

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Daily Dose Of Jazz…

Anthony Ocaña was born in the Dominican Republic on March 7, 1980 and from an early age discovered his love for music. At age 5 he started taking piano and violin lessons and by 12 he began playing the guitar. He studied at the National Conservatory of Music of the Dominican Republic, received a scholarship to study at Manhattanville College New York in 1998.

While in New York he worked with Elliot Magaziner, the Frank Sinatra Orchestra conductor, and received the “Senior Josephine Morgan Award” for his professional and academic achievements. 

In 1999 and 2001, he opened for Gonzalo Rubalcaba at the National Theater of the Dominican Republic; in 2001 Anthony recorded his first album titled “A Paso de Cebra”  (Zebra’s Pace) and 2002 saw him moving to Madrid to further his study of composition and guitar.

By 2003 he was again at the National Theatre opening for Brazilian guitarist and pianist Egberto Gismonti, integrating percussion into his music. Ocaña has received several awards for composition, has performed over 50 concerts at all the major venues in Spain, in 2006 he released his self-titled sophomore project was released. He continues to perform all over the world playing concerts and festivals in conjunction with composing and recording.

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