The Quarantined Jazz Voyager

As we progress further into this new year with social distancing and self~quarantine from the madness of those who feel the need to live like it’s 2019 some of us have adapted to this new normal. For those of us who no longer consider this pandemic life interrupted, we kick back and relax and listen to music.

This week I chose the second studio album by guitarist Emily Remler titled Take Two. Credited to The Emily Remler Quartet, and she was joined on the recording session by pianist James Williams, bassist Don Thompson, and drummer Terry Clarke. Williams was best known at the time for his four years with The Jazz Messengers, and Thompson and Clarke frequently worked together as part of the Jim Hall Trio.

The hard bop album was produced by Carl E. Jefferson, recorded in June 1982 at Soundmixers, New York City and released on the Concord Jazz label the same month. Leonard Feather called the album a carefully planned and brilliant executed set of performances.

Track List | 42:24

1. Cannonball (Cannonball Adderley) ~ 4:48
2. In Your Own Sweet Way (Dave Brubeck) ~ 4:52
3. For Regulars Only (Dexter Gordon) ~ 6:43
4. Search For Peace (McCoy Tyner) ~ 5:17
5. Pocket Wes (Emily Remler) ~ 6:45
6. Waltz For My Grandfather (Emily Remler) ~ 6:35
7. Afro Blue (Mongo Santamaría) ~ 2:24
8. Eleuthra (Monty Alexander) ~ 6:20

• Emily Remler – electric guitar
• James Williams – piano
• Don Thompson – bass
• Terry Clarke – drums

I’m in this for the long run and we’re going to get through this pandemic, so when the world opens back up for international travel, I’m hitting the friendly skies to once again jet setting around the globe. In the meantime, stay vigilant, wear masks and remain healthy.

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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

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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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