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Outstanding (Live in Tirano) ~ Guido Manusardi Trio | By Eddie Carter
Italian pianist Guido Manusardi has long been one of Europe’s most distinctive jazz musicians. Rooted in hard bop, modal jazz, and European influences, his trio performances and sessions always sparkle with lively, dynamicinterplay. This morning’s column, Outstanding by the Guido Manusardi Trio (Splac(h) Records H-115), is a 1986 live release that captures the trio performing three familiar standards and one original composition at the Mignon Theatre. Manusardi is working with Piero Leveratto on bass and Luigi Bonafede on drums. I own the 1986 Italian stereo release.
The opener, On Green Dolphin Street, by Bronislaw Kaper and Ned Washington, is one of jazz’s most recognizable standards. Piero and Luigi bring the song to life with a two-instrument dialogue that blossoms into Guido’s relaxing melody. Guido leads the solos with a lively presentation, then Piero takes a short, crisp walk before the pianist reprises the theme into a soft finish. Cole Porter’s 1930 classic Love for Sale begins with the trio’s medium theme, which steps aside for Manusardi’s opening statement, rising to a rousing finish. Leveratto moves through formidable territory in the next reading, leading to the trio’s closing chorus and the audience’s approval.
Side Two starts with another 1930 chestnut, But Not For Me by George and Ira Gershwin. The trio tackles the theme with playful buoyancy, then Guido dazzles the audience with a neatly paced opening statement that dances along. Piero follows, showcasing immaculate intonation, melodic warmth, and fluid articulation. Luigi shares his first solo of the set with the pianist ahead of the trio’s spirited theme and climax. Guido Manusardi’s Sorrow opens with a cascading piano introduction of rich modal harmony that leads into the trio’s medium melody. Manusardi’s opening solo swings from start to finish, then Leveratto has another fine solo before Bonafede wraps it up, leading to theclosing chorus.
Guido Manusardi, Achille Silipo, and Peppo Spagnoli produced Outstanding for Splac(h) Records. Vincenzo Martegani and Vittorio Valsecchi engineered the sound. The album’s sound quality is excellent, with a vibrant soundstage that places the listener in the audience as the musicians perform. Outstanding is an excellent live album that shines with a repertoire that’s a pleasure to listen to. Guido Manusardi, Piero Leveratto, and Luigi Bonafede together deliver an engaging live album whose appeal lies in its directness. If you’re a fan of piano jazz or new to Guido Manusardi's music, I invite you to audition Outstanding by the Guido Manusardi Trio at your earliest opportunity. The album captures the pianist at his best, and I’m sure it will become a favorite in your library!
~ But Not For Me, Love For Sale, On Green Dolphin Street – Source: JazzStandards.com
© 2026 by Edward Thomas Carter
Daily Dose Of Jazz…
Esperanza Spalding was born October 18, 1984 in Portland, Oregon. Raised in a single parent household she was greatly influenced by her mother who was a singer, though she attributes cellist Yo-Yo Ma as her inspiration to make music her life. By the time Spalding was five, she had taught herself to play the violin and was playing with the Chamber Music Society of Oregon, staying with them until fifteen and left as concertmaster.
While homeschooled through elementary years Esperanza gleaned lessons from her mother’s guitar instructor when she was eight and would return home and play what she learned. She played oboe and clarinet before discovering the bass at 14 while attending The Northwest Academy. Bored with the ease of high school when she was 15 or 16 years old, Spalding dropped out and started writing lyrics for music for the local indie rock/pop group Noise for Pretend, touching on any topic that came to mind.
Spalding had begun performing live in Portland with her first gig at 15 in a blues club, when she could play only one line on bass and was soon learning from seasoned professionals during the band’s rehearsals. She went on to get her GED, enroll in Portland State University, then left with full scholarship to attend Berklee College of Music.
Almost immediately after graduation Esperanza was hired by her alma mater at age 20, becoming one of the youngest instructors in the institution’s history. In 2006 she released her debut album “Junjo” followed by her sophomore project “Esperanza” in which she sings in English, Spanish and Portuguese. These two projects were followed up with “Chamber Music Society” and her fourth album “Radio Music Society”.
She was personally chosen by President Obama to perform at the 2009 Nobel Peace Prize ceremonies and concert, she has won a Grammy for Best New Artist in 2011, and Jazz Artist of the Year at the Boston Music Awards. She has collaborated with Tineke Postma, Nicholas Payton and Terri Lyne Carrington among others, performed at the 84th Academy Awards and has donated a portion of her 2012 tour proceeds from merchandise sales to the non-profit organization “Free The Slaves” that combats worldwide human trafficking.
In 2024 she recorded her 10th album Milton + esperanza with Milton Nascimento, been nominated fourteen times, won nine including five Grammy awards, and has received an honorary Doctorate of music from Berklee. Bassists and vocalist Esperanza Spalding continues to compose, record, perform and tour.
Requisites
Reflections ~ Frank Morgan Allstars | By Eddie Carter
I discovered Frank Morgan in the 80s while living in Cincinnati, Ohio and listening to WNOP 740 AM, the city’s then jazz station. This morning’s album from the library was his eighth release as a leader and seventh for Lester Koenig’s label. Reflections (Contemporary Records C-14052) by the Frank Morgan Allstars is the only album the group recorded together and isn’t a loose, thrown-together blowing session. The sextet is a powerhouse group of musicians: Frank Morgan on alto sax; Joe Henderson on tenor sax; Bobby Hutcherson on vibraphone; Mulgrew Miller on piano; Ron Carter on bass; and Al Foster on drums. I own the 1989 U.S. stereo release.
The first side gets underway with Old Bowl, New Grits by Mulgrew Miller. The sextet’s easy-flowing melody gives way to Joe’s opening solo, inviting us to settle in. Bobby follows with a blissfully happy reading, then Frank continues motoring along next. Mulgrew gets the final word ahead of the theme's restatement and fade-out. The title track, Reflections by Thelonious Monk, shifts the energy toward Frank and Joe taking center stage for the enticingly delicate theme. Frank shows a tender vulnerability in the first interpretation. Joe takes over with a gracefully emotional response, then Bobby takes a sensitive, poignant turn, leading to the theme’s return and gorgeous ending.
Starting Over by Bobby Hutcherson picks the beat back up with a lively opening ensemble. Bobby comes out swinging hard first, then Frank dives into the second solo with surgical precision. Joe jumps right into the third reading next, then Mulgrew provides the exclamation point, soaring cheerfully into the ensemble’s vigorous reprise and climax. Side Two opens with the rhythm section’s introduction to Black Narcissus by Joe Henderson, segueing into a compelling front-line dialogue between Frank and Joe. Frank paints a delicate palette first, then Joe adds a few more elegant colors. Bobby infuses the third statement with tender beauty, and Mulgrew saves the best for last in a gorgeous finale before the close.
Sonnymoon for Two by Sonny Rollins affords everyone solo space and begins with the trio’s introduction to the sextet’s medium melody. Frank’s first solo is a great example of relaxed lyricism. Bobby follows with a bounce that’s pure artistry. Joe sets up the next reading perfectly, then Mulgrew keeps the line moving forward. Ron takes a short, satisfying walk before Al brings the curtain down, preceding the closing chorus. O.K. by Ron Carter is his tribute to album producer Orrin Keepnews, and the ensemble opens with a leisurely paced theme. The solo order is Frank, Joe, and Mulgrew before the melody’s reprise and Bobby, who gets the last word in a gentle fade to nothingness.
Orrin Keepnews produced the album; Danny Kopelson managed the recording console, and George Horn mastered the album. The recording is fantastic, with an exceptional soundstage and outstanding detail that emerges through your speakers with exceptional fidelity. Reflections by the Frank Morgan Allstars is a gorgeous album with an all- star lineup and a wonderful selection of tunes. If you’re a fan of the alto saxophonist and in the mood for a terrific blend of bop and modal jazz, I invite you to check it out on your next record shop visit. I’m sure it’ll be a welcome addition to your library, and you’ll enjoy it as much as I do!
© 2026 by Edward Thomas Carter
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Double Take ~ Freddie Hubbard and Woody Shaw | By Eddie Carter
Freddie Hubbard and Woody Shaw were two of my mom’s favorite trumpet players, and one of her favorite albums inspired this morning’s discussion. Double Take (Blue Note BT-85121) is the first of two collaborations by Hubbard and Shaw, the other being The Eternal Triangle, recorded two years later. The sextet features Freddie Hubbard on flugelhorn (track: A3, B2) and trumpet (tracks: A1, A2, A4, B1, B3), Woody Shaw on trumpet, Kenny Garrett on alto saxophone (tracks: A1 to A4, B1, B3) and flute (track: B2), Mulgrew Miller on piano, Cecil McBee on bass, and Carl Allen on drums. I own the 1985 U.S. stereo release.
The set opens with Clifford Brown’s Sandu, and the sextet’s mellow melody is led by the front line. Woody is smooth as velvet on the first solo, followed by Kenny’s warm, mellow notes in a short statement. Freddie is up next and swings comfortably to the rhythm section’s support. Mulgrew takes a final short solo before the group reconvenes for the theme’s return. The trio’s introduction opens the tune for the ensemble’s leisurely melody of Boperation by Fats Navarro and Howard McGhee. Freddie takes the lead this time and gets down to business. Kenny swings through the second solo with rich, melodic lines. Woody follows with renewed vitality in the third reading. Mulgrew and Cecil share the last spot with two concise comments ahead of the sextet’s climax.
Lament for Booker by Freddie Hubbard is his tender ballad dedicated to Booker Little. Mulgrew’s delicately gentle introduction gets things started, with Freddie’s flugelhorn leading the group’s melody. As the song’s only soloist, he gives an elegantly graceful performance as the rhythm section provides a lush foundation, leading to the haunting finale. Hub-Tones, one of Freddie Hubbard’s signature compositions, picks up the pace significantly for the sextet’s brisk theme. Woody launches into an exhilarating opening statement. Kenny meets the challenge with a lively second statement. Freddie is at his sharpest in the third lively interpretation, then Mulgrew continues motoring along in the fourth reading. Carl gets a chance to shine briefly before the sextet’s theme restatement fades out softly.
Side Two takes off with the ensemble’s swinging rendition of Desert Moonlight by Lee Morgan. Woody leads the brisk melody and makes an energetic opening statement. Kenny, who isn’t featured in the theme, gets cooking in the second solo. Freddie takes over to give a short, sparkling interpretation, followed by Mulgrew, who gets one quick chorus before the theme is restated. Just a Ballad for Woody is a very pretty ballad written by Woody Shaw and his wife, Theresa Trainello. Woody leads the group again on the tender theme, with Freddie in a supporting role on flugelhorn and Kenny switching to flute on this tune. Woody has the first spot and gives a hauntingly dreamy performance. Kenny concludes the solos with a beautifully tender statement before the theme’s restatement and soft ending.
The sextet turns the temperature up one final time with Kenny Dorham’s Lotus Blossom. This is a showcase for both trumpeters, with Kenny stepping aside for Woody to lead the melody. Freddie is firing on all cylinders for the first solo; then Woody follows with a scintillating statement that will awaken the listener’s senses. The two trumpeters have a vigorous conversation before Carl makes a concise comment, leading to the spirited reprise and climax. Michael Cuscuna produced Double Take, and Rudy Van Gelder was behind the dials of the recording console. It’s a digital recording, but the sound quality is superb, with a stunning soundstage emerging from your speakers as if the musicians are playing in front of the sweet spot in your listening room.
To me, Double Take is more than an exemplary album showcasing two of jazz’s renowned trumpeters; it embodies a heartfelt love letter to trumpet players everywhere. The musicianship is exceptional, and every track was thoughtfully composed by a trumpeter, adding to its special charm. If you’re a fan of either Freddie Hubbard or Woody Shaw, I cordially encourage you to check out Double Take on your next record-shopping trip. It’s a terrific collaboration and an excellent display of both musician’s artistry that should become a welcome addition to your library!
Album Note. Freddie Hubbard is heard in the center of “Lament for Booker,” and Woody Shaw is heard in the center of “Just a Ballad for Woody.” Hubbard plays lead and is heard on the right channel on “Sandu” and “Boperation.” Shaw plays lead on “Just a Ballad for Woody” and is heard on the right channel on the remaining selections.
~ The Eternal Triangle (Blue Note B1-48017) – Source: Discogs.com © 2026 by Edward Thomas Carter
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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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