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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Requisites
Night Flight To Dakar ~ Al Cohn, Billy Mitchell, Dolo Coker, Leroy Vinnegar, Frank Butler | By Eddie Carter
Submitted for your consideration this morning is the second of two albums recorded during The Xanadu All-Stars’ first tour in Senegal, West Africa. Night Flight To Dakar (Xanadu Records 185) was released in 1982 after the first LP, Xanadu In Africa hit the stores a year earlier. The personnel consists of Al Cohn and Billy Mitchell on tenor sax; Dolo Coker on piano; Leroy Vinnegar on bass and Frank Butler on drums. My copy used in this report is the original release. On the four quintet tunes, Cohn is heard on the left channel and Mitchell on the right channel.
The album opens with the title tune, Night Flight To Dakar was composed by Coker as a tribute to his bandmates and in honor of the ensemble’s trip to Africa. It’s a tune the group has fun on with a vigorous beat by both horns in unison leading the trio on the melody. Al opens with a scintillating groove of spirited wailing as refreshing as a cold drink on a hot summer day or evening. Billy makes his point next with innovative energy on a superb statement. Dolo digs into the finale with a tasty reading before the front line shares the final two choruses into the reprise and close.
Don’t Let The Sun Catch You Crying was written by Joe Greene in 1946 and showcases the trio in a gorgeous performance. Dolo tenderly presents the melody and approaches the song’s only solo with delicate respect, sustained by Leroy and Frank’s gentle foundation. It’s back to a blowing session for the quintet’s first side finale with an uptempo version of Blues Up and Down by tenor saxophonists Gene Ammons and Sonny Stitt. This jazz favorite was written in 1950, making its first appearance on a Prestige 78-rpm single and reissued a year later on the LP, Battle of The Saxes.
The song is charged with electricity from the opening notes of the melody. Billy begins the fireworks with an exciting exhibition of musical virtuosity. Cohn comes right on his heels with a blistering heatwave of his own. Coker swings into a bouncy, happy groove on the next interpretation. Vinnegar steps up next with a rousing chorus shadowed by Butler, then swings swiftly on the next five verses. Butler makes a crisp contribution, exchanging the final statement with both saxes into a most satisfying conclusion.
Sweet Senegelese Brown by Billy Mitchell is dedicated to a woman from Georgia. This song opens Side Two built on the chords of the 1925 standard, Sweet Georgia Brown by Ben Bernie, Maceo Pinkard, and Kenneth Casey. Al and Billy provide the first two exemplary readings, but the showcase here belongs to Frank who has the longest solo at 5 ½ minutes. It’s not a bad performance, but his readings on Blues Up and Down and The King are better in my opinion. Dolo and Leroy don’t solo themselves but provide the propulsive power on the opening and closing themes and behind both saxophonists. The finale is by Count Basie and became a signature song for Illinois Jacquet.
The King is an uptempo cooker allowing everyone solo space and opens with a high-voltage melody collectively. Billy soars first into a fiercely, heated lead solo, then Al attacks the next one with the quick motion of a whirlwind. Dolo executes the next reading with rapid-fire agility, then Leroy takes a joyful excursion next. Frank exchanges a few riffs with Al and Billy, taking the ensemble home on a high note.
Night Flight To Dakar was recorded by American engineer Paul Goodman and he delivers an album with good sound quality. I say good because the one area that fails as you’re listening is when a musician is talking. You can barely make out what anyone is saying until the very end of The King when one of the guys says Merci Beaucoup to the crowd. That issue aside, the ensemble delivers a solid live performance with excellent musicianship and a soundstage from the instruments that’s good enough to provide excellent playback on any mid-fi or high-end audio system. I’m intrigued enough to start looking for the first album Xanadu In Africa for a serious listen and enjoyed the music on Night Flight To Dakar enough to recommend it for fans of Al Cohn, Billy Mitchell, Dolo Coker, Leroy Vinnegar and Frank Butler.
~ Blues Up and Down, Battle of The Saxes (Prestige PRLP 107); Don’t Let The Sun Catch You Cryin’ (Prestige 877); Xanadu In Africa (Xanadu Records 180) – Source: Discogs.com ~ Sweet Senegelese Brown – Source: Album liner notes by Don Schlitten © 2020 by Edward Thomas Carter
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The Quarantined Jazz Voyager
As the social distancing and my personal quarantine continues, the next album this jazz voyager is East To Wes by guitarist Emily Remler. Recorded in May 1988 on the Concord Records label. This is her last session to be recorded and released before her death. Having put together one of the finest rhythm sections, it has been hailed as her finest effort.
Track Listing | 51:18- Daahoud (Clifford Brown) ~ 5:19
- Snowfall (Claude Thornhill) ~ 6:39
- Hot House (Tadd Dameron( ~ 5:45
- Sweet Georgia Fame (Blossom Dearie/Sandra Harris) ~ 5:38
- Battle For A Music Box (Emily Remler) ~ 7:25
- Blues For Herb (Emily Remler) ~ 6:26
- Softly In A Morning Sunrise (Oscar Hammerstein II/Sigmund Romberg) ~ 8:14
- East To Wes (Emily Remler) ~ 6:14
- Emily Remler ~ guitar
- Hank Jones ~ piano
- Buster Williams ~ double bass
- Marvin “Smitty” Smith ~ drums
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Requisites
JAMES II ~ JAMES LEARY | BY EDDIE CARTER
This morning’s column begins with the second album by James Leary on David Manley’s audiophile record label VTL. James II (VTL-The Vital Sound 005) is a stellar 1992 quartet session released a year after his first album for Vital Records, James. The personnel for this two-record set is Eddie Harris on tenor sax (tracks: A2, C1, D1, D2), and vocals (track: B1); Billy Childs on acoustic piano; Leary on acoustic bass and Ralph Penland on drums. My copy used in this report is the original Stereo release.
The album gets underway with the opening number, Joshua. This is a Victor Feldman composition originally made famous by Miles Davis on Seven Steps To Heaven (1963) and two live albums, Miles Davis In Europe (1964) and ‘Four’ & More (1966). Billy kicks off the album with a breathtaking melody, then rips into the opening solo with searing intensity. James follows with a fascinating study of vivacity and sprightliness, then Ralph executes a brief finale of impeccable brushwork before the coda.
Have You Met Miss Jones? The popular standard by Richard Rodgers & Lorenz Hart first appeared in the 1937 musical comedy, I’d Rather Be Right. Eddie Harris makes his debut here and the quartet takes the melody at a relaxed beat. Billy picks up the pace on the opening solo with a compelling improvisation. Eddie’s first reading finds full rein of expression with a full-bodied tone you can’t help but enjoy. James puts together a very effective closing statement ahead of the ending theme.
A Flower Is a Lovesome Thing by Billy Strayhorn was composed in 1944. It opens Side Two with a hauntingly delicate introduction to the melody by the quartet utilizing Harris’ voice scatting along with the trio. Leary tells a deeply poignant story on the lead solo that’s a reminder of the passing of time. Childs delivers the second statement with the sweetness of a scented summer breeze after a light rain. Harris makes the final reading his own with a sublimed moody feeling that floats gently into the climax.
Seven Steps To Heaven by Miles Davis and Victor Feldman brings Record One to a close with a brief unaccompanied introduction by the bassist segueing into an invigorating theme. Leary swings from the outset on the first statement, then Childs gives an energetic workout next. Penland speaks last with a fierce intensity leading to an exuberant closing chorus. John Coltrane’s Spiral creates an infectious midtempo melody from the opening notes of the introduction into a swinging first interpretation by Eddie. Billy brings his own brand of excitement to the second reading and James provides some good cooking on the finale.
Leary’s Laugh, Laugh Again is a trio performance beginning with a bowed introduction by the bassist preceding the lovely opening chorus. Childs starts the first reading tenderly, revealing the essence of the song with a delicate interpretation that’s rich and atmospheric. Leary wraps up the solos with a tender, sweet performance.
Oleo by Sonny Rollins begins the final side with Leary providing a repeating bass figure reoccurring underneath each reading. Billy starts with a muscular groove that really cooks, then Eddie swings with an exciting restlessness on the second statement. James follows with a scintillating solo and Ralph ends in fine form on a dynamically propulsive presentation. Leary’s Hold My Hand is a simple ballad that opens elegantly with Harris in front of the foursome on the lyrically beautiful theme. The first solo is affectionately handled by Harris who gives a presentation of intimate lyricism. Childs wraps up the album with a thoughtfully delicate reading.
David Manley, VTL’s (Vacuum Tube Logic of America) founder produced and engineered this album in a state-of-the-art studio utilizing the company’s tube technology. The soundstage is extraordinary throughout the highs, midrange, and bass. The result is James II by James Leary is not just an excellent album, but a treat for any jazz fan to enjoy!
~ ‘Four’ & More (Columbia CL 2453/CS 9253); James (Vital Records ViTaL 003); Miles Davis In Europe (Columbia CL 2183/CS 8983); Seven Steps To Heaven (Columbia CL 2051/CS 8851) – Source: Discogs.com ~ Oleo, Have You Met Miss Jones? – Source: JazzStandards.com ~ Seven Steps To Heaven – Wikipedia.org © 2020 by Edward Thomas Carter
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