The Quarantined Jazz Voyager

This week the ever vigilant Jazz Voyager is watching this new version of the virus creeping back to once again exploit humanity’s complacency relative to the collective health. People are still dying, maybe not at the rate over the past two years but dying. So in the spirit of staying healthy, I am selecting a classic funk~fusion album from the shelves and placing it on the turntable to take a renewed listen. This week it is the album Man-Child by Herbie Hankcock.

It is the fifteenth studio album by the jazz pianist. Recorded between 1974 and 1975, it was released on August 22, 1975 by Columbia Records, it was the final studio album to feature The Headhunters. The album was produced by David Rubinson and Hancock, and was recorded at Wally Heider Studios and Funky Features in San Francisco, California as well as Village Recorders and Crystal Studios in Los Angeles, California.

Departing from the music of his early career, Herbie gives us one of his most funk-influenced albums. Utilizing more funk based rhythms around the hi-hat, and snare drum, the tracks are characterized by short, repeated riffs by both the rhythm section, horns accompaniment, and bass lines. With less improvisation, more repetition of riffs along with brief solos, he re-introduces the electric guitar to this new sound.

The core group of The Headhunters was Paul Jackson, Bill Summers, Harvey Mason, Bennie Maupin, and Mike Clark (who replaced Harvey Mason post-1974). Hancock had toured and recorded with them for the previous three years. This was their final album as a group.

1. Hang Up your Hang Ups (Hancock, Melvin Ragin, Paul Jackson) ~ 7:29
2. Sun Touch ~ 5:12
3. The Traitor (Hancock, Ragin, Louis Johnson, Wayne Shorter) ~ 9:38
4. Bubbles (Hancock, Ragin) ~ 9:03
5. Steppin’ In It ~ 8:42
6. Heartbeat (Hancock, Ragin, Jackson) ~ 5.16

• Herbie Hancock ~ piano, keyboards
• Bud Brisbois ~ trumpet
• Jay DaVersa ~ trumpet
• Garnett Brown ~ trombone
• Dick Hyde ~ trombone, tuba
• Wayne Shorter ~ alto and soprano saxophones
• Bennie Maupin ~ soprano and tenor saxophones, bass clarinet, alto and bass flutes, saxello, percussion
• Jim Horn ~ flute, saxophone
• Ernie Watts ~ flute, saxophone
• Dewayne McKnight, David T. Walker ~ guitar
• Wah Wah Watson ~ synthesizer, voice bag, guitar
• Henry E. Davis ~ bass guitar
• Paul Jackson ~ bass guitar
• Louis Johnson ~ bass guitar
• Mike Clark ~ drums
• James Gadson ~ drums
• Harvey Mason ~ drums
• Stevie Wonder ~ harmonica
• Bill Summers ~ percussion

More Posts: adventure,album,club,genius,jazz,museum,music,piano,preserving,restaurant,travel

Requisites

The Great Jazz Trio At The Village Vanguard | By Eddie Carter

This morning’s subject submitted for your consideration is a recent addition to the library by one of the quintessential small groups in jazz. The Great Jazz Trio At The Village Vanguard (East Wind EW-8053) is the first of three live albums by Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums recorded over two nights at the venue in 1977. My copy used in this report is the 1978 US Stereo release (Inner City Records IC 6013).

Side One starts the set with a speedy rendition of Moose The Mooche by Charlie Parker. The trio takes off on a lively opening chorus, succeeded by Hank who accelerates quickly on the first solo. Tony takes over for the closing statement with a fierce attack of intense heat preceding the trio’s swift climax.

Up next is Naima, John Coltrane’s beautiful ballad named for his first wife. The trio’s rendition begins with a delicately graceful piano introduction segueing into a breathtaking collective theme. Jones opens the first solo luxuriously, gaining momentum into an enticing ending. Carter displays his abundant skills on a delightful finale complemented by Williams’ gentle brushwork leading to a warm, expressive exit.

Side Two gets underway with a pretty tune by Claus Ogerman, Favors. The ensemble begins with an easygoing midtempo opening chorus. Hank is up first and lets his ideas unfold at a leisurely pace. Ron follows with a relaxing message on the second solo, then Hank and Tony share a carefree conversation leading to the ensemble’s theme reprise and soft close.

The set closes with a blues by Ron Carter, 12 + 12. After the ensemble’s happy melody, Jones kicks off the solos with an utterly joyful performance. Carter also says plenty on an impressively buoyant statement, followed by Williams who speaks last in an exchange with Jones into the theme’s reprise and Tony’s introductions of the group. The album was produced by Kiyoshi Itoh and Yasohachi Itoh. Co-Producer David Baker also was the recording engineer. He’s done a phenomenal job because the sound quality is splendid with an exquisite soundstage placing the listener’s sweet spot in the crowd as the trio’s performing. The only issue is a small typo appearing on the back cover and the Side Two record label of both the Japanese and US releases, Claus Ogerman’s name is mispronounced.

Hank Jones was regarded by critics and fans alike as one of the most gifted musicians in jazz with an extensive discography and a career lasting sixty-six years including thirty-six as a member of The Great Jazz Trio. He passed away on May 16, 2010, at age ninety-one. Ron Carter is a living legend and the most recorded jazz bassist in history. He also plays the cello, is still performing and recording, and just celebrated his eighty-fifth birthday. Tony Williams was one of the best drummers in jazz and for five years provided the power behind The Miles Davis Quintet. He passed away at age fifty-one on February 23, 1997; but leaves a lasting legacy of music as a leader and sideman. If you enjoy live jazz and are a fan of these great musicians, I invite you to check out The Great Jazz Trio At The Village Vanguard. It’s a terrific jazz album with superb performances that is sure to please novice and seasoned jazz fans alike!

~ The Great Jazz Trio At The Village Vanguard, Volume 2 (East Wind EW-8055), ~ The Great Jazz Trio At The Village Vanguard Again (East Wind UCCJ-4001) – Source: Discogs.com ~ Naima – Source: JazzStandards.com ~ Moose The Mooche – Source: Wikipedia.org © 2022 by Edward Thomas Carter

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

Requisites

My Laurie ~ Art Pepper | By Eddie Carter

I’ve listened to and enjoyed the music of Art Pepper for many years. Despite his drug addiction and times spent in prison that interrupted his career, he recorded some great live and studio albums. My Laurie (Trio Records PAP-25037) is a 1978 live performance documenting the final part of a twenty-one-day, nineteen concert Japanese tour by the quartet. It was also the alto saxophonist’s first tour with his group, Milcho Leviev on piano, Bob Magnusson, on bass, and Carl Burnett on drums. My copy used in this report is the 1983 Japanese Mono release.

Side One starts with an original tune from Art’s pen, Ophelia. The quartet gets our fingers popping on the collective melody. Art is up first and sparkles brightly on the opening solo, then Milcho takes an infectiously swinging turn next. Bob comes in and has his say on a lively reading. Carl shares a feisty finale with Art ahead of the ending and the trio’s introductions.

Bésame Mucho by Consuelo Velázquez and Sunny Skylar is one of the most popular and recorded songs in jazz. Pepper stretches himself ambitiously on the vivacious introduction preceding the song’s theme. Art then tugs at our emotions with a heartfelt first solo. Leviev begins the second reading with a tender lyricism that soars briskly to a satisfying finish. Magnusson has a short say next leading to the foursome’s gorgeous exit and the crowd expressing their approval.

My Laurie is Art’s loving tribute to his wife occupying the second side. The ensemble makes a regal introduction into a gentle melody by the altoist. He makes a compelling case with two beautifully expressed readings culminating with appreciative applause from the audience at the song’s end. Sandwiched between Art’s solos is a tender interpretation by Milcho.

The concert was produced by Haruo Serikawa, the recording engineer was Morio Shoya, and the remastering for My Laurie is by James Mooney. The sound quality on Side One is excellent with a vibrant soundstage across the highs, midrange, and low end. On Side Two, there’s a slight bit of harshness during Pepper’s second solo on My Laurie. That said, I hope that won’t dissuade you from seeking out this album for a spot in your library. The highlight for me personally is Bésame Mucho, the quartet gives this old favorite new life with an exceptionally fresh and creative approach. There are three other live records in The Art Pepper Memorial Collection, and I’ll be on the lookout for them. If you’re a longtime fan of his or are just discovering his music, I hope you’ll consider My Laurie by Art Pepper on your next vinyl expedition. He’s in great form here and the rhythm section compliments him splendidly!

~ The Summer Knows, Vol. 2 (Trio Records PAP-25038), I’ll Remember April, Vol. 3 (Trio Records PAP-25041), A Night In Tunisia, Vol. 4 (Trio Records PAP-25044) – Source: Discogs.com ~ Bésame Mucho – Source: JazzStandards.com © 2022 by Edward Thomas Carter

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

Daily Dose Of Jazz…

Nenad Vasilic was born on May 8, 1975 in Niš, Serbia and started playing piano at the age of 5. By twelve he received his first bass guitar and at the age of 15 he enrolled in the Secondary Music School in Niš. When he was 19 he studied contrabass and bass guitar at the Jazz Academy in Graz, Austria.

In 1998 he formed his own band Vasilić Nenad Balkan Band and 1999 saw him in Austria recording his debut album as a leader titled Jugobasija. Since that first outing he has produced albums as a band leader, double bass player and composer, collaborating with jazz singers Mark Murphy and Sheila Jordan, as well as Ritchie Beirah, Peter Ralchev, Vlatko Stefanovski, Wolfgang Puschnig, Bojan Zulfikarpasic, John Hollenbeck, Martin Lubenov, Stjepko Gut, Bilja Krstić, Tamara Obrovac, Lori Antonioli, Amira Medunjanin and others.

Bassist, composer and bandleader Nenad Vasilic continues to explore the possibilities of his music creativity.

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

Requisites

Groovin’ High ~ Hank Jones | By Eddie Carter

This morning’s discussion begins with a 1979 album by Hank Jones recalling the music of Bebop, Groovin’ High (Muse Records MR 5169). Hank was born in 1918 and was one of seven children. His mom sang, and his two older sisters also played piano. His two younger brothers, Thad and Elvin would also become successful jazz musicians. A pianist of great versatility, Hank recorded over sixty albums as a leader and appeared on numerous others as a sideman. The musicians he worked with over his extensive career reads like an Encyclopedia Britannica of Jazz. Hank’s backed by brother Thad Jones (tracks: A2, A3, B1 to B3) on cornet, Charlie Rouse (tracks: A2, A3, B2, B3) on tenor sax, Sam Jones on bass, and Mickey Roker on drums. My copy used in this report is the original US Stereo album.

Side One opens with a tune by Dizzy Gillespie titled Algo Bueno. If you don’t recognize the name, it’s better known as the jazz standard, Woody‘n You. The trio is firing on all cylinders from the start of the brightly swinging melody. Hank is up first and delivers evident enjoyment on the keys. Sam walks the bass next in a cheerful and lively performance before the threesome regroups for the ending. Anthropology by Dizzy Gillespie and Charlie Parker takes the tempo upward on the quintet’s melody. Charlie and Thad share solo duties on the lead solo, then each gives an individual statement. Hank responds with some vivacious notes next, followed by Sam and Mickey who contribute two concise comments ahead of the closing chorus.

Sippin’ at Bells by Miles Davis is up next and receives a samba treatment beginning with the quintet’s danceable theme after a brief trio introduction. Charlie takes the lead and displays incredible warmth in the opening statement. Sam steps up next for an attractive performance, followed by Thad who offers a superb example of choice notes in the third solo. Hank has the final word and closes with an especially lovely interpretation into the group’s exit. Blue Monk is the first of three tunes by Thelonious Monk in this set. The first side finale opens with the ensemble paying homage to a tune Monk recorded the most. Hank begins with an alluring reading, then Sam’s closing statement adds some gentle lines leading to the climax.

Dizzy Gillespie’s jazz standard, Groovin’ High begins Side Two as a quartet performance with Thad establishing a nice momentum on the theme using a mute. He continues with an endearing opening performance that winks to Dizzy as it unfolds. Hank breezes into the second reading making a profound impression, and Mickey exchanges a brief conversation with Thad and Hank before the close. Monk’s second contribution, I Mean You is a lively little jam affording everyone a solo opportunity and gets underway with the ensemble’s spirited theme. Rouse gets into a vivacious groove on the first reading. Thad swings sprightly on the second solo, then Hank comes next with an impressive interpretation. Sam follows with some solid bass lines and Mickey fuels the finale with some brisk brushwork.

Monk’s Jackie-ing starts deceptively at a relaxed tempo with the quintet playing a march, then Thad delivers some exciting fireworks on the first solo. Charlie cooks for a few scintillating choruses next. Hank shifts into high gear on the third reading and Mickey takes us home with a fiery finale culminating with the group’s reprise and slow fade. Groovin’ High was produced by Fred Seibert and Rudy Van Gelder was the man behind the dials. The sound quality of this album is first-rate. The instruments come alive with an impressive soundstage for an album that’s over four decades old. If you enjoy jazz piano, are a Bebop fan, or are just discovering this talented musician, I invite you to audition Groovin’ High by Hank Jones for a spot in your library. It’s a thoroughly entertaining album that’s a pleasure to hear any time of the day or evening!

~ Blue Monk, Groovin’ High, Woody’n You – Source: JazzStandards.com ~ Anthropology – Source: Wikipedia.org © 2022 by Edward Thomas Carter

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