Requisites

Workout! ~ Greg Marvin Quintet | By Eddie Carter

I’ve loved the tenor sax since childhood, and this morning’s record from the library is Workout! (Criss 1037), a recent discovery and acquisition on Criss Cross Jazz by The Greg Marvin Quintet. Greg was born in 1956 and began playing the guitar at age seven. He later took up the soprano sax at age seventeen, then graduated to his primary instrument, the tenor sax. Workout is his third album, following two on his label, Hi-Hat Records. Here, he’s working with an excellent supporting cast: Tom Harrell on trumpet, Kenny Barron on piano, George Mraz on bass, and Kenny Washington on drums. My copy is the original 1988 Netherlands Stereo release.

The album opens with Zip, the leader’s toe-tapping melody that the front line states in unison. Marvin leads off with a lively opening statement, followed by a short, brisk walk by Mraz. Harrell keeps right on swinging in the third solo. Barron strolls into the following reading seamlessly, and Washington finishes the solos before the song’s ending. The ensemble shifts into second gear for Everything I Have Is Yours by Burton Lane and Harold Adamson. The front line delivers the melody briskly; then, Barron sets the table; next, Marvin goes to work. Harrell takes the third bite of this juicy tune, and Washington serves the finale with his brushwork into the theme’s restatement.

The quintet starts the melody of Dickie’s Dream by Count Basie and Lester Young swiftly. Barron opens the first solo rapidly. Marvin follows him just as quickly in the second statement, and then Harrell moves like mad next. Mraz and Washington share a vigorous conversation, followed by the front line’s swift finale ahead of the climax. Side Two continues the upbeat mood with the ensemble’s theme of Subconscious-Lee by Lee Konitz. Marvin takes off like a rocket in the opening statement. Harrell continues motoring along quickly in the following reading. Barron’s fingers flow with equal intensity next; Mraz gives an exciting performance preceding the group’s return.

Lover Man by Jimmy Davis, Roger Ramirez, and Jimmy Sherman begins with the front line’s bewitching introduction, which blossoms into the quintet’s melody. Kenny displays a tender touch of grace and beauty in the opening solo; next, George adds a seductive sensuality to the finale into the ensemble’s gentle conclusion. Gentle Giant is Greg Marvin’s lively tribute to Warne Marsh. The quintet swings from the start of the front line’s collective melody. The leader kicks off the opening statement, and Harrell follows with a splendid performance. Barron moves smoothly through the following reading, and then Mraz dazzles one final time into the theme’s reprise and exit.

Greg Marvin did triple duty as leader, composer and producer of Workout, and Jim Anderson was the album’s recording engineer. The sound quality is excellent, with a gorgeous soundstage that brings the musicians to your listening room with exceptional clarity. I was also very impressed with what I’ve heard from Greg Marvin and his colleagues. The music itself is excellent, as are the solos on every track. I would have loved to hear more from the saxophonist, and I’ll be hunting for his other releases. If you’re a tenor sax fan, I recommend Workout! by The Greg Marvin Quintet on your next vinyl hunt. It’s an easy album to listen to and perfect to enjoy while relaxing during the day or evening!

~ The Greg Marvin Quartet (Hi-Hat Records GM-1), I’ll Get By (Hi-Hat Records GM-2) – Source: Discogs.com
~ Lover Man – Source: JazzStandards.com
~ Everything I Have Is Yours – Source: Wikipedia.org
© 2023 by Edward Thomas Carter


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Requisites

The Lost Melody ~ Joe Bonner Quartet | By Eddie Carter

The Joe Bonner Quartet begins this morning’s discussion with their 1987 release, The Lost Melody (SteepleChase Records SCS-1227). It was the pianist’s sixth album for Nils Winther’s label and ninth as a leader. Joe was born in Rocky Mount, North Carolina and attended Virginia State College. His style was Hard-Bop and Modal, and he learned from the musicians he worked with. Bonner’s influences include Art Tatum and McCoy Tyner, and his resume includes playing with several jazz greats. On this date, Bob Rockwell on tenor sax, Jesper Lundgaard on bass, and Jukkis Uotila on drums complete the ensemble. My copy is the original European Stereo album.

You and The Night and The Music, by Arthur Schwartz and Howard Dietz, kicks off Side One at a breakneck pace, with Bob unleashing a jolt of energy in the melody and first solo. Joe maintains the fierce intensity in the following performance; next, Jukkis closes with a short workout into the theme’s brisk ending. Easy Living by Ralph Rainger and Leo Robin begins with Bonner’s gentle introduction, segueing into the group’s lovely theme. Bob opens with an exceptionally beautiful interpretation. Joe continues to cast a spell over the listener in the second solo. Bob returns to add a few more thoughts ahead of a gorgeous climax.

Vibeke, the first of three tunes by Joe Bonner, brings the tempo upward for the ensemble’s medium theme. Rockwell and Bonner effectively demonstrate their excellent playing in the first two statements. Things take an adventurous turn when the saxophonist becomes more exploratory in a second solo before the theme’s restatement. Side Two opens with the title tune. The Lost Melody is a pretty ballad by the pianist that he introduces softly. Bob enriches the opening chorus and song’s opening solo with sensitivity and warmth; Joe comes in next and gets to the song’s heart with an elegantly tender performance leading to the finale.

The Song Is You by Jerome Kern and Oscar Hammerstein II comes from their 1932 musical Music In The Air. The quartet flies out of the gate with a speedy melody. Bob blows blistering notes in the first reading; then Joe is off to the races next. Bob reappears for a rapid exchange with Jukkis, preceding the climax. The album wraps up with Bonner’s Manuella, with the foursome taking it easy on the melody. The leader glides comfortably into the opening statement. Rockwell follows with a bluesy tone in the second reading. Lundgaard keeps the groove flowing in his only interpretation until the group slowly dissolves into nothingness.

Nils Winther produced The Lost Melody, and Flemming Rasmussen was the man behind the dials of this digital recording. The album’s sound quality is excellent, with a wide soundstage and excellent dynamics. It’s also a superb pressing that’s drop-dead quiet. I wasn’t aware of Joe Bonner until this album, but I’m delighted I’ve discovered him and will look for his other releases. If you’re a jazz piano fan like me and are in the mood for Hard-Bop, I invite you to seek out The Lost Melody by The Joe Bonner Quartet on your next record hunt. It’s an enjoyable way to begin your journey into his music and a terrific album that should not be missed for a spot in your library!

~ Easy Living, The Song Is You, You and The Night and The Music – Source: JazzStandards.com
~ Joe Bonner – Source: Wikipedia.org
© 2023 by Edward Thomas Carter


CALIFORNIA JAZZ FOUNDATION

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Requisites

Groovin’ ~ Idrees Sulieman, Per Goldschmidt, Horace Parlan, Mads Vinding, Billy Hart | By Eddie Carter

It happened like this; I’d recently been revisiting several SteepleChase albums in my library. One of those titles led me to this morning’s discussion. Groovin’ (SteepleChase Records SCS 1218) is a 1985 straight-ahead-blowing session. It was the third album Idrees Sulieman recorded for the Danish label and was made five days before his sixty-second birthday. I’ve enjoyed the trumpeter’s playing since hearing him on Tenor and Flute, The Cats, and The Hawk Flies High. Here, he’s working with Per Goldschmidt on baritone sax (tracks: A1, A3, B1, B3) and tenor sax (A2, B2), Horace Parlan on piano, Mads Vinding on bass, and Billy Hart on drums. My copy is the original 1986 Danish Stereo album.

Groovin’ High by Dizzy Gillespie starts the first side with the quintet’s collective melody at a relaxing beat. Idrees gets things going with a delightful solo. Per comes next with an effectively carefree reading. Horace’s following statement is as refreshing as a cool drink on a muggy day. Mads delivers an inspired interpretation next; Billy closes with an interesting exchange with the front line into the ending theme. Tell Me What’s Your Name is a pretty tune by Kathe Laursen that begins with a delicate melody by Sulieman, who Goldschmidt joins as it unfolds. The two horns work together to give warmth and tenderness in the song’s only solo, which draws to a conclusion in a gentle climax.

If I Only Knew, the first of two tunes by Idrees Sulieman, closes Side One. Billy’s brief introduction brings the song to life, segueing into the medium melody. Mads goes to work first, then Idrees shows off his gentle side. Horace states his case with graceful lines next; then Per delivers a warm, friendly and intimate finale leading to the theme’s restatement. Lipstick by Kathe Laursen continues the ensemble’s medium groove with a collective melody. Sulieman sets the stage on the first statement, then Parlan offers an equally significant reading. Sulieman shares a few thoughts with Hart in the finale preceding the closing chorus.

The ensemble takes a stroll to The Center of Copenhagen next. Idrees Sulieman’s second original begins with the group’s theme in unison. Idrees and Per provide the spotlight in an entertaining exchange, then Horace delivers a captivating closer ahead of the quintet’s reprise and exit. Per Goldschmidt’s Happy Ending finishes the album on a lively note with the group’s spirited melody. Sulieman takes off first with a lightning-fast interpretation, followed by Goldschmidt, who’s equally quick in the second reading. Hart has a vigorous conversation with the front line ahead of the reprise and the song’s climax.

Nils Winther produced Groovin’, and Ole Hansen was the recording engineer of this digital recording. The album has an excellent soundstage with exceptionally clear fidelity that brings the musicians to your listening room. The record is also incredibly quiet until the music starts. I happily recommend Groovin’ on your next record hunt if you’re in the mood for jazz to help you unwind after a busy day or week. It’s a hidden treasure with a stellar lineup; Idrees Sulieman, Per Goldschmidt, Horace Parlan, Mads Vinding and Billy Hart. Every tune is a pleasure to hear, and it’s a very enjoyable album I’m sure you’ll be glad to have in your library!

~ Tenor and Flute (Riverside RLP 12-240), The Cats (New Jazz NJLP 8217), The Hawk Flies High (Riverside RLP 12-233) – Source: Discogs.com ~ Groovin’ High – Source: JazzStandards.com ~ © 2023 by Edward Thomas Carter

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Daily Dose Of Jazz…

Kat Edmonson was born in Houston, Texas on August 3, 1983 and is the only child of a single mother who enjoyed songs from the Great American Songbook and traditional pop from the 1940s and ’50s. She wrote her first song at age nine while riding the school bus. In 2002, after a year at the College of Charleston in South Carolina, she moved to Austin, Texas, to pursue a music career.

The same year Edmonson auditioned for the second season of American Idol and was one of the Top 48 contestants invited to Hollywood in Losa Angeles, California. Returning to Austin from Los Angeles and spent several years as a regular in the Austin club scene. She worked briefly in real estate but quit her day job in 2005 making the decision to pursue music full time.

2009 saw Kat self-release her debut album, Take to the Sky, which reached the Top 20 on the Billboard magazine jazz chart. Her sophomore release Way Down Low in 2012 was the result of a successful Kickstarter campaign. It received a warm critical reception from The New York Times and NPR, reaching No. 1 on the Billboard Heatseekers chart. Her third album, The Big Picture, was released in 2014, which also reached No. 1 on the Billboard Heatseekers chart.

She would go on to open for Lyle Lovett’s tour, perform on The Tonight Show with Jay Leno, on NPR’s Tiny Desk, Austin City Limits and A Prarie Home Companion. By 2013 she had her first U.S. tour and an invitation to play the Montreux Jazz Festival. Opening for Jamie Cullum the same year she toured France, Germany, the Netherlands, Portugal, Spain, and the UK. She went on to tour with Michael Kiwanuka, Chris Isaak, and Gary Clark Jr.

All this led to film appearances in Angels Sing and Café Society, her songs used in Admission, her song Dark Cloud in the opening sequence of Closure, her song If in Netflix’s Russian Doll,  and a Cocca~Cola Winter Olympics commercial.

Vocalist Kat Edmopnson continues to stretch the boundaries of her talent with performances and recordings.

SUITE TABU 200

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Requisites

Listen Here ~ The Gene Harris Quartet | By Eddie Carter

After a long week, I wanted to hear something to help me unwind, so I picked out a wonderful 1989 album, Listen Here (Concord Jazz CJ-385), by The Gene Harris Quartet. I was introduced to pianist Gene Harris as a child when he was a member of The Three Sounds and grew up listening to their Blue Note albums. One of my favorites is Blue Hour, the group’s collaboration with Stanley Turrentine. The trio disbanded in the seventies, and Harris embarked on a successful solo career recording for Blue Note, JAM, and Concord Jazz. On this album, he’s working with Ron Escheté on guitar, Ray Brown on bass, and Jeff Hamilton on drums. My copy is the original U.S. Stereo release.

This Masquerade by Leon Russell opens the album with the quartet’s gentle introduction. Gene brings out the song’s beauty with a light touch during the delicately gorgeous melody and the song’s only solo. The group reconvenes for the closing chorus, and Ron takes the song out in a tender dissolve. Up next is Don’t Be That Way by Benny Goodman, Edgar Sampson, and Mitchell Parish. The foursome’s lively and spirited theme gets things off to a great start. Escheté is up first with a joyously infectious reading. Harris moves through the rhythm section like a musical twister on the following solo ahead of the closing chorus and exit.

The pace slows down for I’ve Got A Feeling I’m Falling by Billy Rose, Harry Link, and Thomas “Fats” Waller. The quartet begins this old favorite with an elegantly tender melody. Gene’s opening solo is a mix of lyrical beauty and nostalgia. Ron has a short statement that’s soft and tender before the leader’s return for the closing chorus. The title song, Listen Here, by Eddie Harris, opens with Brown’s introduction, joined by Escheté and Hamilton into Harris’ feisty melody. The pianist continues grooving on the lead solo, then Eschete cooks on the following statement. Brown wraps it up with a brief reading preceding Gene’s return for the vibrant finale.

Blues For Jezebel is named for Gene’s cat; from the infectious beat of Jeff’s introduction, she must have been quite a pet. The quartet begins with a smooth-flowing melody, then Ron indulges in some fun on the opening solo. Gene follows with a relaxing reading as enjoyable as a favorite pair of shoes into the ensemble’s closing chorus. Sweet and Lovely, by Gus Arnheim, Charles N. Daniels, and Harry Tobias, is an old thirties chestnut that receives a beautiful treatment from the ensemble. Harris starts the gracefully moving introduction and melody. Escheté applies a tender touch to the first solo. The leader follows with a sultry, soulful statement ahead of the closing chorus and slowly dissolves.

Lullabye by Chuck Mangione is not a children’s song. It’s a pretty tune that Gene introduces alone, segueing into an attractive ensemble melody that’ll have your toes tapping along. Gene takes a playful romp in the only interpretation, with the rhythm section complimenting him into a solo fade out by Ron and Ray. Irving Berlin’s The Song Is Ended is taken at a laid-back tempo, beginning with Gene’s introduction into the quartet’s leisurely melody. Escheté is up first with a carefree interpretation, including a brief walk by Brown before it concludes. Gene takes it up a notch with a rousing statement before the ensemble reprises the theme, and the pianist ends softly.

Concord Jazz’s founder, Carl E. Jefferson, produced Listen Here. Phil Edwards and Stuart Hirotsu were the recording engineers, and George Horn was the mastering engineer. The album’s sound quality is stunning, with an excellent soundstage that transports the listener to the studio as the quartet is recording. The pressing is flat and quiet until the music starts. Gene Harris used Ron Escheté whenever he could and always with great results. They recorded nine albums together on Concord Jazz and eleven overall. If you’re a fan of this talented pianist and only know him from The Three Sounds, I invite you to add Listen Here by The Gene Harris Quartet to your record shopping list. It’s a perfect choice to kick back and listen to after a long day or week or when your quiet moments are at a premium!

~ Don’t Be That Way, Sweet and Lovely – Source: JazzStandards.com ~ I’ve Got a Feeling I’m Falling; The Song Is Ended, This Masquerade – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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