Requisites

Tune~Up! ~ Sonny Stitt | By Eddie Carter

Sonny Stitt was equally fluent on alto sax (tracks: A2, A4, B2, B3) and tenor sax (tracks: A1, A3, B1, B3) with a pure tone that could be carefree, fiery, or seductive. This morning’s choice from the library is a superb example of him at his best. Tune-Up! (Cobblestone CST 9013) is an excellent 1972 quartet session anchored by Barry Harris on piano, Sam Jones on bass, and Alan Dawson on drums. Stitt’s birth name was Edward Hammond Boatner, Jr. and he came from a musical family. Sonny’s father sang baritone, was a composer, and was a college music professor. His mom taught piano, and his brother was a classically trained pianist. He was later adopted by a family named Stitt and gave himself the name Sonny. The musicians he’s played with reads like the encyclopedia of jazz. Stitt’s also recorded over one hundred albums as a leader and sideman. My copy used in this report is the original US Stereo album.

Side One opens with a speedy rendition of Tune-Up by Miles Davis. Sonny’s tenor sax is emotionally charged from the start of the melody. He launches a ferocious workout on the first statement at breakneck speed. Barry is up next for a vigorously energetic reading leading to a final heated discussion by the leader before the quartet’s exit. I Can’t Get Started by Vernon Duke and Ira Gershwin is a gorgeous song from the film, Ziegfeld Follies of 1936. Stitt’s on alto sax for this tune and shows profound respect to the standard beginning with a thoughtfully tender opening chorus and lyrically beautiful serenade. Harris indulges in nostalgic reminiscing and reflection on the second interpretation and Jones follows with a delicately pretty performance. Stitt makes a genuinely touching and gracefully poignant presentation into the group’s charming climax.

Idaho by Jesse Stone was composed in 1942 and pays homage to the state. This original starts at a jaunty tempo with a cheerful melody. Sonny steps up first with a high-spirited opening statement. Barry takes the reins next for a concise performance of nimble agility. The saxophonist adds a brief bit of fire to the tune with a fitting closer ahead of the quartet’s exit. Side One closes on an upbeat note with a popular song about two lovers who are now Just Friends. It was written in 1931 by John Klenner and Sam M. Lewis. Stitt leads the group through a brisk melody, then kicks it up a notch on the opening chorus with combustible bop chops. Harris fills the second solo with a restless, bristling energy, matched by the rhythm section’s swinging support. Stitt brings out the best on a few final vivacious thoughts preceding the quartet’s closing moments.

Side Two opens on the saxophonist’s slow blues tribute to Lester Young and Charlie Parker, Blues For Prez and Bird. The trio begins with a soulful introduction, then Sonny applies an appropriately warm tone to the melody and first interpretation. Barry is especially endearing on a short statement that swings softly. Stitt arrives at a beautiful conclusion after speaking with deep emotion on the finale. Dizzy Gillespie’s Groovin’ High is a 1945 uptempo standard from the book of Bebop. The quartet comes out cooking on the opening chorus, then Stitt shifts into another gear with a dazzling reading of sheer exuberance. Harris also shows remarkable nimbleness on the second performance matching the saxophonist step for step. Stitt slices through the closing statement with razor-sharpness before the ensemble’s vigorous climax.

I Got Rhythm by George and Ira Gershwin is a jazz standard that was introduced in the musical Girl Crazy (1930). The ensemble deceptively starts slowly at the song’s bridge, rather than the beginning. Sonny has the first solo, erupting on tenor sax with the dynamic force of an active volcano. Barry takes over on the second statement with a fierce intensity, then Stitt kicks up a storm on alto sax for the next presentation. Jones makes a concise comment preceding Stitt ending the song on tenor the way it began. Tune-Up! was produced by Don Schlitten and recorded by Paul Goodman. The album has an exceptionally good soundstage with great clarity throughout the highs, midrange, and bass. If you’re in the mood for an outstanding album of alto and tenor sax, I proudly recommend and submit for your consideration, Tune-Up! by Sonny Stitt. He’s in top form here, and every track’s a winner!

~ I Can’t Get Started, Just Friends, Groovin’ High, I Got Rhythm – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Daily Dose Of Jazz…

Duane Andrews was born November 30, 1972 in Carbonear, Newfoundland and Labrador and grew up exposed to the island’s mélange of cultural influences and his development as a guitarist reflects that. After graduating from the Jazz Studies program at St. Francis Xavier University with honours, he spent several years studying contemporary music composition at the Conservatoire International de Paris and at the Conservatoire National de Region in Marseille, France.

He combines traditional Newfoundland folk music with jazz similar to the way that guitarist Django Reinhardt infused jazz with Manouche influences. He is a composer for film and television, and has recorded thirteen albums as he continues to compose and explore music.

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Daily Dose Of Jazz…

Ariel de la Portilla was born on November 10, 1975 in Matanzas, Cuba where he lived until immigrating with his parents to Miami, Florida when he was five. Growing up in the Little Havana neighborhood he was surrounded by the sounds of Cuban and Brazilian music as well as simultaneously experiencing American music and culture that gave his childhood a distinctly unique dichotomy that later proved to have become a crucial aspect of his life, education, and musical identity.

After graduating from high school in 1994, he left Miami to pursue his interests in the double bass. Awarded a music scholarship to the Cincinnati Conservatory of Music at the University of Cincinnati, he dedicated most of his time to studying classical bass and jazz. He remained at CCM until recruited by the University of Miami in 1996 to study under the instruction of Don Coffman, Matt Bonnelli and Lucas Drew.

Since arriving in New York City, he has performed with jazz and Latin musicians including Ray Vega, Dave Valentin, Patato Valdez, Candido Camero, Edy Martinez, Willie Martinez, Peter Erskine, Eddie Daniels, and Sonny Bravo.

Bassist Ariel De La Portilla is currently a member of the Ze Luis Quartet and a new conceptual guitar trio, Lengua Moderna.

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Requisites

The Wes Montgomery Trio | By Eddie Carter

“It wouldn’t be easy,” I thought to myself. Other reviewers have been crafty, cunning, and just as resourceful when writing about Wes Montgomery. “What could I say, that hasn’t already been said about one of the true innovators on the guitar?” Staring at the blank page and flashing pointer on the computer screen, I anxiously awaited an answer that never came. I took one of my favorite albums down from the shelf to listen to after writing a review, placed the record on the turntable, and began to listen. The Wes Montgomery Trio (Riverside RLP 12-310/RLP 1156) was recorded and released during that magical year of 1959 shortly after he relocated from Indianapolis, Indiana to New York City. The other members of his trio are Melvin Rhyme on guitar and Paul Parker on drums. My copy used in this report is the 1975 Riverside Original Recording Series Japanese Stereo reissue (SMJ-6080) by Victor Musical Industries, Inc.

Side One opens with one of the greatest jazz standards ever recorded, ‘Round Midnight by Thelonious Monk, Cootie Williams, and Bernie Hanighen. The trio begins with an elegantly tender introduction by Wes that flows softly into a graceful theme with Melvin and Paul trailing him ever so gently. Montgomery is the only soloist and gives a mesmerizing interpretation with the delicacy of fine porcelain figurines preceding the ensemble’s heartwarming finale. Yesterdays by Jerome Kern and Otto Harbach was an instant hit after the Broadway musical, Roberta (1933), and remains an enduring standard to this day. The trio starts with a beautifully constructed, bluesy melody. The guitarist takes the reins again for the song’s only interpretation and unfolds an infectious performance that’ll have the listener snapping their fingers and tapping their toes.

The End of a Love Affair is from the pen of Edward C. Redding and was written in 1950. It’s a marvelous song that hasn’t been over-recorded. Wes would revisit it a few years later on Goin’ Out of My Head (1966) backed by The Oliver Nelson Orchestra. The group’s rendition is uptempo with Wes in front on the melody, then making use of his octaves and chords for an effervescent first solo. Melvin dances over the pedals on the next reading leading to the exit. Benny Golson wrote Whisper Not in 1956 while he was with The Dizzy Gillespie Big Band. It’s one of his most recorded compositions and the trio starts with a warm and mellow theme. Wes starts the soloing at a low glow and Melvin adds a modest comment before the close. Ecorah by Horace Silver is also taken at midtempo, and one can’t help but marvel at the trio’s collective improvisation during the first and final choruses.

The inspiration for Satin Doll by Duke Ellington, Billy Strayhorn, and Johnny Mercer comes from a famous black stripper who used the song’s title as her stage name. The trio pays homage to the standard with a happy theme and closing chorus that’s sure to put a smile on your face with its catchy beat. Melvin shows off a wonderful articulation on the first reading, followed by Wes who keeps things swinging with some relaxed cooking on the closer. Missle Blues, the first of two tunes by Montgomery, is named after the Indianapolis club he played in. This mid-tempo original begins with a compelling swing that the ensemble states proficiently in the melody. Melvin and Wes are the featured soloists and the organist opens with a velvety smooth interpretation. Wes strolls into the closing performance at a casual flow punctuated by Paul’s brushwork.

Too Late Now by Burton Lane and Alan Jay Lerner is a very lovely standard beginning with a collective, wistful opening chorus. Montgomery refreshes this chestnut with a breathtaking lead solo tinged with melancholy. Melvin expresses a remorseful answer to the guitarist ahead of the trio’s elegant closing thoughts culminating with a delicate climax. Wes’ Jingles ends the album allowing each member solo space beginning with Rhyme who cruises happily on the melody and first solo. Wes gets into a swinging groove on the second statement, and Paul has a quick exchange with Melvin and Wes leading to the reprise and finale. Jack Higgins engineered the original recording and Victor’s remastering of the tapes is nearly perfect. The sound quality is excellent, but on Jingles, both the guitar and organ are miked too strongly and there’s a bit of harshness on both solos and the out-chorus.

In fairness to Victor, I think this miking error may have happened during the original recording. That issue aside, the rest of the album’s sound is superb and worth auditioning for a spot in your jazz library. Wes Montgomery influenced countless guitarists with his creativity, innovation, and outstanding technique. Many have paid homage to him with original songs and tribute albums and whether working with big bands, small groups, or strings, his playing showed he could converse musically in any setting. He passed away from a heart attack on June 15, 1968. If you’re a fan of Wes Montgomery and enjoy jazz guitar, The Wes Montgomery Trio is a great album for any enthusiast and perfect for listening any time of the day or night!

~ Dizzy Gillespie and His Orchestra (Fanfare N 46 146); Goin’ Out of My Head (Verve Records V-8642/V6-8642) – Source: Discogs.com ~ Dizzy Gillespie and His Orchestra – Source: JazzDisco.org ~ ‘Round Midnight, Yesterdays, The End of a Love Affair, Whisper Not, Satin Doll, Too Late Now – Source: JazzStandards.com ~ Wes Montgomery – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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The Quarantined Jazz Voyager

As the Delta variant cases are increasing and vaccinations have leveled out masking and social distancing remain the modus operandi of the day. In my continuation of revisiting albums I have in my collection. So this week I turn to George Benson and his 1972 recording White Rabbit. It was recorded on November 23, 24 & 30, 1971 at Van Gelder Studio in Englewood Cliffs, New Jersey. The album was produced by Creed Taylor, engineered by Rudy Van Gelder and Don Sebesky did all the arrangements. The album cover was designed by Bob Ciano and the cover photography was taken by Pete Turner. The original cover photo was of a Pondo tribe woman that he photographed in South Africa in 1970.

Don Sebesky brought the title track to Taylor and Benson’s attention as Benson had never heard of Jefferson Airplane or Grace Slick. However, Benson doesn’t read music, he just heard the song and automatically fell into the groove, proving that music doesn’t exist on the page, only in the air. White Rabbit was his second CTI Records project and his first Grammy Award nomination in the category of Best Jazz Performance by a Group. This continues to be one of my road trip albums.

Track Listing | 36:18
  1. White Rabbit (Grace Slick) ~ 6:55
  2. Theme From Summer Of ‘42 ( Michel Legrand) ~ 5:08
  3. Little Train | from Bachianas Brasileiras (Heitor Villa~Lobos) ~ 5:47
  4. California Dreamin’ (John Phillips, MIchelle Phillips) ~ 7:22
  5. El Mar | The Sea (George Benson) ~ 10:49
Personnel 
  • George Benson ~ guitar
  • Jay Berliner ~ Spanish guitar
  • Earl Klugh ~ acoustic guitar (5)
  • Herbie Hancock ~ electric piano
  • Ron Carter ~ electric bass (1, 3), double bass (2, 4, 5)
  • Billy Cobham ~ drums
  • Airto Moreira ~ percussion, vocals
  • Phil Kraus ~ vibraphone, percussion
  • Gloria Agostini ~ harp
Woodwinds
  • Phil Bodner ~ flute, alto flute, oboe, english horn
  • Hubert Laws ~ flute, alto flute, piccolo, flute solo (1)
  • George Marge ~ flute, alto flute, clarinet, oboe, English horn
  • Romeo Penque ~ english horn, oboe, alto flute, clarinet, bass clarinet
  • Jane Taylor ~ bassoon
Brass
  • Wayne Andre ~ trombone, baritone horn
  • Jim Buffington ~ french horn
  • John Frosk ~ trumpet, flugelhorn, trumpet solo (1, 5)
  • Alan Rubin ~ rumpet, flugelhorn

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