Daily Dose Of Jazz…

Sameer Gupta was born July 1, 1976 in San Francisco, California. Now based in Brooklyn, New York he is a co-founder of Brooklyn Raga Massive, the jazz ensemble The Supplicants and drummer for the Marc Cary Focus Trio.

He has also worked with vidyA, Kosmic Renaissance, Grachan Moncur III, Victor Goines, Vincent Gardner, Sekou Sundiata, Sonny Simmons, Marcus Shelby, Calvin Keys, Richard Howell, Dayna Stephens, and Julian Lage.

Percussionist, tabla player, and composer Sameer Gupta continues to compose, perform and record.

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Requisites

Great Encounters ~ Dexter Gordon | By Eddie Carter

Dexter Gordon steps into the spotlight for this report with two sessions making up the album, Great Encounters (Columbia JC 35978). Side One consists of two tracks recorded live at Carnegie Hall on September 23, 1978. The three tracks on Side Two were recorded at CBS Recording Studios on May 1, 1978, and January 26, 1979. The personnel appearing with Dexter on this record are Woody Shaw on trumpet, Curtis Fuller on trombone, and Eddie Jefferson on vocals (tracks: B1, B3), Johnny Griffin on tenor sax (tracks: A1, B1), George Cables on piano, Rufus Reid on bass, and Eddie Gladden on drums.  My copy used in this report is the 1979 US Stereo album.

Blues Up and Down was written in 1950 by Gene Ammons and Sonny Stitt.  This tune is the epitome of the terms, “blowing session”, or “cutting session”, and was first heard on Battle of The Saxes. Both saxophonists begin the melody at a blistering speed. Dexter gives a lengthy performance rivaling the speed of Indy 500 race cars. Johnny responds with an amazing quickness on the next reading.  Dex and Griff continue sparring with each other vigorously until the climax.  Cake, a Gordon original, was written in 1962, premiering on his album Go, as Cheese Cake. The trio makes an efficient introduction, then both horns work together on the melody. Gordon goes first with a heated reading. Griffin delivers the second solo with the impact of a brick through a plate-glass window and Gladden has a brief conversation with both saxes into the close.  Both songs also appear on the CD album, Live at Carnegie Hall (1998).

The mood changes to start Side Two with a rollicking rendition of Gordon and Jefferson’s original Diggin’ In. The front line gets the party started with a lively introduction, then Jefferson stokes the engines with an impressive vocal melody and an exchange with Dexter on the lead solo. The saxophonist takes over for a jubilant reading that swings like mad. Woody comes in next to fuel the rhythm section with fire from his horn. Curtis gets the last word with an enthusiastic presentation. Ruby My Dear was written by Thelonious Monk in 1947 and appeared on Genius of Modern Music (1952). Lyrics were added by Sally Swisher for Carmen McRae who sang it on her tribute album, Carmen Sings Monk (1990). Gordon’s opening statement is picturesque, lovely, and elegantly presented. Cables expresses a haunting dreaminess on the second reading ahead of a gentle climax.

It’s Only a Paper Moon was written in 1933 by Harold Arlen, E.Y. Harburg, and Billy Rose.  The song starts on a joyous introduction by the trio segueing into the lively opening chorus by Dexter. Eddie creates pure pleasure in a vigorous vocal interpretation. Dex is inspired on the following statement, then Woody has a brief uptempo improvisation that’s especially gratifying. George communicates his excitement next on a short statement and Curtis hits a perfect stride with a concise comment before the ending. The choice of using Jefferson for this album happened when Dexter met up with him at The Tin Palace after performing at The Village Vanguard. My only regret is that he couldn’t be used for the entire album instead of just two tracks. Eddie was an innovator of Vocalese, his treatments of classic songs and ballads were fresh and exciting, possessing a tremendous fire and imagination.

Six months after this recording session, Eddie Jefferson was shot and killed after leaving Baker’s Keyboard Lounge in Detroit, Michigan on May 8, 1979, by a disgruntled dancer he fired. The engineers behind the dials on Great Encounters are Tom Arrison (tracks: A1, A2), Don Puluse (track: B1), and Jerry Smith (tracks: B2, B3).  The live and studio tracks are wonderfully recorded with a stunning soundstage that places the listener in the concert venue and the studio.  If you’re a fan of Dexter Gordon, Great Encounters is an underrated album of wonderful performances that I recommend for your library, and it might just become one of your favorites!

~ Vocalese – a musical composition consisting of the singing of melody with vowel sounds or nonsense syllables rather than text, as for special effect in classical compositions, in polyphonic jazz singing by special groups, or in virtuoso vocal exercises. Source: Dictionary.com

~ Battle of The Saxes (Prestige PRLP 107), Carmen Sings Monk (Novus 3086-1-N), Extensions (Atlantic SD 19258), Genius of Modern Music (Blue Note BLP 5002), Go (Blue Note BLP 4112/BST 84112), Live at Carnegie Hall (Columbia Legacy CK 65312) – Source: Discogs.com ~ Eddie Jefferson, It’s Only a Paper Moon, Ruby My Dear – Source: Wikipedia.org ~ © 2021 by Edward Thomas Carter

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Requisites

To Duke With Love~Art Farmer | By Eddie Carter

I was looking for something to play a few nights ago when I came across a 1976 album by one of my favorite trumpet players, Art Farmer.  To Duke With Love (East-West EW-8012) is this morning’s choice from the library submitted for your consideration.  I’d forgotten how much I enjoyed this record and after listening, began writing about it for this week’s column.  This album was one of my Mom’s favorites and she loved the velvety softness of Art’s flugelhorn.  It was because of her love of jazz and the joy of listening to the albums together that I became a fan also.  Art plays the flugelhorn exclusively on this six-song letter to Duke Ellington and he’s working with a brilliant trio, Cedar Walton on piano, Sam Jones on bass, and Billy Higgins on drums.  My copy used in this report is the 1978 Stereo reissue (Inner City Records IC 6014).

Arthur Stewart Farmer’s first album as a leader was Work of Art (1954).  He co-led The Jazztet with Benny Golson from 1959 to 1962.  After the group disbanded, he had a successful twenty-year solo career until the band reformed in 1982 to 1986.  Art reunited with The Jazztet again during the nineties to perform live at various festivals.  He was comfortable in any setting and could play anything, on an uptempo tune, Farmer played vigorously with a fiery passion.  At midtempo, his gift of expression was precisely defined, and with slow-tempo ballads and standards, Art skillfully constructed them with innocence and romanticism.

Cedar Walton was an immensely gifted and prolific pianist who typically built perfect solos from simple ideas, proving himself an exemplary accompanist and versatile leader in large ensembles and small groups.

Sam Jones had a beautiful sound on bass with a splendid technique and a marvelous grasp of harmony, he’s best known as one-third of the rhythm section in The Cannonball Adderley Quintet and Sextet.  Sam was among the first to make the cello sound plausible on a jazz album, and his bass lines always enhanced any record as the leader of the date or as a sideman.  Billy Higgins was the drummer of choice on some of the most memorable Hard-Bop and Free Jazz recordings.  He appeared on over seven hundred records including Funk and Rock albums.  There was an unmistakable power in his playing, but when called upon, Billy’s drumming could also be considerate and thoughtful, and he brought his A-game every time he sat behind the drums.

Side One opens with the 1935 jazz standard, In a Sentimental Mood by Duke Ellington and Manny Kurtz.  Art makes an enticingly delicate introduction to the melody, then takes the lead on a slow and sultry statement.  Cedar follows with an impressively tender interpretation into the foursome’s luscious close.  The 1931 Duke Ellington, Irving Mills standard, It Don’t Mean a Thing begins with an energetic introduction by Jones backed by just Higgins before Farmer and Walton come in to state the theme.  Walton takes off first with a briskly stated opening chorus after a brief riff by Higgins.  Farmer follows, adding some searing heat on the next performance.  Jones gets the last word with an exuberant closing statement ahead of the quartet’s exit.

The Star-Crossed Lovers appeared on Such Sweet Thunder (1957) as part of a twelve-part suite based on the works of William Shakespeare.  This Duke Ellington, Billy Strayhorn tune gives Farmer a showcase to emerge ever so gently on the theme after a luscious introduction by Cedar.  Art gives a pretty presentation as sweet as Johnny Hodges achieved on the original song.  Cedar also performs beautifully on a gorgeous finale before the coda.  Duke Ellington’s The Brown Skin Girl In The Calico Gown was first recorded by Duke and Ella Fitzgerald on Ella at Duke’s Place (1965).  It starts Side Two with a duet by Farmer and Jones, segueing into the ensemble’s touching theme.  Farmer has the first spot with an attractive interpretation.  Walton takes the reins next and is enchanting preceding the unison ending.

The standard Lush Life is afforded a slow, meditative treatment on the opening chorus.  Billy Strayhorn wrote the song in 1933 but fine-tuned it until 1938 when he performed it for Ellington.  The song’s lyrics describe the author’s weariness of the nightlife after a failed romance.  Art paints from a seductive palette of delicacy and elegance on the first solo.  Cedar infuses the next reading with a tender expression of love, culminating an exquisite rendition.  The album wraps with Duke Ellington’s Love You Madly, written in 1950 and featured on Duke’s Big 4 (1974).  After a short Walton introduction, the ensemble provides a happy aura led by Farmer who grooves at midtempo on the melody and lead solo.  Walton eases into a medium groove on the final reading that’s an absolute joy.

To Duke With Love was recorded in 1975 by East-West Music in Japan, less than one year after Ellington passed away.  The engineer is Ben Taylor and Stan Ricker mastered the album at JVC Cutting Center.  It has an excellent soundstage, effectively capturing the essence of Art’s tastefully restrained tone.  Farmer recorded over sixty albums as a leader, over seventy as a sideman, and an additional twelve as a member of The Jazztet.  He passed away from a heart attack on October 4, 1999, at age seventy-one.  If you’re a fan of Art Farmer and in the mood for some soothing jazz, To Duke With Love is a great session honoring one of the greatest composers of all time, Duke Ellington.  It’ll repay its owner with many listens for years to come and I highly recommend it for a spot on your shelf! ~Duke’s Big 4 (Pablo 2310-703), Ella at Duke’s Place (Verve Records V-4070/V6-4070), Such Sweet Thunder (Columbia CL 1033) – Source: Discogs.com ~In a Sentimental Mood, It Don’t Mean A Thing, Lush Life – Source: JazzStandards.com ~Art Farmer, The Star-Crossed Lovers, The Brown Skin Girl In The Calico Gown, Lush Life, Love You Madly – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

The Kenny Drew Trio steps into the spotlight for this morning’s discussion with their 1980 album, Ruby My Dear (SteepleChase Records SCS 1129). This was Kenny’s fourth release on the Danish label using a trio format, the first three are Dark Beauty (1974), If You Could See Me Now (1975), and Morning (1976). Here, Drew’s working with David Friesen on bass and Clifford Jarvis on drums.  My copy used in this report is the US Stereo album sharing the Danish catalog number.

Kenny began playing the piano at age five, and later attended the High School of Music & Art. His first recording was with Howard McGhee. He’s also worked with John Coltrane, Buddy DeFranco, Johnny Griffin, Coleman Hawkins, Charlie Parker, Buddy Rich, Dinah Washington, and Lester Young among others. Drew also led his own groups throughout the fifties and has an extensive discography as a leader and sideman. Bassment, an uptempo original by Kenny launches Side One with an exciting introduction into a spirited melody. The leader’s opening solo sizzles right from the start, then David ends with an effective climax into the threesome’s closing chorus.

Thelonious Monk composed some of the most evocative standards in jazz and Ruby My Dear is one of his most beautiful songs. It’s named for Monk’s first love, Rubie Richardson, and was originally released in 1947, then later reissued on Genius of Modern Music, Volume 1 (1952). The trio starts the melody speaking elegantly, then Drew provides a solo of serene beauty into an intimate coda. Gentle Rain possesses a Bossa Nova flavor as originally intended by its creator, Luis Bonfá who wrote it with Matt Dubey. It premiered in The Gentle Rain that Bonfá scored with Eumir Deodato a year later. The group’s theme is sweet and lovely. Kenny swings softly on the only reading with an enchanting reading.

Side Two starts with Kenny’s Ending. This very pretty ballad opens with a short introduction by the trio preceding an elegant melody. Drew cultivates a very beautiful tone into a memorable interpretation. Friesen delivers the closing performance with easy assurance, ending with a tranquil finale. Sunspots by Austin Wells gets underway with a very pretty introduction of gentle cascades on the piano, gradually growing to a lively frolic on the opening chorus. Kenny starts the solos with a lengthy interpretation that’s a work of art. David steps in next for a rousing statement of effortless artistry. Clifford has an invigorating exchange with the leader and bassist on a breathtaking finale ahead of a soft climax.

Ruby My Dear was produced by SteepleChase Records’ Founder Nils Winther and the man behind the dials is Freddy Hansson. Both men put their talents to great use because the sound quality is astonishing with superb fidelity, placing the trio in your listening room to fill your ears with excellent music. If you’re seeking some outstanding bop for your library, I enthusiastically offer for your consideration, Ruby My Dear by The Kenny Drew Trio. It’s a perfect introduction to Drew’s music for newcomers, and an exceptional companion to his other three albums as well!

~ Dark Beauty (SteepleChase SCS-1016), Genius of Modern Music, Volume 1 (Blue Note BLP 5002), If You Could See Me Now (SteepleChase SCS-1034), Morning (SteepleChase SCS-1048), Ruby My Dear (Blue Note 549) – Source: Discogs.com ~ Kenny Drew, Ruby My Dear – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

My first choice from the library for April is by one of the hidden stars of jazz. His name was Roger Wendell Hill, but everyone would know him by his nickname Buck. Hill began his professional career as a musician in 1943 while working as a Washington D.C. mailman. Buck first worked with Charlie Byrd in the late fifties, later appearing on albums by Shirley Horn, Alan Houser, and Shirley Scott. He also performed with Miles Davis, Dizzy Gillespie, Max Roach, and Sonny Stitt but didn’t record as a leader until the late seventies. Buck also played the clarinet and soprano sax, but the tenor sax was his primary instrument. This Is Buck Hill (SteepleChase Records SCS 1095) is a 1978 release offering all the excitement and energy of an after-hours jam session. He’s working with an outstanding rhythm section, Kenny Barron on piano, Buster Williams on bass, and Billy Hart on drums. My copy used in this report is the 1978 US Stereo album.

Side One starts with Tokudo, an original by Buster Williams that the bassist would record again a year later on his album, Heartbeat. This tune begins at a brisk tempo for the melody, and everyone is afforded a solo opportunity. Buck delivers the goods with aggressive momentum on the first presentation. Kenny shifts into high gear on the next reading. Buster dips into a soulful groove on the third statement, and Billy gives a dazzling performance before the out-chorus. Yesterdays by Jerome Kern and Otto Harbach is one of the most recorded jazz and pop compositions since its creation in 1933. The group swings at a medium tempo on the main theme. Hill gradually builds the excitement on the first statement to a sensational climax. Barron offers a beautiful sentiment in the next reading. Williams swings to a groovy beat preceding a luscious ending.

A blistering introduction by Billy begins Oleo by Sonny Rollins. The foursome gets things underway with a very quick melody. Buck takes off like the Road Runner for a high-octane fast ride including three unaccompanied verses of white heat. Kenny powers the next interpretation with energetic exertion, then Billy has a final furious exchange with Buck culminating into a brilliant climax.

Side Two begins with the first of three selections by the leader. I’m Aquarius is a beautiful ballad that originally appeared in a suite on trumpet player Alan Houser’s 1973 album, No Samba.  It opens elegantly with a cascading flow of tenderness from Barron segueing gently into the melody with Hill directing the ensemble softly. The tenor remains tastefully restrained on the opening statement.  Kenny closes with a delicate sensitivity leading to a sultry coda.

S.M.Y. is a lively original possessing an irresistible beat exuding happiness from the first notes of the opening chorus. The saxophonist starts the ball rolling with some vigorous blowing. Kenny digs in for some good rocking jazz next, then Buck supplies an abundant supply of high-voltage current into the theme’s reprise. The album closes with Two Chord Molly, an uptempo tune allowing everyone except Hart to contribute lengthy readings. The trio lays down a swinging line on the introduction with Hill providing vast amounts of energy to the festive melody. Barron delivers an enthusiastically rigorous lead solo. Buster gets down to business next with an intense workout. Buck accelerates on the closer producing electrically charged notes. During Hill’s statement, you can hear someone commenting (I’m sure positively) on his performance.

The man behind the controls is Elvin Campbell, whose work can be heard on many jazz albums. This record is well recorded, and the highs, midrange, and bottom end are all very detailed with an excellent soundstage and crystal-clear clarity. Buck recorded three more albums for SteepleChase, Scope (1979), Easy To Love (1982), and Impressions (1983). Hill passed away at age ninety on March 20, 2017. You’d never suspect this was the quartet’s first recording together because the music is excellent, and their interaction is seamless. Buck also meets the challenge of writing good compositions with strong performances inspired by Kenny Barron, Buster Williams, and Billy Hart. On your next vinyl hunt, I’ll hope you’ll consider This Is Buck Hill for a spot in your library. He was a veteran jazzman who certainly deserves a place alongside the greatest to ever blow the tenor saxophone! ~ Easy To Love (SteepleChase SCS-1160), Heartbeat (Muse Records MR 5171), Impressions (SteepleChase SCS 1173), No Samba (Straight Ahead ARS 001), Scope (SteepleChase SCS 1123) – Source: Discogs.com ~ Oleo, Yesterdays – Source: JazzStandards.com ~ Alan Houser, No Samba – Source: Album liner notes by J.R. Taylor ~ Roger Wendell Hill, Tokudo, Heartbeat, Scope, Easy To Love, Impressions, Elvin Campbell – Source: AllMusic.com, Wikipedia.org © 2021 by Edward Thomas Carter

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