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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Requisites
Club Date ~ Yusef Lateef | By Eddie Carter
A few nights ago, I spent time with an album I hadn’t listened to in a while and thought it deserved discussing. Club Date (ABC Impulse ASD-9310), by multi-instrumentalist Yusef Lateef, was released in 1976 and showcases his live performance at Pep’s Lounge on June 29, 1964, first heard on Live at Pep’s. My introduction to Lateef’s artistry came through his work on Cannonball Adderley Sextet in New York, Nippon Soul, and Jazz Workshop Revisited. The tracks on Club Date were not available before this release. The group includes Richard Williams on trumpet; Yusef Lateef on flute (tracks B1, B3), oboe (track B1), and tenor saxophone (tracks A1 to A3, B2); Mike Nock on piano; Ernie Farrow on bass; and James Black on drums. The copy I own is the 1976 U.S. Stereo release.
The set opens with Oscarlypso by Oscar Pettiford, a lively tune featuring a Caribbean groove from the start of Ernie’s introduction to the quintet’s theme. Yusef takes the opening solo, as smooth as velvet. Richard follows with a cheerfully festive performance. Mike enters the spotlight last, with a relaxing reading, before both horns share a short exchange leading to the reprise and a vibrant finish. Gee Sam Gee by Yusef Lateef is a slow-moving ballad that begins with the saxophonist stating a hauntingly dreamy theme and opening solo. Williams and Nock follow with two delicately gentle statements preceding Lateef’s return for the closing chorus.
Richard Williams’ Rogi brings the beat way up to end the first side with the group’s collective melody. Yusef steps up first with a spirited performance, then Richard vigorously launches into the following solo. Mike has the last word with an energetic statement ahead of the theme’s return and climax. Brother John, Yusef Lateef’s tribute to John Coltrane, opens the second side with the rhythm section’s trio to Lateef’s switching to oboe for the melody and adventurous opening statement. Williams takes flight next in a scintillating solo. Nock keeps the listener captivated, sailing smoothly until the final note, while Yusef’s flute comments shadow him, before the quintet returns to take the song out.
Yusef Lateef introduces P-Bouk, a speedy original by the saxophonist that the ensemble takes out of the gate at a vigorous pace. Yusef soars upward into the sky on the opening solo with joyful exhilaration. Richard comes in cooking hard next, then Mike meets the challenge with a robust reading, leading to the theme’s restatement and the introduction of Nu-Bouk, also by Yusef Lateef, which he describes as a new blues. He’s back on the flute as he glides over the rhythm section for the soulful melody and lead solo. Williams makes his case in a short statement, returning to the theme and the group’s down-home ending.
Bob Thiele produced the initial session for Club Date, and Esmond Edwards supervised this release, but the identity of the engineer who recorded it remains unknown. The sound quality is very good for a ‘60s live date, with an excellent soundstage that transports the listener to the club’s audience. If you’re new to the music of Yusef Lateef, or are in the mood for a wonderful live album to listen to after a long day or week, I offer for your consideration Club Date by Yusef Lateef. It gives a glimpse into an incredible musician who transcended hard bop through music inspired by exotic locales. While the recording’s live atmosphere adds raw authenticity, it’s the interplay among the players that truly shines, making this record a rewarding listen for both longtime fans and newcomers to Lateef’s work!
~ Cannonball Adderley Sextet in New York (Riverside RLP-404/RLP-9404), Jazz Workshop Revisited (Riverside RM 444/RS 9444), Live at Pep’s (Impulse! A-69/AS-69), Nippon Soul (Riverside RM 477/RS 9477) – Source: JazzStandards.com
© 2026 by Edward Thomas Carter
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Requisites
Swingin’ Till The Girls Come Home ~ Eddie ‘Lockjaw’ Davis Quartet | By Eddie Carter
Submitted for your approval this morning from the library is an album that was recorded during Eddie ‘Lockjaw’ Davis’s 1976 tour of Denmark. While there, the tenor saxophonist was so taken with the Danish trio led by drummer Alex Riel, who was well known for performing with many American jazz artists at Jazzhus Montmartre. Both musicians went into the studio to record Swingin’ Till The Girls Come Home (SteepleChase Records SCS 1058). Rounding out the ensemble are Thomas Clausen on piano and Bo Stief on drums. The copy I own is the 1977 U.S. stereo reissue (Inner City Records IC 2058).
The album opener, Swingin’ Till The Girls Come Home by Oscar Pettiford, begins with Stief’s brief introduction ahead of the quartet’s easygoing theme. Eddie soars into a lively opening solo, driving the groove. Bo takes the reins next in a short walk, then Thomas adds the exclamation point, leading back into the melody’s reprise and ending. The tempo moves upward significantly for Cole Porter’s Love for Sale, beginning with the foursome’s upbeat melody. Davis is firing on all cylinders with a brisk opening statement. Clausen then dives into the following interpretation. The leader returns to deliver a few final comments in a short exchange with Riel before the foursome’s reprise fades out slowly.
Out of Nowhere by Johnny Green and Edward Heyman takes the temperature down to a medium tempo for the ensemble’s opening chorus. Eddie is off to a fine advantage with a consistently effective first solo. Thomas is at the top of his game in the succeeding statement, and Eddie and Bo share a concise and perfectly delivered finale, leading to the reprise and climax. Ghost of a Chance by Victor Young and Ned Washington becomes the centerpiece of ‘Lockjaw’ in a hauntingly beautiful version. Davis’s solo is a melodic beauty, underscored by the rhythm section’s accompaniment, culminating in an elegant ending.
Side Two starts with Locks, by Eddie ‘Lockjaw’ Davis. The rhythm section brings the song to life, segueing to the quartet’s theme. Eddie takes the opening with an infectious and bouncy beat. Thomas echoes the leader with a bustling solo, then gives way to Bo, who expresses joy in the third reading. Eddie returns to swing solidly toward the climax. Wave by Antonio Carlos Jobim begins with Davis gliding efficiently over the Latin melody. Davis takes the first of two bites out of this jazzy apple first, then Clausen puts together an impressive reading. The saxophonist reappears for a few final comments preceding the quartet’s reprise and fadeout.
Indiana by James Henley and Ballard MacDonald takes off at a fast gallop from the foursome’s opening notes of Riel’s introduction to the quartet’s melody. Eddie’s opening solo begins aggressively; he then shares the spotlight with Alex in a concise exchange before the theme is restated and the song concludes. Bye Bye Blackbird by Ray Henderson and Mort Dixon also swings at a comfortable pace, beginning with the quartet’s happy theme. Davis gets right to work wailing on the opening statement, then Clausen follows the leader enthusiastically, preceding the ensemble’s closing chorus and exit.
Nils Winther produced Swingin’ Till The Girls Come Home, with Ove Sørensen delivering a fantastic recording. The album’s sound quality is exceptional, from vibrant highs to warm lows, as the quartet creates a bright, clean, richly detailed soundstage that draws you in. If you’re a fan of the tenor saxophone, I highly recommend and invite you to explore Swingin’ Till The Girls Come Home by the Eddie ‘Lockjaw’ Davis Quartet on your next record-shopping adventure. It’s an excellent album featuring one of jazz’s great musicians, and I believe it will become a cherished addition to the libraries of both newcomers and seasoned jazz aficionados!
~ Bye Bye Blackbird, Ghost of a Chance, Indiana, Love for Sale, Out of Nowhere, Wave – Source: JazzStandards.com
© 2026 by Edward Thomas Carter
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