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

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,piano

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

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,saxophone

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

1. Daahoud (Clifford Brown) ~ 5:19
2. Snowfall (Claude Thornhill) ~ 6:39
3. Hot House (Tadd Dameron( ~ 5:45
4. Sweet Georgia Fame (Blossom Dearie/Sandra Harris) ~ 5:38
5. Battle For A Music Box (Emily Remler) ~ 7:25
6. Blues For Herb (Emily Remler) ~ 6:26
7. Softly In A Morning Sunrise (Oscar Hammerstein II/Sigmund Romberg) ~ 8:14
8. East To Wes (Emily Remler) ~ 6:14

Personnel

• Emily Remler ~ guitar
• Hank Jones ~ piano
• Buster Williams ~ double bass
• Marvin “Smitty” Smith ~ drums

More Posts: adventure,club,genius,guitar,jazz,museum,music,preserving,restaurant,travel,voyager

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

More Posts: bass,choice,classic,collectible,collector,history,instrumental,jazz,music

Requisites

Trumpet and flugelhorn jazzman Freddie Hubbard steps into the spotlight with his first Hard-Bop album since his 1970 CTI Records debut, Red Clay. Back To Birdland (M & K Realtime Records RT-305) has Hubbard leading a sextet featuring Ashley Alexander (tracks: A1, A2, B1 to B3) on double trombone; Richie Cole (tracks: A1 to A3, B1), Med Flory (track: B3) on alto sax; George Cables on piano; Andy Simpkins on bass and John Dentz on drums.  Before this release, Freddie recorded a series of LP’s for CTI and Columbia exploring the styles of Jazz-Funk, Jazz Fusion, Smooth Jazz, and Soul-Jazz.

My copy used in this report is the original 1981 US Digital Stereo Audiophile release. Shaw ‘Nuff by Dizzy Gillespie and Charlie Parker begins the album with the front-line blowing fire on the melody.  Freddie starts wailing on a hard-driving, opening chorus, then Richie energizes the second solo with the high-voltage current.  Ashley brings a swift, brassy attitude to the next reading, then George’s fingers fly with quicksilver speed and John fills the closer with radiant intensity.

Star Eyes by Gene de Paul and Don Raye debuted in the 1943 musical-comedy, I Dood It!  The song became a jazz standard after Charlie Parker recorded it for Mercury Records in 1951.  The ensemble states the first chorus, then Hubbard takes over on flugelhorn for the next verse.  He begins the first solo, conveying a light mood that’s joyously happy and relaxed.  Cole takes over in low gear, then builds steadily into a very satisfying groove. Cables puts a vibrant personality into the third statement and Vinnegar wraps up things with a succinct solo. Lover Man is a revered standard from 1941 by Jimmy Davis, Roger Ramirez, and Jimmy Sherman that was written for Billie Holiday. Richie Cole gets the spotlight here and crafts an indelible portrait on the melody and opening statement capturing the beauty of the lyrics perfectly. Freddie has a stylish flugelhorn performance that’s nicely detailed and beautifully paced; he’s also featured on the main theme and ending.

For B.P., a Hubbard creation is one of the most interesting tunes on the album featuring interchanges of cross-rhythms within different time signatures. This song is a tribute to Bebop pianist, Bud Powell and was introduced on the 1968 LP, High Blues Pressure. The leader takes charge of the introduction and vigorous theme, then Cables initiates the first of two thrilling solos. Hubbard follows with a sizzling performance that makes stunning use of the rhythm section’s sterling support. Cables then prepares a tasty musical brew with a spicy flavor on the finale ahead of a mesmerizing climax.

Stella By Starlight by Victor Young and Ned Washington offers Ashley Alexander the spotlight in a quartet setting. This romantic ballad was the main title song during the opening credits and throughout the 1944 film, The Uninvited.  Ashley introduces the song slowly but picks up the pace to a sprightly tempo for the melody and first reading. George gives a zesty performance next, then Leroy closes with a velvety smooth finale.

Hubbard’s uptempo Byrdlike was originally recorded on the 1962 release, Ready For Freddie. Everyone gets solo space except Vinnegar and Med Flory takes over on alto, soloing twice. This speedster gets underway with a collective melody by the ensemble. Cables takes the reins first, delivering an adrenaline rush of great speed. Hubbard raises the temperature on the second solo to a ferocious velocity. Flory fuels the first of two readings with exhilarating vitality, then Alexander tells his story with swift acceleration. The altoist returns on the second reading blazing and Dentz makes a clever comment on the closing solo with an entertaining kick at the end.

Back To Birdland is a sonic tour de force with a superb soundstage. Scott Simon and Ken Kreisel are the men behind the dials; the label took the utmost care in preparing their records for the jazz lover, utilizing the very purest vinyl available and imported pressings made in West Germany. If you’re a Freddie Hubbard fan and are seeking an album recalling the Hard-Bop spirit of Goin’ Up, Open Sesame, and Ready For Freddie from his Blue Note years, I highly recommend Back To Birdland! It’s an excellent album from a first-rate sextet that would make a great addition to any jazz library!

~ Goin’ Up (Blue Note BLP 4056/BST 84056); High Blues Pressure (Atlantic SC 1501); Open Sesame (Blue Note BLP 4040/BST 84040); Ready For Freddie (Blue Note BLP 4045/BST 84045); Red Clay (CTI Records CTI 6001); Star Eyes (Mercury Records 11087) ~ Source: Discogs.com ~ Shaw ‘Nuff, Stella By Starlight – Source: JazzStandards.com ~ Star Eyes – Source: Wikipedia.org ~ For B.P. – Source: Album Liner Notes by Dr. Herb Wong © 2020 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,trumpet