Requisites

Curtain Call ~ Hank Mobley | By Eddie Carter

Hank Mobley was one of the most productive musicians on Blue Note during the fifties, recording as a leader and with some of the label’s best artists. This morning’s subject is a recent acquisition to the library that was originally recorded in 1957 but remained shelved until a 1984 Japanese release. Curtain Call (Blue Note BST 61006) is an excellent quintet session by the tenor saxophonist featuring Kenny Dorham on trumpet, Sonny Clark on piano, Jimmy Rowser on bass, and Art Taylor on drums. My copy used in this report is the 2022 Blue Note Tone Poet Series Stereo audiophile reissue, the first US vinyl release.

Side One starts with the first of four tunes by Hank Mobley. Don’t Get Too Hip is an easy-flowing midtempo blues that Clark introduces preceding the quintet’s collective theme. Sonny is up first with an easygoing attitude on the first statement. Kenny continues this pleasant exercise with a lengthy solo spot. Hank takes center stage next and sails smoothly through the third reading. Jimmy applies the finishing touch on a short statement ahead of the group’s reprise and ending. Curtain Call is off to the races on the ensemble’s speedy melody. Hank moves with astonishing velocity in the opening statement. Kenny drives the second reading with intense emotion, then Sonny takes an exhilarating turn. Art shares the final solo with the front line briefly before the close.

Deep In a Dream by Eddie DeLange and Jimmy Van Heusen is a gorgeous quartet performance illustrating Hank’s ability to interpret a ballad. Mobley and the trio begin with a delicately tasteful melody. He continues with an exquisitely beautiful opening statement. Clark expresses great warmth to the second solo, then Hank adds the exclamation point with sensitive delicacy into the foursome’s luscious ending. The quintet raises the curtain on Side Two with The Mobe. The ensemble begins the happy theme in unison, then Hank takes off on a terrifically agile first solo. Kenny takes over, feeling right at home on the second reading. Sonny spreads some joyful enthusiasm on the next statement. The front-line reappears to exchange a few final verses leading to the finish.

My Reverie by Claude Debussy and Larry Clinton is one of the delights of the set. Dorham has the spotlight to himself on the melody and first solo, handling both with equal effectiveness. Clark comes on next with an intriguing interpretation, followed by Mobley who delivers the next statement confidently. Dorham returns to take the song out with Mobley shadowing him in the background. On The Bright Side ends the album on a cheerful note beginning with the quintet’s brisk melody. Kenny draws us into the song with a lively opening statement. Sonny gives a sterling account on the second solo. Hank endows the third interpretation with a feisty spirit, and Taylor sparkles in a brief exchange with Dorham and Mobley into the closing theme.

Curtain Call was originally produced by Alfred Lion and Rudy Van Gelder was the man behind the dials. Joe Harley supervised this reissue and Kevin Gray did the mastering. The sound quality is breathtaking with a terrific soundstage that transports the musicians to your listening room as you enjoy the album. The cover’s worthy of hanging on your wall and the gatefold photos are gorgeous. The record is pressed on 180-gram audiophile vinyl and is incredibly quiet until the music starts. If you enjoy Hank Mobley and love good Hard-Bop, I invite you to check out Curtain Call on your next vinyl treasure hunt. In my opinion, it’s one of his best fifties recordings and one listen is sure to hook you, just as one listen sold me!

~ Hank Mobley Quintet Featuring Sonny Clark (Blue Note BNJ 61006) – Source: Discogs.com ~ My Reverie – Source: Wikipedia.org © 2022 by Edward Thomas Carter

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The Quarantined Jazz Voyager

As we begin to explore more outings, the Jazz Voyager is still practicing social distancing and mask wearing at gatherings. That said, this week as we continue to see and gather information as to which venues have survived the pandemic, I am pulling from the library the 1981 recording of The Jamfs Are Coming by tenor saxophonist Johnny Griffin.

Recorded at a  pair of sessions at a small nightclub in Wihelmshaven, Germany, The Blue Note in Pumpwerk provided the settings for these live performances. His explosive original blues, The Jamfs Are Coming, JAMF being an acronym for a well-known but unprintable expression, is a powerful opener recorded in October 1977.

Following an unaccompanied coda, Griffin rapidly shifts gears into a brief up-tempo rendition of Wee Dot, which unfortunately was faded out. The one-minute chorus of the December 1975 Wee is a complete performance that evidently closed a 1975 set. The LP wraps with an inspired December 1977 take of All the Things You Are, in which Griffin dodges the head initially then squeezes in a lick or two from Happy Birthday and a series of other humorous quotes throughout this frenzied 20-minute workout.

The artwork was by Don Diesveld, photography by AnkoWieringa and Hanz Harzheim and was produced by Wim Wigt Productions.

1. The Jamfs Are Coming (Johnny Griffin) ~ 17:15
2. Wee (Denzil Best) ~ 1:00
3. All The Things You Are (Oscar Hammerstein II, Jerome Kern) ~ 20:00

• Johnny Griffin ~ Tenor Saxophone
• Rein de Graaff ~ Piano
• Koos Serierse, Henk Haverhoek ~ Bass
• Art Taylor ~ Drums

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Requisites

Giant Steps (In Memory of John Coltrane) ~ Tommy Flanagan | By Eddie Carter

This morning’s choice from the library was recommended to me years ago because of my love of piano trios. I finally acquired a copy and am pleased to submit it for your approval. Giant Steps (Enja Records 4022) is a terrific 1982 album that’s a loving tribute to John Coltrane by pianist Tommy Flanagan. The tenor saxophonist composed all the tunes on this date and five of them appeared on his album Giant Steps (1960). Here, he’s working with an outstanding rhythm section, George Mraz on bass and Al Foster on drums. My copy used in this report is the original German Stereo release.

Side One opens with Mr. P.C., John’s tribute to bassist Paul Chambers who alongside Flanagan first recorded it with him. After the trio swings in unison on the melody, Tommy constructs the first solo vigorously. George gives an inspired statement next, then Al shares the spotlight with the leader on an energetic exchange into the reprise.

Central Park West is the first of two pretty ballads on the album and was first heard on Coltrane’s Sound (1964). Flanagan starts the song tenderly, then the rhythm section joins him to complete the melody. The pianist handles the opening chorus with great sensitivity and delicacy. Next up is Mraz who provides a brief thoughtful expression, then the pianist reappears for a concise comment preceding a gentle ending.

Syeeda’s Song Flute is Coltrane’s original written for his then ten-year-old daughter and returns the ensemble to an upbeat mood with a collective happy theme. Tommy captures the sheer joy of this tune in the opening statement. George responds with a cheerfully carefree interpretation that bounces along into Al’s zesty brushwork on the third performance. The pianist makes a few final points ahead of the ensemble’s culmination.

Side Two gets underway with Coltrane’s song about his Cousin Mary. The group is in perfect harmony on the melody. Flanagan starts it off with a vivaciously spirited solo that’s sure to have the listener tapping their toes to this irresistible beat. Mraz makes an indelible impression next, and Foster dazzles in an exchange with the leader ahead of the trio’s sprightly climax. Naima is John’s gorgeous tribute to his first wife and the trio opens with a heartfelt melody. Tommy paints a beautiful portrait as soft as an affectionate embrace on the song’s only solo with George and Al supplying the subtle support into an enchanting ending.

Giant Steps completes the album in high spirits from the start of the trio’s brisk theme. Flanagan leads off with an exhilarating reading, then Mraz greets the next solo enthusiastically. Foster and Flanagan share a lively exchange ahead of the closing chorus and finish.

Giant Steps was produced by Horst Weber and Matthias Winckelmann, and the album’s recording engineer was David Baker. The sound quality is excellent with superb fidelity across the highs, midrange, and low end that transports the trio to your listening room vividly. Tommy Flanagan was one of the most admired pianists in jazz and it might be easier for me to tell you who he didn’t play with because his discography is so extensive. Flanagan recorded forty albums as a leader, appeared on over two hundred more as a sideman and his career lasted over fifty years. He passed away on November 16, 2001, at the age of seventy-one. If you’re a fan of jazz piano, piano trios, or are new to the music of Tommy Flanagan, I invite you to seek out Giant Steps on your next vinyl hunt. It’s an exceptional album that’s worth checking out for a spot in your library!

~ Coltrane’s Sound (Atlantic 1419/SD 1419), Giant Steps (Atlantic 1311/SD 1311) – Source: Discogs.com ~ Giant Steps, Naima – Source: JazzStandards.com © 2022 by Edward Thomas Carter

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Requisites

It’s About Time ~ McCoy Tyner and Jackie McLean | By Eddie Carter

This morning’s discussion brings two jazz giants together for their only collaborative album. It’s About Time (Blue Note BT 85102) is a 1985 release by pianist McCoy Tyner and alto saxophonist Jackie McLean (tracks: A1 to A3, B1) that rekindles a sixties Hard-Bop or Post-Bop date and is one of the best kept secrets in both musician’s discographies. The supporting cast is a stellar one, Jon Faddis (tracks: A1, B1) on trumpet, Ron Carter (tracks: A1, B1, B2) on acoustic bass, Marcus Miller (tracks: A2, A3, B3) on electric bass, Al Foster on drums, and Steve Thornton (tracks: A2, A3, B3) on percussion. My copy used in this report is the 1985 US Stereo Full Digital Recording.

Side One opens with the first of five tunes from Tyner’s pen, Spur of The Moment begins with a lively opening chorus in unison. Jon opens the opening solo with tremendous fire and spirit, followed by Jackie who produces some commanding choruses on the second performance. McCoy cooks confidently on the finale with inexhaustible energy into the climax. You Taught My Heart To Sing is a beautiful ballad that’s a showcase for McLean who gives the melody and first solo a warm and moving treatment. Tyner is up next with a delicately gentle reading shadowed by Miller, Foster, and Thornton who anchor both soloists with gorgeous groundwork preceding McLean’s return for the reprise and Tyner’s quiet ending.

It’s About Time begins with a tropical flavor in its blood on a delightfully, feisty midtempo theme led by Jackie who also leads the solos this time with an effective groove, then McCoy follows with a perfectly crafted closing statement. Marcus and Steve provide the spicy compliment that keeps our fingers popping and toes tapping into the group’s soft fadeout. Side Two opens with Hip Toe, a mid~tempo swinger that starts with the front-line and Tyner cruising comfortably into the infectious opening chorus. McLean is up first and comes out swinging on a peppy reading. Faddis answers him with a sharp, zesty statement that builds to a satisfying conclusion. Tyner provides the exclamation point on an extremely happy closing solo before the theme’s return and disappearance.

No Flowers Please by Ron Carter is a trio performance of tranquil beauty that the bassist introduces thoughtfully. McCoy takes the first solo and paints an intimate portrait. Ron closes with a polite, considerate reading executed with fingertip delicacy leading to a tender climax. Travelin’ invites us to take a mid~tempo trip without leaving the comfort of our sweet spot. Miller is the highlight here and demonstrates some stellar bass playing on the opening solo after Tyner’s opening chorus propelled by the rhythm section and Thornton’s percussion. Tyner makes a very personal statement on the closing reading with a grand delivery that brings us safely home after this six-song journey into a gentle culmination.

It’s About Time was produced by Jeffrey Weber and was digitally recorded by Ron Saint German. The sound quality is superb with an outstanding soundstage and excellent stereo separation matching the exceptional interaction between the musicians. The music also flows smoothly and is reminiscent of a classic Blue Note recording of the late fifties or early sixties. If you’re a fan of McCoy Tyner and Jackie McLean, I invite you to audition It’s About Time at your earliest opportunity. It’s an album of wonderful jazz music deserving further investigation for a spot in your library!

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Requisites

Down Town ~ Guido Manusardi Trio | By Eddie Carter

This morning’s choice from the library is Down Town (Soul Note SN 1131) by The Guido Manusardi Trio. It was released in 1986 and the album’s title comes from the restaurant in the Galleria where Manusardi plays solo piano. He’s one of the incomparable musicians whose records are consistently outstanding. Guido also played and recorded with Don Byas, Roy Eldridge, Art Farmer, Dexter Gordon, Red Mitchell, and many others over a nearly five-decade career. He’s joined here by the Swiss jazz bassist, Isla Eckinger whose catchy grooves flow smoothly whether at fast, medium, or slow tempos. The drummer is Ed Thigpen who needs no introduction to anyone owning albums by Ella Fitzgerald, Oscar Peterson, Bud Powell, Dinah Washington, and others. Thigpen could swing straight ahead with a strong, but not heavy touch on the drums and his rock-solid beat is the foundation sustaining the happy, relaxed mood of this date. I was introduced to his music on this album, and my copy used in this report is the original Italian Stereo pressing.

Downtown, the first of four tunes by the pianist starts Side One in good spirits with the trio’s mellow melody. The pace picks up on the opening chorus with the most solo space devoted to Manusardi who delivers an efficient statement. Eckinger displays his rhythmic virtuosity on the closing reading with a charming, melodic performance. Thigpen holds the song together with subtle support ahead of the finale. Guido’s very pretty ballad, Alexandra, is a stunning centerpiece for him on the song’s only solo. His presentation is elegantly graceful and tender thanks to the intimately gorgeous groundwork of his bandmates. The first side finale is the pianist’s Fairway. It’s ablaze from the pulse-quickening introduction by Thigpen into the trio’s vigorous theme. Guido dances brightly on the keys with an energetic opening statement. Isla follows with an expediently paced, uptempo reading that fuels Ed to raise the energy level higher with a brisk attack on the drums ending with a very satisfying closing chorus.

Side Two opens with the 1935 standard, My Romance by Richard Rodgers and Lorenz Hart. The ensemble introduces the melody at a medium tempo, and Manusardi permits his fingers full sway on the joyously happy lead solo. Eckinger fascinates endlessly on the next reading with incisively expressive lines, and Thigpen exchanges lively brushwork with the leader on the closer before the trio’s exit. Dino’s Mood, Manusardi’s second ballad allows the pianist another opportunity to weave a magic mist of great sensitivity as the song’s lone soloist with a soft-spoken spirit. Isla and Ed shadow Guido as he plays delicately, culminating into a tender climax. The album ends with The Meaning of The Blues by Bobby Troup and Leah Worth. It was composed in 1957 and Manusardi’s lone interpretation is delivered to perfection. He entices the listener with a performance of exquisite beauty and melancholy poetry into the ensemble’s gentle ending.

The solos throughout Down Town are enticing by the exceptional energy, interaction, and technical skill of Manusardi, Eckinger, and Thigpen. The album is also superbly recorded by engineer Giancarlo Barigozzi with an open and airy soundstage, stunning sound, and incredible definition of each instrument. If you’re unfamiliar with pianist Guido Manusardi and enjoy a solid jazz trio of piano, bass, and drums, I invite you to audition Down Town by The Guido Manusardi Trio. Your diligence in seeking the album out for your library will be rewarded with nearly thirty-seven minutes of outstanding jazz that still sounds as fresh as it did over three decades ago on a stellar album that’s highly recommended!

~ My Romance, The Meaning of The Blues – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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