Requisites

Good Gravy ~ Teddy Edwards Quartet | By Eddie Carter

I’ve been a fan of Teddy Edwards for many years, and he’s become one of my favorite tenor saxophonists. This morning’s choice from the library is a recent acquisition taking us to The Bimhuis Concert Hall in Amsterdam for a live performance to enjoy some Good Gravy (Timeless SJP 139) by The Teddy Edwards Quartet. Teddy was born in Jackson, Mississippi, and began playing the alto sax and clarinet at an early age, before taking up the tenor sax. He first played with trombonist Ernie Fields, and his first recording was a 1947 date with Dexter Gordon. Teddy also played and recorded with some of the greatest musicians in jazz, resulting in an extensive discography as a leader and sideman. The supporting cast is a marvelous Dutch trio, Rein De Graaff on piano, Henk Haverhoek on bass, and John Engels on drums. My copy used in this report is the 1984 Netherlands Stereo album.

Lady Be Good aka Oh, Lady Be Good by George and Ira Gershwin is from the Broadway musical of the same name. The trio opens Side One with a pleasant introduction, segueing into a collective bluesy theme that swings soulfully. Teddy takes the first spot at an easy speed then turns the tempo up for some down-home country cooking. Rein heightens the excitement on the second reading with cat-like precision. Teddy makes a few final comments before the group’s closing theme and enthusiastic ovation from the crowd. Oleo by Sonny Rollins begins with a brief dialogue between the tenor sax and piano, then accelerates quickly into the ensemble’s melody. Edwards takes flight first with an aggressive lead solo. De Graaff dispenses an elevated level of energy next, and Engels shares a vigorous exchange with Edwards before having a moment in the spotlight.

Georgia aka Georgia on My Mind is a classic standard by Hoagy Carmichael and Stuart Gorrell. It became the official state song after Ray Charles’ indelible rendition. A brief trio introduction opens the way for Teddy’s delicately gentle melody. He then delivers a beautiful opening solo that’s warm, full-toned, and sensuous. Rein speaks softly and reflectively on the next statement, then Teddy restates the melody with a touch of romantic lyricism into the smartly executed ending. Good Gravy, a mid tempo blues by Edwards was first heard on his 1961 album, and the ensemble starts the opening chorus leisurely. Edwards kicks off the first interpretation cheerfully. De Graaff steps into the second statement with a relaxing reading. Haverhoek makes a profound impression on his first solo ahead of the reprise, introductions of the group, and a few humorous announcements by Edwards.

Good Gravy was produced by Timeless Records founder, Wim Wigt, and recorded by Henk Elzinga. I was extremely impressed with the sound quality of this live recording. It has an exquisite soundstage that’s clear as fine crystal, and this record is silent until the music starts. You’re not just listening to the musicians playing, you’re in the Bimhuis audience watching the quartet’s performance, and they swing on all the cuts. If you’re a fan of Teddy Edwards, I invite you to check out Good Gravy on your next hunt for vinyl treasure. It’s an enjoyable live session that knocks it out of the park and deserves to be better known!

~ Good Gravy (Contemporary Records M 3592/S 7592); The Foremost! (Onyx #201) – Source: Discogs.com >~ Oh, Lady Be Good, Oleo, Georgia on My Mind – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Anniversary ~ Stan Getz | By Eddie Carter

There’s nothing I enjoy more than watching jazz music performed live. Since the pandemic, the next best thing is being transported to a particular location when listening to an album on the turntable. This morning’s album was recorded on July 6, 1987, at one of the best European jazz venues, Café Montmartre, and is titled Anniversary (The EmArcy Jazz Series 838 769-1) by Stan Getz. Stan had turned sixty earlier in the year, and he was celebrating year forty-four of his illustrious career. His sound on the tenor sax was warm, lyrical, and immediately identifiable and his resume of great musicians and vocalists he’s played and recorded with reads like the Encyclopedia Britannica of jazz. Getz played many times at Montmartre, and on this album, he’s joined by Kenny Barron on piano, Rufus Reid on bass, and Victor Lewis on drums. The copy used in this report is a friend’s Phonogram France Stereo pressing by Polygram Classics.

Side One opens with an original tune by Johnny Mandel, El Cahon. The song’s title is an anagram for tenor man, Al Cohn, one of The Four Brothers in Woody Herman’s Thundering Herd. Stan starts with a brief solo introduction before moving the tempo upward for the first reading. Kenny offers some light-hearted entertainment on the next statement. Rufus plays just as imaginatively on the third solo and Victor shares the finale with Stan before the closing chorus. I Can’t Get Started by Ira Gershwin and Vernon Duke is a timeless evergreen from The Great American Songbook. Getz begins the song, not at the beginning, but the bridge with a haunting introduction and melody. He also performed the song this way in concert during the late eighties. The melody moves upward for Getz’s opening solo before ending with notes of voluptuous warmth. Drew embodies the spirit of the song on the closing chorus with a compelling performance complementing the gentle response of Reid and Lewis.

Side Two starts with a second staple in the Songbook, Stella By Starlight by Ned Washington, and Victor Young. The ensemble begins at a livelier tempo with Stan asserting his skill with a bright, lively, and cheerful melody and lead solo. Kenny comes in next for an exciting and intriguing reading. Rufus provides the next exquisite statement with an improvised bass line that’s undeniably attractive. Stan adds a few vigorous closing remarks ahead of the ending and the crowd’s approval. The closer is Stan’s Blues by Gigi Gryce allowing everyone a solo opportunity. The leader sets the tone with a relaxed attitude on the opening chorus. Reid is up first with a delightful reading that starts slowly but builds to a soulful climax. Getz blows with authority on the second statement. Drew compliments him with an air of assurance on the third reading, and Lewis gives a concise comment. Getz takes the ensemble into the finale, receiving an enthusiastic ovation from the Montmartre audience.

Anniversary was produced by Ib Skovgaard for broadcast on Denmark Radio and the man behind the dials is engineer, Johnnie Hjerting. The result of their efforts is a beautiful recording with a stunning soundstage. The record is silent until the music starts, and the listener is transported to the Café Montmartre audience to enjoy Stan Getz at his best. Two years after Anniversary was released, Getz passed away on June 6, 1991, at age sixty-four. Sadly, there was only one pressing of the LP and it may be hard to find (I know because I’m still looking for a copy). But should you come across it on your next vinyl search, it’s the perfect music to chill to after a long day or week or to enjoy during or after a romantic dinner with that special someone. If you’re a fan of Cool or Modal Jazz, Anniversary by Stan Getz is sure to please newcomers to his music as well as seasoned fans and is highly recommended for your library!

~ I Can’t Get Started, Stella By Starlight – Source: Discogs.com
© 2021 by Edward Thomas Carter

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The House That Love Built ~ Frank Foster Quartet | By Eddie Carter

Frank Foster steps into the spotlight this morning with an underrated, exceptional album titled The House That Love Built (SteepleChase Records SCS-1170). Frank was adept as an arranger, bandleader, composer, and multi-instrumentalist. Horace Parlan on piano, Jesper Lundġard on bass, and Aage Tanggaard on drums complete the quartet. Foster wrote all five selections and my copy used in this report is the 1982 Danish Stereo album. Frank was born in Cincinnati, Ohio and educated at Central State College, and Wilberforce University. He led his own big band in the fifties and was a member of The Count Basie Orchestra. Several of his songs became huge hits for the band and are now jazz standards, and his resume reads like a Who’s Who of Jazz.

>Side One takes off with I Remember Sonny Stitt, an uptempo tribute to the saxophonist that gets underway with an enthusiastic melody by the foursome. Frank kicks off the solos with a vibrant statement of pure jubilation. Aage engages in a brisk exchange with Foster fueled by Horace and Jesper’s lively foundation preceding the closing chorus. The House That Love Built is a tender ballad with a quaint melody and the tenor sax providing a lead solo of graceful elegance.  Horace marks the beginning of a beautiful romance on the next reading with an intimate conversation of beauty and warmth. The saxophonist returns, expressing a few final moments of thoughtfulness over the rhythm section’s delicate support into the soft climax.

A neatly paced toe-tapper titled John R and Garfield closes Side One with the quartet’s opening chorus in a light groove with everyone swinging easy. Horace opens with an exemplary performance on the lead solo.  Frank is completely carefree on the second statement and Aage keeps perfect time with an impeccable swing on the closer. A concise drum introduction by Aage grows into a collective melody march to begin Side Two with Lightly Stroking.  Jesper gets the first spot this time and executes an invigorating interpretation. Frank has the last word plenty to say on the next with a light, effervescent work that flows along efficiently. Horace gets the last word and ends with an exceptionally relaxing finale before the quartet’s exit.

Dunbar’s Delight cooks from the opening notes of the quartet’s vigorous theme and allows Foster a lengthy energetic first reading. Parlan meets the challenge with some high-voltage on the next solo followed by Tanggaard who supplies sharp brushwork for a propulsive showcase into ends on an upbeat note. The album was produced by Nils Winther and engineered by Niels Erik Lund. The album has a breathtaking soundstage with each instrument possessing remarkable clarity. If you’re in the mood for Hard-Bop on your next vinyl hunt, I invite you to check out The House That Love Built by The Frank Foster Quartet. It’s a very satisfying session from one of jazz’s best musicians and worthy of a spot in any library!

© 2021 by Edward Thomas Carter


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My One And Only Love ~ Franco D’Andrea | By Eddie Carter

This morning’s choice from the library is My One and Only Love (Red Record NS 201), a recent acquisition introducing me to the Italian pianist, Franco D’Andrea. His career began in 1963 with bandleader Nunzio Rotondo.  He’s also played with Franco Ambrosetti, Gato Barbieri, Conte Candoli, Dave Douglas, Johnny Griffin, Lee Konitz, Steve Lacy, Max Roach, Frank Rosolino, Phil Woods, and other Italian musicians. D’Andrea is one of Italy’s most famous pianists and has an extensive discography of two hundred albums as a leader and sideman. Franco also taught at Conservatorio “F.A. Bonporti” from 1994 to 2006 and currently teaches at Mitteleuorpean Jazz Academy and Siena Jazz. On this date, he’s joined by Mark Helias on bass and Barry Altschul on drums. My copy used in this report is the 1983 Italian Stereo pressing.

Side One begins with the first of three tunes from the pianist’s pen, Nord E Sud is a pretty composition that starts slowly but grows to a medium tempo with Franco displaying fine finger work on the opening chorus. He continues holding our attention on an enchanting performance with consummate pacing ascending to a gorgeous climax. Mark takes over for a brief display of creative imagination on the closing solo before the threesome concludes exhibiting a simple lyrical beauty. The pace picks up for the medium-fast blues, Slalom Speciale beginning with a quick introduction by Altschul segueing into a brisk theme and superbly crafted, adventurous first reading by D’Andrea.  The pianist and Altschul share a spirited interchange of ideas next, then the drummer breaks loose with a majestic interpretation ahead of the trio’s return to the theme.

Quiet Children, a delicately gentle ballad describing boys and girls at their most peaceful, when they’re sleeping starts Side Two. The ensemble embarks upon a lovely melody transmitting their joy collectively. The leader delves deeply into each child’s dreams with elegant warmth on the first solo.  Mark follows with a thoughtful interpretation culminating with the threesome’s serene ending.  My One and Only Love by Guy Wood and Robert Mellin is a 1953 jazz standard allowing each member ample solo space. The opening statement by D’Andrea provides an ideal setting to display his talents with delightful humor as it unfolds.  Helias follows with a neatly paced reading expressing fervent admiration for the beautiful woman the lyrics describe. Altschul adds some marvelous energy to the final statement before the group’s reprise ends with a bit of collective free jazz improvisation.

The man behind the dials on My One and Only Love is Italian engineer, composer, and multi-instrumentalist, Giancarlo Barigozzi. His work has created a beautiful pressing with stunning stereo separation where the instruments come alive in your listening room crystal clear. Now that I’ve been introduced to this superb pianist, I’ll be looking for some of his other releases for my library. If you’re in the mood for some contemporary jazz, I submit for your consideration, My One and Only Love by Franco D’Andrea. The trio is strong in all three positions with bass and drums participating equally with the piano and their interplay working seamlessly. This album scores on all counts, and in my opinion, should not be overlooked on your next vinyl hunt!

~ My One and Only Love – Source: JazzStandards.com © 2020 by Edward Thomas Carter

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The Quarantined Jazz Voyager

Remaining vigilant as the city and country are open to unmasking and an honor system that I don’t trust, this week I’m pulling out the seventh album by pianist Mulgrew Miller titled From Day To Day.

The trio album was recorded on March 14~15, 1990 at BMG Studios in New York City. It was released the same year on Landmark Records. It was produced by Orrin Keepnews and engineered by Paul Goodman.

Track List | 55:00
  1. La Chambre ~ 7:35
  2. What A Diff’rence A Day Made ~ 8:08
  3. Four ~ 7:53
  4. From Day To Day ~ 7:26
  5. Playthang ~ 7:01
  6. Farewell To Dogma ~ 5:06
  7. One Notch Up ~ 4:50
  8. More Than You Know ~ 6:15
Personnel
  • Mulgrew Miller ~ piano
  • Robert Hurst ~ double bass
  • Kenny Washington ~ drums

CALIFORNIA JAZZ FOUNDATION

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