Requisites

‘More’ Live ~ The Phil Woods Quartet | By Eddie Carter

Alto saxophonist Phil Woods was one of the unsung heroes of jazz, he was equally adept at Cool Jazz, and Hard-Bop with a gorgeous tone, and speed of execution that never failed to please his fans. ‘More’ Live (Adelphi Records Inc. AD 5010) is the second live session that The Phil Woods Quartet performed at The Armadillo World Headquarters in Austin, Texas during 1978 and 1979.  It hit the stores in 1981, following their 1980 album, The Phil Woods Quartet Live, Volume One, featuring Mike Melillo on acoustic piano, Steve Gilmore on acoustic bass, and Bill Goodwin on drums.  My copy used in this report is the 1981 US Stereo album.

Side One opens with Miles Davis’ Milestones.  Phil is excellent on the lead solo, backed only at first by Steve and Bill.  Mike joins them, then takes over on the second interpretation.  Steve’s bass dances brightly on the third reading and Bill has the last word in an exchange with Phil and Mike before the reprise and close.  Eiderdown by Steve Swallow kicks off with a five-minute performance by Gilmore who solos impressively.  Woods launches into the next statement with inspired exuberance and Melillo takes care of business on the closing chorus.

Horace Silver’s Strollin’ begins Side Two in a relaxed vein for the ensemble’s theme.  Mike kicks off the solos with a vivaciously spirited interpretation.  Phil moves into the spotlight next with a soulful tone and agility that builds to a compelling conclusion.  Steve shines on the closing statement with a quiet intensity ahead of the foursome taking the song out.  Mike Melillo’s See Hunt and Liddy begins with a lovely introduction by the pianist developing into the quartet’s sprightly mood on the melody.  Melillo lays down a solid groove on the opening statement that delivers the goods.  Gilmore’s bass takes a brisk trip through the next reading, and Woods turns up the heat with a vigorous, energetic closing chorus culminating with the group’s climax.  The engineers for See Hunt and Liddy are Jim Finney, Mark LeBaron, and Hank Allrich.  The men behind the dials of the remaining tracks are Cliff Carter, Fletcher Clark, and LeBaron.  The ensemble is tight, the music is terrific, the album has an exceptionally good soundstage, and I’m very impressed with the sound quality.

In addition to playing the alto sax, Phil Woods was also proficient on the clarinet.  Woods was married to Chan Parker for seventeen years, and Stepdad to her daughter, Kim.  His discography is extensive with sixty records as a leader and many others as a sideman performing with some elite jazz musicians and pop vocalists.  His final live performance was a tribute to Charlie Parker with Strings on September 4, 2015.  He passed away from emphysema twenty-five days later on September 29 at the age of eighty-three.  Now that I’ve found this one, I’ll certainly be on the lookout for its companion album.  If you’re in the mood for some Post-Bop and are a fan of any LP’s by Phil Woods, I offer for your consideration, ‘More’ Live by The Phil Woods Quartet.  An album of sumptuous jazz that’s sure to satisfy almost any jazz appetite!

~ The Phil Woods Quartet Live, Volume One (Clean Cuts CC 702) – Source: Discogs.com

~ Milestones – Source: JazzStandards.com
© 2020 by Edward Thomas Carter

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The Quarantined Jazz Voyager

Continuing to social distance, this Quarantined Jazz Voyager has decided he requires some vocals and has selected an album by Helen Merrill titled Clear Out Of This World. Her haunting voice gives this cool vocal jazz album a consistent and memorable session full of subtle surprises.

The album was recorded in Manhattan, New York on August 1st, & 2nd  and September 3, 1991 in Los Angeles, California. It was released in 1992 on Polygram’s French label Gitanes. Making appearances are Wayne Shorter on tracks 1, 9; and Tom Harrell on tracks 3, 4, 8.

The album was produced by Jean-Philippe Allard, engineered by Brian Scheubl, mixed by J. Newland. The cover photography was shot by Carol Friedman, the liner photography of Wayne Shorter was taken by Amy Cantrell, and the liner photography was by Cheung Ching Ming.

1. Out Of This World | Harold Arlen/Johnny Mercer ~ 6:17
2. Not Like This | Jeremy Lubbock ~ 3:03
3. I’m All Smiles | Michael Leonard / Herbert Martin ~ 7:09
4. When I Grow Too Old To Dream | Oscar Hammerstein II / Sigmund Romberg ~ 6:35
5. Maybe | Shelton Brooks ~ 6:35
6. Some Of These Days | Shelton Brooks ~ 3:58
7. A Tender Thing Is Love | Torrie Zito ~ 4:16
8. Soon It’s Gonna Rain | Tom Jones / Harvey Schmidt ~ 4:40
9. Willow Weep For Me | Ann Ronell ~ 7:44

• Helen Merrill ~ vocals
• Roger Kellaway ~ piano, arrangements
• Red Mitchell ~ bass
• Terry Clarke ~ drums
• Wayne Shorter ~ tenor saxophone
• Tom Harrell ~ Trumpet, Flugelhorn

Listen and enjoy this wonderful addition to the jazz catalog, continue to social distance, and stay healthy. During this sabbatical from flying and investigating jazz around the globe, enjoy the listen and know that the world and I will be back.

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The Quarantined Jazz Voyager

As the nation navigates the re-opening of the country, I am maintaining my social distancing with only minimal outings to the grocers, this Quarantined Jazz Voyager has chosen the perfect album to listen to in autumn. Pulling from the stacks is the 1996 recording by David Newman titled Under A Woodstock Moon.

The album was recorded on June 15~17, 1996 at the Quad Recording Studios in New York City. It was produced by the saxophonist and released on Herbie Mann’s Kokopelli label. David Newman contributed three compositions ~ 2, 9, & 12.

1. Nature Boy (Eden Ahbez) ~ 4:36
2. Amandla ~ 5:15
3. Up Jumped Spring (Freddie Hubbard) ~ 4:24
4. Spring Can Really Hang You up the Most (Tommy Wolf, Fran Landesman) ~ 5:11
5. Autumn in New York (Vernon Duke) ~ 4:38
6. Sky Blues (David Leonhardt) ~ 2:56
7. Another Kentucky Sunset (Leonhardt) ~ 4:58
8. Summertime (George Gershwin, DuBose Heyward, Ira Gershwin) ~ 4:56
9. Sunrise (Leonhardt, Newman) ~ 5:35
10. A Nightingale Sang in Berkeley Square (Manning Sherwin, Eric Maschwitz) ~ 6:14
11. Skylark (Hoagy Carmichael, Johnny Mercer) ~ 4:49
12. Under a Woodstock Moon ~ 5:32

• David Newman ~ tenor saxophone, alto saxophone, flute
• David Leonhardt ~ piano, arranger
• Bryan Carrott ~ vibraphone
• Steve Novosel ~ bass
• Winard Harper ~ drums
• Strings ~ Charles Libove, Eugene Moye, Matthew Raimondi, Ronald Carbone
• String section conducted by Torrie Zito
• Bob Freedman ~ arranger

As you listen and enjoy this wonderful addition to the jazz catalog, continue to social distance and stay healthy. During this sabbatical from flying and investigating jazz around the globe, enjoy the listen and know that the world and I will be back.

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Requisites

Pure Getz ~ The Stan Getz Quartet | By Eddie Carter

I enjoy listening to jazz when I’m reading and one of my favorite musicians to hear is Stan Getz. He became a favorite of mine after hearing The Girl From Ipanema and Corcovado from the 1964 album, Getz/Gilberto. I also got to see him perform live as a member of the 1972 Newport Jazz Festival All-Stars at Music Hall on July 6, 1972, in New York City. This morning’s choice from the library is Pure Getz (Concord Jazz CJ-188) featuring his quartet at the time, Jim McNeely on piano; Marc Johnson on bass; Billy Hart (tracks: A3, B1, B2) and Victor Lewis (tracks: A1, A2, A4, B3) on drums.  My copy used in this report is the 1982 US Stereo release.  

The album opens with an uptempo tune by Jim McNeely, On The Up and Up.  The ensemble starts with an invigorating melody, then Stan moves right into a sizzling lead statement.  Jim swings hard on the next solo with a bouncy effervescence and spirited lyricism.  Marc responds with an impressive presentation that appeals at every turn, and Victor keeps the rock-solid beat flowing into a quick climax.  

The pace slows down for Blood Count by Billy Strayhorn, originally written as a three-part work for Duke Ellington titled Blue Cloud.  It was Strayhorn’s final composition for Duke before succumbing to cancer on May 31, 1967.  Ellington himself only performed the tune twice after Billy’s passing.  First at a Carnegie Hall concert later that year in August and on his touching 1968 tribute album in memory of Strayhorn, And His Mother Called Him Bill.  The quartet delivers an evocatively moving melody and Getz blows a passionately delicate performance culminating with a compassionate coda. 

Very Early by Bill Evans is a pretty tune written early in the pianist’s career that was featured on his 1962 album, Moon Beams.  The quartet presents this song at an easy, relaxing tempo with Billy Hart on drums.  Marc opens with a tenderly expressive solo, then Jim turns in an enchanting interpretation next.  Stan weaves a gentle spell of tenderness on the closing statement with a wonderful warmth and presence.

Sipping at Bell’s by Miles Davis begins with a three-instrument chat between Getz, Johnson, and Lewis.  McNeely joins the discussion for the informal melody, then Johnson carves out a clever opening reading.  Getz is formidable on the next presentation with a sharp, crisp attack.  McNeely permits his fingers full sway on an effectively swift performance, and Lewis connects with a lightness of touch on a brief statement that’s exceptionally smooth.  

Side Two starts with I Wish I Knew, written in 1945 by Harry Warren and Mack Gordon.  This is a very enjoyable rendition taken at midtempo with the solo order, Getz, McNeely, and Johnson with Hart behind the drums.  Stan swings into a soulful tenor solo sticking close to the melody.  Jim comes next for a delightfully pleasant reading, then Marc makes an indelible impression on the finale with an inspired statement.

Come Rain or Come Shine by Harold Arlen and Johnny Mercer was written in 1946 for the Broadway musical, St. Louis Woman and is a jazz and pop favorite with numerous recordings since its inception.  The trio opens with a gentle introduction evolving into an emotional communication on the melody.  Getz’s sound is perfectly suited to this ballad as he demonstrates on the lead solo with a beautiful tone and thoughtful musicality.  McNeely handles the next interpretation with meticulous care, and Johnson closes with a gorgeous bass solo ahead of the leader’s sensuous ending. 

Tempus Fugit, aka Tempus Fugue-it, was written in 1949 by Bud Powell and is a play on words meaning “time flies”.  The quartet takes off at a torrid tempo on the opening chorus, Jim swings at a ferocious pace on the scintillating first solo.  Stan exemplifies boundless energy on the second reading with breakneck speed, then Marc gives the third reading a serious jolt of electrical energy.  Victor wraps up the album with some bouncy brushwork before the quartet makes a spirited sprint to the finish line.

The album was recorded by Ed Trabanco and Phil Edwards, and the more I listened, the more I became impressed with the record’s soundstage.  The instruments leap out of your speakers with outstanding detail.  Stan Getz was one of the master tenor men with a career spanning nearly five decades from the forties to 1990.  If you’re a fan of Bebop and Cool Jazz, I offer for your consideration, Pure Getz by The Stan Getz Quartet.  An entertaining album that any jazz fan would appreciate!

~ And His Mother Called Him Bill (RCA LSP-3906); Getz/Gilberto (Verve Records V-8545/V6-8545); Moon Beams (Riverside RLP 428/RLP 9428) – Source: Discogs.com

~ Come Rain or Come Shine – Source: JazzStandards.com

~ Blood Count, Tempus Fugit – Source: Wikipedia.org

© 2020 by Edward Thomas Carter

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Requisites

Dancing In The Dark ~ The Fred Hersch Trio | By Eddie Carter

I recently reacquainted myself with one of the most accomplished pianists in jazz.  Fred Hersch has been playing since he was four, composing music since he was eight, and recorded over seventy original tunes. Fred’s worked with many great musicians and vocalists, performed as a classical soloist with orchestras and in chamber settings plus led his own groups. He’s also appeared at the Jazz Standard and Village Vanguard, has an extensive discography, and has been nominated for several Grammy Awards including one for the album I’m discussing this morning.

I first heard this record at the 1994 Consumer Electronics Show in Las Vegas. It was one of the most auditioned audiophile LP’s heard on the turntables of various high-end manufacturers. Dancing In The Dark (Chesky Records JR 90) is a stellar album by The Fred Hersch Trio that I’m really happy to have in my library. Joining the pianist are Drew Gress on bass and Tom Rainey on drums. My copy used in this report is the 1993 US Stereo Audiophile pressing.

Side One starts with Dancing In The Dark, written by Arthur Schwartz and Howard Dietz. The song’s first appearance was in the 1931 musical revue, The Band Wagon. It was later reprised in the 1953 film version. Fred displays a delicate touch on the trio’s graceful melody, then goes right to the heart with a strong statement expressing happiness enhanced by Drew and Tom’s supportive energy into a tender fade. I Fall In Love Too Easily is a 1944 song by Jule Styne and Sammy Cahn first heard in the film Anchors Aweigh a year later. The threesome eases into a tranquil opening chorus. Gress starts with a slow, seductive groove of beguiling warmth, then Hersch gradually builds gentle cascades into a passionately tender performance.

Secret Love by Sammy Fain and Paul Francis Webster was first recorded in 1953 by Doris Day who also sang it in the musical film, Calamity Jane. The group takes this tune for a midtempo spin and each member gives an entertaining interpretation. The first side concludes with If I Should Lose You, composed in 1935 by Ralph Rainger and Leo Robin. This song comes from the 1936 film, Rose of The Rancho. Hersch makes this a solo showcase, beautifully characterizing the melody into an intimate dialogue that casts a spell of sensual beauty ahead of an exquisite ending.

Side Two starts with a spirited rendition of the 1948 Cole Porter composition, So In Love, first heard in the Broadway musical, Kiss Me, Kate. The mood is jubilant from the start of the trio’s theme treatment, and Fred swings into an enthusiastic workout before the slow-tempo out-chorus. For All We Know is a song composed in 1934 by J. Fred Coots and Sam M. Lewis that’s very popular among jazz and pop vocalists. Hersch lovingly performs the first chorus solo, then Gress and Rainey add their sinuous support to the remainder of the melody. Fred’s infectiously grooving interpretation showcases the pianist’s dazzling dexterity.

My Funny Valentine by Richard Rodgers and Lorenz Hart is one of the most beautiful songs ever written.  It premiered in the 1937 Broadway musical, Babes In Arms. The trio paints on a subtle palette for the nostalgically tender theme.  Fred’s lead solo is thoughtfully elegant and Drew crafts a deliciously inviting reading preceding the pianist’s reprise and soft summation. Dancing In The Dark was produced by David Chesky and Fred Hersch.

The album was recorded by Bob Katz, engineered by David Merrill, Jeremy Kipnis, and Peter Cho. It was mastered at Record Technology Incorporated and pressed on premium 180-gram audiophile vinyl. It’s a great demonstration record for your audio system with crystal-clear highs, a sharp midrange, and deep bass for a stunning soundstage.  If you’re a fan of piano jazz and enjoy the standards, I invite you to go Dancing In The Dark with The Fred Hersch Trio. Your ears will be rewarded with an extremely enjoyable album that’s just right for a romantic evening with that special someone!

~ Dancing In The Dark, For All We Know, I Fall In Love Too Easily, If I Should Lose You, My Funny Valentine – Source: JazzStandards.com

~ Fred Hersch, Secret Love (Columbia 40108), So In Love – Source: Wikipedia.org

© 2020 by Edward Thomas Carter

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