Requisites
Midnight Sugar ~ Tsuyoshi Yamamoto Trio | By Eddie Carter
This morning’s choice from the library is one of my absolute favorites because each time I hear it, I’m transported back to one of my happiest memories as a young adult. If any of you lived in Cleveland, Ohio during the seventies and eighties, Audio Craft at 3915 Carnegie Avenue was the place to go if you wanted to purchase a quality entry-level, mid-level, or high-end audio system. My uncle Bob Franks was the manager there for many years and I got to help him on Monday and Thursday evenings, and each Saturday. He was instrumental in teaching me about excellent audio equipment, helping me put together my first system, and introducing me to The Tsuyoshi Yamamoto Trio.
Midnight Sugar (Three Blind Mice TBM-23) is the group’s 1974 debut for the Japanese jazz label and has long been a favorite to demonstrate high-end audio equipment at audio shows and audio salons worldwide. It’s also become a collector’s item, a mint original LP or the 1977, 1979, and 1982 Stereo reissues can cost a few hundred dollars. Joining the pianist are two giants in their own right, Isoo Fukui on bass and Tetsujiro Obara on drums. My copy used for this report is the 1977 Japanese Stereo reissue (Three Blind Mice TBM-2523) and LP collectors take note. Only the 1977, 1979 (TBM(P)-2523) and 1982 (Trio Records – Three Blind Mice PAP-2006) reissues list the group’s name as Tsuyoshi Yamamoto Trio. All other LP reissues and the original release show the pianist’s last name first.
Midnight Sugar is a slow tempo blues beginning Side One with a brief bowed bass introduction by Isoo before Yamamoto takes over on the melody. Tsuyoshi is the only soloist and is at his best on a lengthy interpretation that’s sublimely soulful and one of the highlights on the album, thanks to the rhythmic harmony provided by his colleagues. I’m A Fool To Want You was written in 1951 by Frank Sinatra, Jack Wolf, and Joel Herron. Sinatra recorded the song for Columbia Records, making it a hit. It opens with a graceful introduction and wistful delivery of the melody. The pace moves to midtempo for Yamamoto’s solo performance and he responds with a mesmerizing display and emotional depth preceding the closing chorus ending with fingertip delicacy.
The Nearness of You starts Side Two and was written in 1937 by Hoagy Carmichael and Ned Washington. It became a hit for Ray Eberle who recorded it with The Glenn Miller Orchestra in 1940. The trio dresses up this timeless evergreen with a blissful theme treatment and a sentimental swing on the song’s only interpretation by Yamamoto drawing the listener into this beautiful standard at a leisurely pace. It Could Happen To You is by Jimmy Van Heusen and Johnny Burke, this popular song was written in 1943 and was first recorded by vocalist Jo Stafford with the Paul Weston Orchestra. Its first film appearance was in the 1944 musical comedy And The Angels Sing. The trio’s interaction is stunning on the dreamy melody. Tsuyoshi’s reading is skillfully constructed with tender lyricism on one of the most beautiful ballads ever written.
The album closes with Yamamoto’s Sweet Georgia Blues, an uptempo original sharing some similarities with the 1925 jazz and pop classic, Sweet Georgia Brown by Ben Bernie, Ken Casey, and Maceo Pinkard. It opens with a vivacious theme by the trio, then a brief comment preceding Obara giving a short workout of explosive fireworks. Tsuyoshi wraps up the album with a few final remarks of fun leading to the lively closing chorus.
Three Blind Mice began in 1970 with the premise of showcasing emerging jazz artists. The label produced one-hundred thirty albums over thirty years and was known for their outstanding sound. TBM also was instrumental in the development of Japanese jazz. Many of the stars from Japan now known around the world recorded their debut albums on the label. The album was produced by Takeshi Fujii who ran TBM for many years and recorded by Yoshihiko Kannari, the distinguished Japanese engineer who worked for TBM at the time, and now runs his own organization, Studio Lion since 2000.
The sound on Midnight Sugar is spectacular and a perfect choice to demonstrate any mid-level or high-end audio system. Your sweet spot is right in the studio with the musicians because of the incredible lifelike detail coming from the piano, bass, and drums. Tsuyoshi Yamamoto has an incredible discography of music, is still performing today and all of his albums on Three Blind Mice are worth occupying a spot in your library. If you’re looking for a jazz trio album for the library or are a fan of piano jazz specifically, I happily submit for your approval, Midnight Sugar by Tsuyoshi Yamamoto Trio. An album that’s quite a value for the music, sound quality, and a title that’ll provide its owner many hours of listening pleasure.
~ I’m A Fool To Want You (Columbia 39425); It Could Happen To You (Capitol Records 158); ~ The Nearness of You (Bluebird B-10745) – Source: Discogs.com
~ It Could Happen To You, The Nearness of You – Source: JazzStandards.com
~ I’m A Fool To Want You, Sweet Georgia Brown, Three Blind Mice – Source: Wikipedia.org
© 2021 by Edward Thomas Carter
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Requisites
Trailways Express ~ Philly Joe Jones | By Eddie Carter
A few nights ago, I spent the evening listening to albums by three of my favorite drummers: Art Blakey, Elvin Jones, and Philly Joe Jones. This morning’s record from my library inspired me to take a trip aboard the Trailways Express (Polydor – Black Lion Records 2460 142), a 1971 U.K. release by Philly Joe Jones. It was his sixth album as a leader and was recorded in 1968, a year after he moved to London. He’s accompanied on this date by Les Condon on trumpet (track: B1), Kenny Wheeler on flugelhorn (A1 to A3, B2, B3) and trumpet (B1), Chris Pyne on trombone (B3), Peter King on alto sax (A2, A3, B1 to B3), Harold McNair on flute (A2, B2) and tenor sax (A1, B1 to B3), Mike Pyne on piano, John Hart (B1), and Ron Matthewson (A1 to A3, B2, B3) on bass. My copy is the 1975 U.S. Stereo reissue (Black Lion Records BL-142).
The group jumps headfirst into the spirited melody of Mo Jo by Philly Joe Jones. Mike ignites the opening statement with electrifying notes. Harold continues creating a crisp, upbeat solo, and then Kenny glides and soars smoothly on the flugelhorn next. Mike and Philly exchange ideas as the song progresses until the final chorus and conclusion. The tempo shifts as the front line introduces Gone, Gone, Gone by George and Ira Gershwin. It starts with a slower beat that steadily climbs as the septet embarks on their theme. Peter is up first and delivers a vibrant interpretation. Kenny, still on flugelhorn, spreads his wings next. Philly’s exquisite brushwork closes the solos before the ensemble returns to the theme.
Baubles, Bangles, and Beads by Robert Wright, George Forrest, and Alexander Borodin begins with Philly’s short introduction, preceding the group’s lively melody. Peter initiates the good times in the first solo, followed by Kenny, again on flugelhorn, who keeps the brisk mood alive. Mike takes over for a short, jubilant performance, and then Ron walks in vivaciously. Philly Joe precedes the ensemble’s closing chorus with a succinct remark. The title tune, Trailways Express by Philly Joe Jones, kicks off Side Two with Les taking over on trumpet and Philly’s introduction calling the group to action. Harold lights the fuse in the opening presentation; then Peter continues spreading the fire next. Philly fans the flames further toward the theme’s reprise and gradual descent to a fadeout.
Here’s That Rainy Day by Jimmy Van Heusen and Johnny Burke begins with Philly guiding the ensemble’s melody in his introduction. Peter starts with a soothing statement, and Harold narrates the next solo masterfully on the flute. Mike comes in next with a relaxed, easygoing reading. Philly delivers the song’s final festive swing ahead of Harold and Peter’s closing theme and the finale. The final track is Ladybird by Tadd Dameron and Ted Heath. Philly starts with a brief introduction before the septet’s vibrant theme. Mike sets the stage for the goodies to come. Harold follows him cheerfully, and Kenny moves along swiftly with cat-like ease next. Chris amazes in a dazzling interpretation, and Philly concludes with a final flourish, leading the ensemble back to the reprise and climax on a high note.
Alan Bates produced Trailways Express, though the identity of the recording engineer remains a mystery. Nonetheless, the album boasts a strong soundstage that listeners will find delightful. Philly Joe Jones was an outstanding drummer and the powerhouse behind the first great Miles Davis Quintet of the fifties. His nickname, Philly, distinguished him from another renowned drummer, Jo Jones. Although Jones’s discography as a leader is limited, he collaborated with numerous top-tier musicians as a sideman throughout his career. For fans of hard-bop and post-bop who seek exceptional drumming, Trailways Express by Philly Joe Jones is a must-listen. Its exceptional musicianship, led by Jones’s drumming, makes it a pleasure to listen to repeatedly!
~ Here’s That Rainy Day – Source: JazzStandards.com
~ Baubles, Bangles and Beads, Ladybird – Source: Wikipedia.org
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Layla Angulo was born March 12, 1976 to a Greek mother and an Irish-American father and started playing the piano at age 6. However, it was her grandfather’s upright bass playing that inspired her to learn the saxophone at age 10. She began playing in jazz clubs during high school. After graduation, she played in various funk, jazz, and pop and groups and performed as the horn section leader of various salsa bands around the Northwest.
Developing the idea to write her own music. Soon after Layla released her debut album, Live at The Triple Door, was recorded at the noted Seattle theater in 2005. The album’s first single Que Te Vaya Bien was Top 10 for three months. Mientras, her sophomore album, was recorded in New York with Arturo O’Farrill, Oscar Estagnaro, Tony Escapa, and Dario Escanazi and released in 2008.
Moving to New York City in 2009, she subsequently spent a year on tour with reggaeton artist Don Omar. Her third album TriAngulo gave up a single, No Se Como Olvidarte that rose to #16 on the Billboard Tropical Charts. Another song from TriAngulo, La Pelicula, reached #1 in the National Latin Record Pool.
On March 24, 2015, the International Songwriting Competition announced its 2014 Finalists, including Layla’s song Dame Todo.
Alto saxophonist, composer, singer, band director, and recording artist known professionally by the mononym Layla, continues to specialize in Latin music.
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Daily Dose Of Jazz…
Ofer Assaf was born on March 10, 1976 in Israel and went to the Thelma Yellin High School of the Arts dividing his time between his two passions: music and dance, and started training as a professional ballet dancer at the age of eight before switching to a full-time jazz career. He won the Israeli National Competition in Jazz and Contemporary Music for young musicians in 1991. He went on to become a member of the Air Force and IDF Orchestras of the Israeli Army, played with the Jerusalem Symphony Orchestra, and a diverse array of national TV and radio shows. He has performed with leading Israeli musicians and was a member of the Tel Aviv Big Band in the mid-1990’s.
Moving to New York City in 1997 he entered The New School University’s jazz program and also studied with tenor saxophonist Billy Harper, bassist Reggie Workman, pianist Richie Beirach, trumpeter Jimmy Owens and percussionists Bobby Sanabria. Upon graduation in 2002, Ofer performed with Wayne Shorter and Herbie Hancock at Carnegie Hall as part of the JVC Jazz Festival.
A recipient of scholarships and awards from the Eubie Blake National Jazz Institute and the America-Israel Cultural Foundation, he was pre-nominated for the Grammy Awards in the “Best Jazz Instrumental Album” category in 2009 for his debut album Tangible Reality for Summit Records. With the Bernie Worrell Orchestra he was awarded “Best Funk/Fusion/Jam Song of the Year” at the 12th annual Independent Music Awards in 2013.
Tenor saxophonist, composer and educator Ofer Assaf continues to perform and conduct workshops around the world.
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Daily Dose Of Jazz…
Alejandro Vargas Rodríguez was born on February 4, 1980 in Havana, Cuba and started his musical studies at six years old, receiving lessons from Joel Rodríguez Milord, Ulises Hernández and Harold Gramatges. These continued until he graduated as a concert pianist from the University ISA (Instituto Superior de Arte) in Havana. He completed his studies with different seminars led by Herbie Hancock, Chucho Valdés, Danilo Pérez or Jorge Luis Prats.
When he was 20 he recorded his first album Calor, performing the arrangements of Benny Moré compositions. He began his jazz career performing at the Festival Jazz Plaza while attending college.
Forming his first jazz trio he competed in the 2001 in the Jojazz competition winning 1st Prize. Two years later his band Alejandro Vargas and Oriental Quartet is one of the most recognized in the country. With this fame he began touring internationally and his album Trapiche recorded in was awarded the best jazz jazz album of the year in Cubadisco contest in 2008.
Experimenting with a wide range of styles he moves from abstract to traditional where jazz standards and popular Cuban music are taken to the aesthetic of free improvisation. His trio plays between the contemporary and the afrocuban. For two years in 2006 he was a professor of Harmony and Popular Piano at the University of Havana and worked as a composer of audio visual and documentary at the school of international cinema of San Antonio de los Baños.
Developing an intense work on free improvisation and free jazz, he continually explores new horizons. Pianist Alejandro Vargas Rodríguez is currently recording a new trio album across different landscapes from the sonority of the oriental organ evoking the rural Cuban fields to mambo to the blues to Monk’s minimalism.
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