Requisites

Lover Man ~ Duke Jordan Trio | By Eddie Carter

The Duke Jordan Trio enters this morning’s spotlight with an album initially recorded in 1975 but not released until 1979. Lover Man (SteepleChase Records SCS 1127) is the companion to Duke’s Delight, an excellent quintet date, recorded at the same session and released a year later. I’ve been a fan of this extremely gifted pianist since first hearing Flight To Jordan (1960) and Two Loves (1975). Sam Jones on bass and Al Foster on drums are the rhythm section for this date, and Duke’s Delight. My copy is the original Danish Stereo release.

Side One takes off with Dig by Miles Davis. Duke opens with a concise introduction segueing into the threesome’s medium theme. The leader swings freely on the song’s only solo, propelled by Sam and Al’s support into the reprise and close. Up next is Dancer’s Call, the first of two Duke Jordan originals. The trio introduces the song easily and then delivers the melody. Jordan sets the mood in the opening solo with a lightly swinging interpretation; then Jones sculpts the following statement blissfully. Foster shares a conversation with piano and bass in the finale ahead of the trio’s closing chorus and finish.

Duke’s Love Train leaves the station heading down the track with a leisurely paced melody. Sam takes the opening solo unaccompanied, followed by Duke, who contributes a splendid statement. Al keeps the beat flowing in an exchange with the pianist into the ending theme. Lover Man by Jimmy Davis, Roger Ramirez, and Jimmy Sherman begins with a pretty introduction by Jordan, which develops into an elegant theme by the threesome. The pace picks up for the song’s only statement by the leader. He gives a gorgeous performance as crisp as the cool night air with a soft sensitivity preceding an affectionate climax.

They Say It’s Wonderful by Irving Berlin comes from the 1946 Broadway musical Annie Get Your Gun. Duke introduces this old evergreen, leading to the trio’s gentle melody. The pianist again has the song’s only reading and scores on a delicately pretty solo into a gorgeous theme reprise and soothing finale. Out Of Nowhere by Johnny Green and Edward Heyman begins with a concise introduction by Jordan that segues into a delightfully happy melody. The pianist is up first with a brisk opening statement; then Jones takes a short walk in the following solo. Foster concludes the proceedings with a scintillating conversation with Jordan before the close.

Nils Winther produced Lover Man, and Chuck Irwin recorded this album and Duke’s Delight. The sound quality is excellent, with a wonderful soundstage that transports the trio from the studio to your listening room with superb definition. The record is also noticeably quiet until the music starts. If you’re a piano trio fan and unfamiliar with this marvelous musician, I offer for your consideration Lover Man by The Duke Jordan Trio. It’s an excellent album and a fine showcase for Duke Jordan’s pianistic artistry with a superb rhythm section, resulting in an entertaining title I strongly recommend for a spot in your library!

~ Duke’s Delight (SteepleChase SCS 1046) – Source: Discogs.com ~ Lover Man, Out of Nowhere – Source: JazzStandards.com ~ They Say It’s Wonderful – Source: Wikipedia.org © 2023 by Edward Thomas Carter

Mr. Carter’s review is based upon the original album release. As you listen, know that Sea and Don’t Blame Me are bonus tracks available only on compact disc.

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Daily Dose Of Jazz…

Nicolas Masson was born on April 14, 1972 in Geneva, Switzerland. He took up the saxophone in his youth and at twenty years old he met Cecil Taylor in New York and took lessons from Frank Lowe and Makanda Ken McIntyre. Returning home he enrolled in the jazz program at the Conservatoire Populaire de Musique de Genève with Maurice Magnoni as a saxophone teacher.

While a student he attended master classes withLee Konitz, Dave Douglas and Misha Mengelberg. In 1999 Masson spent the summer in New York City studying with Chris Potter. Graduating from the conservatoire in 2000 with a jazz performance and teaching degree, he returned to New York City for a year and studied regularly with Rich Perry and played with local musicians.

His debut album Awake was released in 2002 on the Swiss label Altri Suoni. The session was recorded with his New York band featuring trumpeter Russ Johnson, bassist Eivind Opsvik and drummer Mark Ferber. A year later they were touring Switzerland and Italy.

Receiving a grant from the Bourse d’Aide à la Création he was able to tour Italy and record his sophomore album Yellow (A Little Orange) that was released in 2006 on the Fresh Sound/New Talent label. In 2005 and 2006, the Quartet toured Italy again, taking part in an itinerant Swiss festival organized by Rome’s Swiss Cultural Centre, sharing the evening with Irène Schweizer, Lucas Niggli and Malcolm Braff.

In 2007, a New York concert, European duo tour with Kris Davis of Switzerland, Italy, France and Germany, a  New York gig with the Quartet and a 2009 release Thirty Six Ghosts on Clean Feed Records kept him busy. Saxophonist Nicolas Masson continues to record and play throughout Europe.

ROBYN B. NASH

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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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