Requisites

Central Avenue Reunion ~ Art Farmer, Frank Morgan, Lou Levy, Eric Von Essen, Albert “Tootie” Heath | By Eddie Carter

It’s wonderful to be back with you all after some time away to recuperate from two surgeries earlier this month. This morning’s album from the library, Central Avenue Reunion (Contemporary Records C-14057) spotlights two of my favorite artists, Art Farmer and Frank Morgan. Recorded live in 1989 over two memorable nights at Kimball’s East, it reunites Art Farmer on both flugelhorn (tracks: A2, A3, A4, B1) and trumpet (A1, B3), and Frank Morgan on alto saxophone (A1, A2, A4, B1 to B3). An outstanding rhythm section joins them: Lou Levy on piano, Eric Von Essen on bass, and Albert “Tootie” Heath on drums. I own the 1990 U.S. stereo release.

The set opens with Star Eyes by Gene De Paul and Don Raye. Art sets the solos in motion on muted trumpet, leading the group through the relaxing melody. Frank takes flight first with a spirited solo that’s crisp and precise. Art takes the second statement with smooth efficiency. Lou takes a cheerfully appealing turn, and Eric follows with a short walk towards the restatement of the theme. Farmer’s Market by Art Farmer takes off at a fast gallop for the quintet’s opening ensemble. Frank gets right down to business first, then Art sustains the momentum with passionate fire next. Lou follows with a vigorous statement, then all the soloists share a brisk exchange before the closing ensemble comes to a dead stop.

Art and the trio pay homage to George and Ira Gershwin with Embraceable You, opening with a gorgeous melody. Art begins with the first of two exceptionally gentle interpretations, showing off his sentimental side. Lou follows with a short solo filled with warmth and sensitivity. Art returns with a thoughtfully graceful reading, leading back to the soothing theme. Blue Minor by Sonny Clark brings the ensemble back for a medium-tempo melody. Frank sets the pace with a wailing opening statement. Art takes the wheel next and continues with a jubilant reading. Lou has the last word and neatly wraps up the solos before the theme returns.

I Remember You by Victor Schertzinger and Johnny Mercer begins with Lou’s lovely introduction, which segues into the quintet’s lively melody. Art is in top form first, with a good-hearted swing. Frank works out a few intriguing ideas next, then Lou’s piano flows like cool water in a relaxing river stream. Art and Frank share a brief conversation into the closing chorus. Don’t Blame Me by Jimmy McHugh and Dorothy Fields is a beautiful ballad from the thirties that begins elegantly, with Frank and the rhythm section’s melody moving like a couple’s Sunday evening stroll. He continues approaching the song’s only solo from the heart, anchored by the trio’s subtle support, into a gorgeous reprise and ending.

Sonny Clark’s Cool Struttin’ brings the set to a close with the ensemble’s collective midtempo theme, setting a good tone. Lou comes in first and skillfully navigates the rhythm section. Art takes the next spot on muted trumpet with carefree enthusiasm. Frank sparkles next with steady sureness, and Eric delivers a delightful finale before the group’s theme restatement earns the audience’s approval. Helen Keane produced Central Avenue Reunion. Danny Kopelson managed the recording console, and George Horn mastered the album. The sound quality is exceptional, placing the listener in the audience as the musicians perform.

If you’re searching for an exhilarating hard-bop live session to listen to after a long day, evening, or week, I invite you to join Art Farmer, Frank Morgan, Lou Levy, Eric Von Essen, and Albert “Tootie” Heath for a Central Avenue Reunion the next time you’re out record shopping. It’s a lively, spirited performance of standards and originals, with thoughtful arrangements and inspired solos that offers many hours of listening enjoyment and shouldn't be missed for a spot in your library!

~Donna Lee, Don’t Blame Me, Embraceable You, I Remember You, Star Eyes – Source: JazzStandards.com © 2026 by Edward Thomas Carter

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Requisites

Sphere On Tour ~ Sphere | By Eddie Carter

This morning’s album from the library is a 1985 live recording by the bop quartet Sphere. Sphere on Tour (Red Record VPA 191) was the first of two live dates in their small discography and one of two records they recorded for the Italian label. Sphere took the pianist’s middle name and was originally formed to honor Thelonious Monk’s legacy after his death. The quartet quickly broadened its focus by recording albums that also featured its own original compositions. The group consists of two former members of Monk’s group, tenor saxophonist Charlie Rouse and drummer Ben Riley, and is anchored by pianist Kenny Barron and bassist Buster Williams. The copy I own is the 1986 Italian stereo release.

Dual Force by Buster Williams opens the set with the foursome’s lively melody setting the tone. Kenny gets things started with a spirited lead solo, then Charlie wails enthusiastically in a lengthy performance. Buster takes a short, scintillating statement leading to the theme’s restatement and an upbeat finish. Beautiful Friendship by Donald Kahn and Stanley Styne slows the pace when the rhythm section’s pretty introduction moves to an upbeat theme when Charlie enters. Kenny is up first to give a charming solo, then Charlie cooks at an easy groove next. Buster evokes a sense of intimacy in a short statement, and Ben has the last word before the theme returns and the song ends softly.

Scratch by Kenny Barron begins with the foursome’s offbeat introduction and melody. Charlie’s opening statement pushes his solo to the outer limits of musical boundaries. Kenny follows with a bit of quirky fun, then Buster takes an interesting walk, preceding the quirky theme reprise and abrupt stop. Tayamisha by Buster Williams starts Side Two at midtempo with the bassist’s introduction to the opening ensemble. Charlie leads the way with a smoothly flowing interpretation. Kenny comes in next for a delightful display of evident pleasure, then Buster takes us home in a short walk of consummate ease ahead of the quartet’s theme restatement and ending.

Up next is Spiral by Kenny Barron. Kenny brings the song to life, segueing into the quartet’s melody. Charlie sets the tone in the first solo with warmth, deep conviction and melodic beauty. Kenny follows with an exquisite, elegant statement, then Buster communicates his heart before the foursome regroups for the theme’s return. To conclude the album, the quartet dresses up one of Thelonious Monk’s most popular tunes, Well, You Needn’t, mistakenly listed as “Will, You Needn’t,” with a spirited introduction by Riley and the rhythm section, ahead of the ensemble melody. Charlie is off to the races with an intense drive. Kenny builds upon his solo with a steady attack, then Buster takes a short, swift walk leading back to the ending theme, band introductions and a pleasant goodnight to the audience.

Sphere on Tour was produced by Red Records co-founders Alberto Alberti and Sergio Veschi. Gianni Grassilli was the recording engineer, and the album’s sound quality is superb, with a soundstage that transports the listener to the audience as the musicians perform. The original group, consisting of Rouse, Barron, Williams, and Riley, recorded six albums from 1982 to 1988. They disbanded briefly after Rouse’s death, then made one final album with Gary Bartz in 1997. If you’re in the mood for live bop from a fabulous quartet who effortlessly blend innovation and tradition, I invite you to check out Sphere on Tour on your next record shopping trip. It’s a terrific introduction to their music collectively and might become a welcome addition to your jazz library!

~ A Beautiful Friendship, Well, You Needn’t – Source: Wikipedia.org
© 2026 by Edward Thomas Carter

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Daily Dose Of Jazz…

Etienne Charles was born in Trinidad on July 24, 1983 into a family with four generations of musicians. He was immersed in the folk music of his country suffused with the sounds of calypso, steel pan and African Shango drumming to create the diverse colors of his harmonic palette.

The Bishop Anstey Junior School proved to be a potent incubator where he began playing the recorder, followed by trumpet at 10 and formal lessons. An athlete with prowess, Etienne eclipsed his musical success with academics with football, cricket, swimming and water polo teams at Fatima College, winning the Provincial Cup three times, first at the age of 13. He studied privately, at the Brass Institute, become a member of the band, added drums and percussion, landed his first job in a pit orchestra, worked with his father on the road during carnival and with Phase II for the Panorama steel pan competition.

By sixteen Charles was attending the summer performance program at Berklee College of Music, then on to Florida State University, placed or won several competitions, performed at North Sea Jazz Festival, attended the Henry Mancini Institute and received his Master’s from Julliard School of Music.

Etienne has toured, performed or recorded with the Juilliard Jazz Orchestra, Grammy Award winners Roberta Flack, Wynton Marsalis, Johnny Mandel, Ralph MacDonald, Maria Schneider and the Count Basie Orchestra as well as Marcus Roberts, Monty Alexander, Frank Foster, Wycliffe Gordon, Rene Marie, Lord Blakie and David Rudder.

He released his debut album “Culture Shock” in 2006 was followed by “Folklore” three years later and then “Kaiso”. Trumpeter and composer Etienne Charles stands at the vanguard of a new generation of Caribbean musicians and he continues to record, perform and tour.

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Requisites

Something in Common ~ Houston Person and Ron Carter | By Eddie Carter

After a challenging day and an exhausting week, I was looking for something gentle to help me unwind and restore my energy. This morning’s discussion, submitted for your approval, came after I listened to a few duet releases in my library and features two of my favorite musicians, Houston Person and Ron Carter. Something in Common (Muse Records MR 5376) is a digital recording pairing the tenor saxophonist and bassist in a thoroughly enjoyable program of cool jazz, one of my go-to albums for soothing my senses. The copy I own is the 1990 U.S. stereo release.

The opener, Blue Seven by Sonny Rollins, gets things off to a good start with Houston’s big-toned, warm, relaxed melody and Ron walking beside him with a perfect bass rhythm. Houston catches sunlight in the opening solo, using a subtle tone that builds into a textbook performance. Ron walks comfortably at an easy pace into the theme’s reprise and climax. I Thought About You by Jimmy Van Heusen and Johnny Mercer begins with the duo handling the melody as if sharing a personal secret with the listener. Ron is the featured soloist here, expressing his feelings with tenderness and sentimentality through the duo’s restatement of the theme and compassionate finale.

Mack The Knife by Kurt Weill, Marc Blitzstein, and Bertolt Brecht is a jazz classic from the twenties, and the duo puts a lively, fresh take on the opening chorus. Houston captures the spirit of this timeless tune with a wonderfully inventive first performance. Ron thoughtfully makes every note shine in a charming solo, leading smoothly into Houston’s beautifully crafted postscript that guides us into the closing chorus. Clifford Brown’s Joy Spring begins with the duo’s relaxed, easygoing theme, inviting Ron to stroll confidently through the opening statement. Houston responds with a warm, laid-back interpretation before the melody makes its lovely return.

Good Morning Heartache by Ervin Drake, Dan Fisher, and Irene Higginbotham is one of the album’s definitive highlights. Houston treats the melancholy theme as a story, shaping each verse of the song’s only solo, with Ron supporting him effortlessly until the tender reprise and ending. The beat moves upward for Anthropology by Charlie Parker, and the melody unfolds with relaxed assurance from two masters with nothing left to prove. Houston’s opening solo flows seamlessly through every phrase. Ron puts an indelible stamp on the closing statement, and the theme’s restatement concludes perfectly.

Once In A While by Michael Edwards and Bud Green closes the album on a warm, gentle note, opening with Houston and Ron’s beautiful, dreamy melody. Ron takes a walk through the song’s only interpretation as it builds toward the duo’s tender reprise and climax. Houston Person and Ron Carter produced Something in Common with Rudy Van Gelder handling the recording console. The album has a beautiful soundstage and is a joy to listen to from start to finish. If you’re in the mood for a terrific album that’s especially enjoyable any time of day or night, I invite you to check out Something in Common by Houston Person and Ron Carter on your next record-shopping trip. It’s a terrific album by two jazz masters, and a title I’m sure you won’t be able to listen to just once!

~ I Thought About You, Mack The Knife, Once In a While – Source: JazzStandards.com
~ Anthropology, Good Morning Heartache, Joy Spring – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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Daily Dose Of Jazz…

Matt Slocum was born on July 18, 1981 in New Richmond, Wisconsin. From his sophomore year in high school on he studied drums with Phil Hey, while playing in a Ska band. At the University of Southern California Thornton School of Music, Matt studied with Peter Erskine, Alan Pasqua, John Clayton and Joe LaBarbera. After graduating USC, Slocum spent three years in Pasadena but in 2007 he moved near New York City.

Since his move Slocum has toured with vocalist Sarah Gazarek for three years and has played with Shelly Berg, Seamus Blake, Alan Broadbent, Bill Cunliffe, Danny Grissett, Larry Koonse, Lage Lund, Wynton Marsalis, Linda Oh, Dayna Stephens, Gerald Wiggins, Anthony Wilson and the Dallas Symphony Orchestra, among numerous others.

Slocum’s list of influences on composing is impressive citing Billy Strayhorn, Duke Ellington, Wayne Shorter, Tom Harrell, Dave Holland, Debussy and Ravel; and drummers Roy Haynes, Elvin Jones, Max Roach, Kendrick Scott and Marcus Gilmore.

Drummer Matt Slocum is the recipient of a Meet the Composers Foundation grant, and has lead recording sessions for his debut album, Portraits and After The Rain. He continues to perform, record and tour.

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