Requisites

Scope ~ Buck Hill Quartet | By Eddie Carter

This week’s choice from the library is from Buck Hill, the wailing mailman from Washington, D.C. He delivered mail during the day and performed at night in the city’s jazz clubs. The Buck Hill Quartet enters the spotlight of this discussion with Scope (SteepleChase Records SCS-1123). It was his second album as a leader, and the follow-up to This Is Buck Hill, his debut from a year earlier. Buck’s capabilities as a composer are also on display as the tenor saxophonist wrote all the tunes. His bandmates again are Kenny Barron on piano, Buster Williams on bass, and Billy Hart on drums. My copy is the original 1979 Danish Stereo pressing.

Side One starts at a speedy clip with the title tune, Scope. Buck and company begin the melody quickly; then, the saxophonist flies out of the gate in a rapid opening solo. Kenny follows with an electrically charged reading while Buster and Billy propel them toward a brisk climax. Ballad Repeter slows the tempo down for the foursome’s tender theme, which is repeated with melodic beauty. Barron takes the lead with a delicately pretty reading that’s beautifully structured. Hill continues this serene sequence with warmth and sensitivity in the following interpretation, matched by the charming compliment of Williams and Hart into the saxophonist’s passionately elegant reprise and ending.

Blue Bossa, a Latin-flavored original, ends the first side on an upbeat note and grabs the listener from the start of the quartet’s infectious melody. Buck kicks off the solos with a festive presentation, then Kenny provides a happy showcase on the subsequent reading ahead of the closing chorus. Side Two gets underway with Beast Beautiful. It’s taken at a lively pace, and the saxophonist steps up first to give an energetic performance. Barron meets the challenge in the following interpretation with a youthful spirit and feeling. Williams significantly contributes to the final reading preceding the song’s abrupt climax.

The Sad Ones is a gorgeous ballad with a haunting poignancy in Buck’s delivery of the melody. The opening solo by Buck is a stunning showcase of warmth and tenderness that beautifully illustrates his creativity as a ballad composer. Kenny compliments the saxophonist with an emotionally moving presentation sustained by Buster and Billy’s gentle accompaniment into Buck’s delicate finale. Funk Dumplin’ is a blues that comes to life with the ensemble’s brisk theme. Hill starts the opening solo with a spicy flavor, then Barron spreads his wings in the following reading. Williams takes an exhilarating walk next, and Hart delivers a fascinating finale leading to the ensemble’s exit.

Nils Winther produced Scope, Elvin Campbell recorded the album, and Freddy Hansson was the mixing engineer. The sound quality is so good the listener will think they’re in the studio as the musicians are recording. The soundstage is stunning, and the record is silent until the music starts. If you’re a fan of Buck Hill or enjoy the tenor sax, I happily recommend and invite you to check out Scope by The Buck Hill Quartet on your next vinyl excursion. It’s an excellent album that will appeal to any novice or seasoned jazz fan and whet their appetite to hear more by the wailing mailman from Washington, D.C.

~ This Is Buck Hill (Steeplechase Records SCS 1095) – Source: Discogs.com © 2023 by Edward Thomas Carter

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Requisites

Dark Beauty ~ Kenny Drew Trio | By Eddie Carter

It had been a long while since I heard this morning’s album by The Kenny Drew Trio. I put the record on my turntable and listened to it while reading a few nights ago, which inspired this week’s discussion. Dark Beauty (SteepleChase Records SCS-1016) is the first of two trio dates featuring Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Albert “Tootie” Heath on drums. Both were recorded in the same sessions over two days in May, and this release hit the stores in 1974. The companion album, If You Could See Me Now, came out a year later. My copy is the 1976 SteepleChase Series US Stereo reissue (Inner City Records IC 2016).

Side One leads off with Run Away by Danish flutist and saxophonist Per Carsten. The trio begins the introduction and melody, then Kenny starts things with a festive opening solo. Niels-Henning makes a stunning impression on the following reading, and Albert has a brief comment leading to the group’s rousing closing chorus. The title tune, Dark Beauty by Kenny Drew, is one of his most beautiful compositions. Drew and Pedersen open the ballad with gentle cascades on the piano and a gorgeous bowed solo in the introduction, central theme, and closing chorus, which weaves a haunting spell. In between, the pianist gives an intimately tender interpretation matched by the softness of the bassist and drummer’s accompaniment.

The group’s first of four jazz standards is Summer Nights by Harry Warren and Al Dubin. It opens with an elegantly constructed introduction by Niels-Henning; next, Kenny and Albert enter to complete the nostalgically dreamy melody. Drew caresses the song’s lyrics with sensuous beauty in his playing of the only statement into the ending theme and gentle climax. All Blues by Miles Davis closes the first side. Drew and the rhythm section get things underway with an energetically charged melody, and the opening statement by Kenny is hotter than fireworks in July. The closing interpretation allows Heath’s drums a brisk workout while Pedersen’s bass keeps the beat flowing ahead of the song’s lively conclusion.

Side Two starts with It Could Happen To You by Jimmy Van Heusen and Johnny Burke. Kenny introduces the jazz standard slowly and then moves up the tempo to a brisk melody and first interpretation. Albert engages in a zesty exchange with the leader preceding the theme’s reprise and exit. Love Letters by Victor Young and Edward Heyman is up next. This song is featured in the 1945 film of the same name, and the ensemble’s rendition begins with a gorgeous introduction by Niels-Henning and Kenny. The pianist has the first say and turns the tempo up for the opening statement. Pedersen takes his first opportunity to solo with an extensive presentation that flows into the trio’s closing chorus and finish.

Silk Bossa comes from the pen of Danish pianist Thomas Clausen, and Niels-Henning sets the mood with a solo introduction that grows into a pleasant melody by Kenny. The rhythm section lays a lush foundation for the pianist to present a delicately expressed statement. Pedersen ends the way he began with an unaccompanied bowed solo which ends softly. The album ends with Blues Inn by Kenny Drew, which starts with the trio swinging at an easy beat during the melody, giving way to Drew’s charming opening statement. Pedersen is equally adept in the dazzling display that follows; then, Heath carries on a concise conversation with Drew in the finale ahead of the theme’s reprise and fade out.

Nils Winther produced the initial session, and Freddy Hansson was the recording engineer. The music on Dark Beauty is as lovely as the young woman in the front cover photo, Kenny’s daughter, Sabrina. This reissue’s sound quality is excellent, with an outstanding soundstage that transports the trio to the sweet spot in your listening room with superb definition. If you are a fan of Kenny Drew and enjoy jazz piano trios, I invite you to consider Dark Beauty by The Kenny Drew Trio on your next vinyl shopping trip. It’s an excellent trio album that is perfect for late-night listening and highly recommended for a spot in your library!

~ If You Could See Me Now (SteepleChase Records SCS-1034) – Source: Discogs.com ~ All Blues, It Could Happen To You, Summer Nights – Source: JazzStandards.com ~ Love Letters – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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Daily Dose Of Jazz..

Moreira Chonguiça was born in Maputo, Mozambique on February 13, 1977. On completing his schooling he attended the University of Cape Town to further his music studies, graduating from the South African College of Music with a degree in jazz performance. He also graduated cum laude and holds an honours degree in Ethnomusicology.

In 2010 he started a jazz festival, Morejazz, in Maputo, where artists are invited to play at the festival and also hold master-classes at the Eduardo Mondlane University in the city. That same year his group, The Moreira Project, opened the Standard Bank Jazz Festival in Grahamstown in the Eastern Cape. He collaborated with Manu Dibango on the album M & M, which was released in 2017.

His philanthropy extends to renovating schools, conducting workshops, poetry projects about HIV/Aids, inmate music programs to encourage reform, and works with road safety and family planning groups. Saxophonist Moreira Chonguiça continues to record, perform and pursue various philanthropic endeavors.

SUITE TABU 200

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Requisites

The Paris Concert, Edition One ~ Bill Evans | By Eddie Carter

Ever since I’ve been a jazz fan, the piano has always been one of my favorite instruments, and one of my favorite pianists is Bill Evans. My introduction to his playing began with Explorations (1961), Kind of Blue (1959), and Waltz For Debby (1962). Several of his originals have become jazz standards, and many of his albums still resonate with listeners and musicians today. Bill steps into the spotlight of this discussion with the first of two entertaining live dates. The Paris Concert, Edition One (Elektra Musician E1 60164) captures his trio’s performance at L’Espace Cardin on November 26, 1979. He’s joined on stage by Marc Johnson on bass and Joe LaBarbera on drums. My copy used in this report is the 1983 US Stereo album.

The concert opens with the ensemble’s touching rendition of I Do It For Your Love by Paul Simon. Bill begins with a delicately tender introduction segueing into a very pretty melody. Evans embodies a feeling and spirit of enduring love in the song’s only solo with an elegantly graceful interpretation. Marc and Joe supply the soft supplement ahead of the pianist ending the song sweetly. Quiet Now is a lovely tune by Denny Zeitlin. Evans takes the lead again in a hauntingly beautiful introduction ahead of the trio’s peaceful theme. Bill is provided with an excellent showcase to deliver a presentation of luxurious beauty with Johnson and LaBarbera complimenting him perfectly into the group’s affectionate finale.

Noelle’s Theme by Michel Legrand is a moving solo performance that Bill performs with heartfelt warmth and sensitivity in the melody and during his statement that not only touches the crowd but the listener as well. My Romance by Richard Rodgers and Lorenz Hart begins with a lively introduction by Evans, then the pace picks up for the group’s main theme. The highlight is the skillful construction of the first two readings by LaBarbera and Johnson who take turns on their alternate verses with impeccable brushwork and splendid bass lines. Evans unlocks a rich variety of creative ideas next, then LaBarbera adds a few final comments into the pianist’s vivacious closing chorus which receives enthusiastic approval from the crowd at its conclusion.

Side Two gets underway with I Loves You Porgy by George and Ira Gershwin, and DuBose Heyward. It made its debut in the 1935 Broadway opera, Porgy and Bess, and later became a jazz standard. Bill has the stage to himself in a second solo showcase of melodic beauty that he performs with the greatest assurance and sensitive delicacy. Up With The Lark by Jerome Kern and Leo Robin is the first of two duets of piano and bass. Evans and Johnson operate in perfect communication during the opening chorus. Bill takes the lead and delivers an illustrious solo that’s pure magic. Marc provides the exclamation point in an exquisite performance preceding Bill’s ending theme and the audience’s appreciative applause.

The duo returns for All Mine (Minha) by Ruy Guerra and Francis Hime. Bill instills the melody and song’s only statement with expressive beauty, anchored by Marc’s subtle accompaniment into an ending of perfect tranquility. The ensemble returns to full form for Beautiful Love by Wayne King, Victor Young, Egbert Van Alstyne, and Haven Gillespie, which Bill first performed on Explorations. A brief introduction sets the tone for the group’s lively theme. Bill soars over the rhythm section with a vigorous romp on the opening solo. Marc cuts loose with some scintillating notes on the second statement. Bill and Joe unleash a dazzling exchange of infectious riffs and explosive brushwork before Bill swings into the climax. The album concludes with excerpts from a conversation between Bill and Harry Evans.

The Paris Concert, Edition One was produced by Helen Keane, and Yves Abiteboul produced the concert for radio broadcast. This concert was recorded by Radio France and the recording engineer was Stew Romaine. This is a first-rate recording with a superb soundstage that makes the listener feel like they’re in the audience as the trio is performing. If you’re a fan of Bill Evans and are in the mood for something soothing after a long day or week, I invite you to check out The Paris Concert, Edition One on your next vinyl shopping trip. It’s an enticing invitation to explore a remarkable live album by Bill Evans that’s an assortment of delights you’re sure to enjoy!

Explorations (Riverside RLP 351/RLP 9351), Kind of Blue (Columbia CL 1355/CS 8163), The Paris Concert, Edition Two (Elektra Musician E1-60311), Waltz For Debby (Riverside RLP 399/RLP 9399) – Source: Discogs.com

~ I Loves You Porgy, My Romance – Source: JazzStandards.com ~ Beautiful Love – Source: Wikipedia.org © 2022 by Edward Thomas Carter

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Requisites

Something For Lester ~ Ray Brown | Carl Anthony

This week I am standing in for our regular Requisites host and writer Eddie Carter, who is on an anniversary vacation. He will return next Sunday with another prolific review of an album for your collection.

This week I have selected Something for Lester, an album by bassist Ray Brown that was recorded on June 22, 23 & 24 1977 at Contemporary’s Studio in Los Angeles, California. The session was recorded in the bop and cool jazz genres and was released on the Contemporary label the following year.

The producers on the sessions were John Koenig and Lester Koenig. The photograph was taken by Bret Lopez, the design was provided by George Kershaw, with liner notes by Leonard Feather and the recording and sound was performed by the Koenig brothers and Roy DuNann.

Of the seven compositions presented here by the trio, four are classics, two are by Cedar Walton and one was composed by Brown. The conversation between the players is easy and comfortable as they navigate through each song. If you enjoy small group sessions you’ll find these consummate musicians will deliver what you like.

Tracks | 41:10

  1. Ojos de Rojo (Cedar Walton) – 5:16
  2. Slippery – 7:27 (Ray Brown)
  3. Something in Common (Walton) – 4:50
  4. Love Walked In (George Gershwin, Ira Gershwin) – 5:25
  5. Georgia on My Mind (Hoagy Carmichael, Stuart Gorrell) – 7:11
  6. Little Girl Blue (Richard Rodgers, Lorenz Hart) – 6:17
  7. Sister Sadie (Horace Silver) – 4:54
Personnel
  • Ray Brown – bass
  • Cedar Walton – piano
  • Elvin Jones – drums

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