Requisites
The very first time I heard Shirley Horn sings and play piano was in the 1970s at the Bohemian Caverns in Washington, D.C. and I fell in love with her voice and style. By then she had recorded five albums and when I was on the radio she became a part of my regular playlist. Here’s To Life is a studio album recorded in September 1991 by the vocalist, and released in 1992. The album was arranged by Johnny Mandel who composed three of the songs on the album. He also received a Grammy Award for Best Instrumental Arrangement Accompanying Vocals on this album. It’s a quiet album of ballads that once again showcases Shirley’s talent. Johnny Mandel arranged and conducted the recording session for the Verve label.
The album opens with the title track with Here’s To Life which became her signature song. The music was written by Artie Butler and the poignant lyrics were written by Phyllis Molinary. The lyric, known world-wide as one of her finest works and the song is considered a modern day jazz standard. She followed with a medley of Come A Little Closer/Wild Is the Wind. The former song is about New Yorkers, the city and the cell phone that disputes a couple’s marriage. The song is paired with Wild Is The Wind which was written as the theme song for the 1959 film of the same name and recorded by Johnny Mathis. It was nominated for an Oscar for Best Song.
How Am I to Know? by Jack King and Dorothy Parker takes the third slot on the album. A Time for Love was written for the 1966 film An American Dream. The Begman/ Mandel tune, Where Do You Start tells the story of a couple breaking up and undecided about what belongs to whom. The next song You’re Nearer is a Lorenz Hart/Richard Rodgers composition for the Broadway musical Too Many Girls. Our next entry in Return to Paradise was written for the 1953 film of the same name by Dimitri Tiomkin and Ned Washington. Isn’t It A Pity was composed by the Gershwins for the unsuccessful 1933 musical Pardon My English, however, the song became a part of the Great American Songbook.
Quietly There is taken from the noir film Harper that starred Paul Newman as a detective. If You Love Me is an English adaptation of the popular French song “Hymne à l’amour of Hymn To Love. The album closes with Summer is the first English version of the Italian standard Estate. She ordered English lyrics after hearing Joao Gilberto’s version, which spread the song to worldwide fame.
Shirley Horn sings and plays piano and is joined by bassist Charles Ables and dummer Steve Williams as her core trio. She invited trumpeter Wynton Marsalis – to play on A Time For Love and Quietly There. Richard Todd plays the French horn on the title track. Reminding me of how precious life is and how much we should live and love, this has become my favorite album by this vocalist. I hope you enjoy it just as much as I.
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Requisites
Steal Away ~ Larry Willis | By Eddie Carter
This morning’s album from the library is Steal Away (AudioQuest Music AQ-LP 1009), a little-known release by pianist Larry Willis. It’s the first of two records Willis made for the label and his seventh as a leader. He’s joined on this date by Gary Bartz (tracks: A2, B1) on alto sax and Cecil McBee (A2, B1, B2) on bass. My copy is the 1992 U.S. Stereo audiophile album.
Side One opens with Valdosta Blues by Larry Willis, the first of three solo piano performances. The title comes from the city in Georgia and begins with the pianist’s tranquil introduction that builds to a breezy melody. His ensuing solo is a superb performance that moves easily toward an exquisite ending.
The title tune, Steal Away, is an American Negro spiritual by Wallace Willis. It has been with Larry since age three and was a favorite song of his Mother’s to sing. Willis opens with a delicately gentle introduction to Bartz and McBee’s very pretty melody. Gary’s opening solo is imaginative and confident. Larry follows with sweet notes that shine like the rays of the sun, and Cecil breezes blissfully through the closing statement into a gentle climax. Fallen Hero is Larry’s tribute to his brother Victor. He tells an intimate story that reveals his love and affection for his brother with reflective inspiration and tenderness.
“D” Bass-ic Blues by Cecil McBee starts with the bassist’s bowed introduction, setting up Bartz and Willis to join him in a medium-tempo theme. Larry eases into the first solo with joyful vitality. Gary keeps the ball rolling with a remarkable reading of melodic lines. Cecil lets his bass do the talking in the finale preceding the theme’s reprise and conclusion. Ethiopia is a hauntingly beautiful song by Larry Willis that’s presented as a duet with Cecil McBee. The duo starts with a tender melody, and then Larry’s opening statement is as gentle as a light summer rain. Cecil comes in next with a graceful interpretation ahead of the duo’s delicately pretty ending.
The Meaning of The Blues by Bobby Troup and Leah Worth is given a tasteful treatment by Willis. He makes the song his own in a solo showcase that’s warm and nostalgic, thoughtful and heartfelt into a serene finale of haunting dreaminess. Joe Harley produced Steal Away, Pierre M. Sprey was the recording engineer, and Bernie Grundman mastered the album. It’s a pure analog recording with a stunning soundstage that was pressed on 180 grams of audiophile vinyl and is a perfect demonstration record for any quality audio system. Larry Willis recorded twenty-one albums as a leader and many more as a sideman. If you’re a fan of piano jazz, I invite you to consider Steal Away by Larry Willis on your next record-shopping trip. It’s an excellent place to start your discovery of his music and a welcome addition to any jazz fan’s library!
~ Fallen Hero, Ethiopia, “D” Bass-ic Blues – Source: Album Liner Notes by Bill Kohihasse
~ American Negro Spirituals were songs that contained hidden codes and messages for enslaved people to escape on their own or through the Underground Railroad – Source: Wikipedia.org
© 2023 by Edward Thomas Carter
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Daily Dose Of Jazz…
Allison Philips was born on December 8, 1991 in South Orange, New Jersey. She began playing the trumpet at the age of 9 and began performing regularly since she was fourteen. She went on to receive a BFA in Jazz Performance from the New School for Jazz and Contemporary Music of New York City and a Masters in Jazz Performance at The Conservatorium Van Amsterdam in Amsterdam, The Netherlands.
She has studied under several trumpet luminaries including Laurie Frink, Ingrid Jensen, Chris Jaudes, Tatum Greenblatt, Joe Magnarelli, Jimmy Owens, Ruud Breuls and Jan Oosthof.
From the traditional trio setting to genre-bending explorations via electronics, Allison is always searching for new ground. She has created her own trio, co-leads the DeiCont | Philips Collective, and both groups have toured domestically and throughout Europe and Canada.
She has performed with Sara McDonald’s “NY Chillharmonic”, The Chronometer’s Orchestra, Phil’s Music Lab, Charlie Rosen’s Broadway Bigband, the BVR Flamenco Orchestra, Zulema’s Mambo Queens, and many others.
Trumpeter, bandleader and educator Allison Philips continues to perform, record and tour.
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Daily Dose Of Jazz…
Gray Hall was born November 10, 1992 in Philadelphia, Pennsylvania. Learning to play the guitar as a youth, by the time he was in high school he was playing lead with Nathaniel’s jazz quartet and with Donnie in their modern blues group called Edens Unknown.
He and his high school classmates Alex Plye and Mike Haldelman while working with Marilisa Cook-Simmons on vocals, creating an electro-future-soul odyssey that blends the art of soul, production, and instrumentation that demonstrates the art of cool.
After graduating from Guilford College in Greensboro, North Carolina he rejoined his fellow musicians Pyle and Haldeman to produce and record tracks for the neo-soul jazz group Space Captain. Splitting his time between performing and recording in New York City and recording at the Great Time Studio in suburban Philadelphia.
Other studio work by Hall features original beats and soundtrack mastering for So Far Productions (NYC). He has studied guitar with Daniel Sheriff, Greg Hyslip, and Rory Stewart; and interned as an studio production assistant with Eddie Motilla of Universal Studios, NYC and The Record Room in Miami, Florida.
Guitarist Gray Hall, who works in genres ranging from modern jazz, jazz fusion, modern blues, and neo-soul, continues to perform, record and produce.
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Requisites
The Waiting Game ~ Tina Brooks | By Eddie Carter
Tina Brooks enters this morning’s spotlight with what would be his final album, The Waiting Game (Blue Note TOCJ-66075). He recorded exclusively for Blue Note over three years as a leader and sideman, but only one of his records, True Blue, would be released during his lifetime. This morning’s album initially hit the Japanese stores in 1999 as a CD album and reached the US a few years later. Joining the tenor saxophonist is a superb supporting cast: Johnny Coles on trumpet, Kenny Drew on piano, Wilbur Ware on bass, and Philly Joe Jones on drums. My copy is the 2021 Blue Note Tone Poet Series Stereo audiophile reissue (BST-40536).
Side One starts with Talkin’ About, the first of five tunes by Tina Brooks. The rhythm section’s introduction segues into the quintet’s easygoing melody. Johnny has the first relaxing solo; and then Tina delivers the next message comfortably. Kenny follows with a laid-back reading, and Wilbur goes for an easy stroll into the ensemble’s reprise. One For Myrtle picks up the pace significantly from Philly’s brief introduction to the group’s brisk theme. Tina launches the solos; then Johnny shows his energetic exuberance next. Kenny follows with a sizzling reading. Wilbur is up next with a quick flight, and Philly turns in an exciting finale ahead of the theme’s restatement and abrupt ending.
Dhyana opens with the ensemble swinging easily on the danceable melody. Tina gets things going with a splendid opening statement. Johnny follows with a delightful reading, and Kenny closes with an exceptional solo. The quintet’s closing chorus features a brief comment by Wilbur just before the climax. Side Two comes to life with the front line and Philly collaborating in the introduction to David The King ahead of the quintet’s Middle Eastern theme. Johnny takes the song’s first stirring solo. Tina sails smoothly into the second statement. Kenny delivers a dazzling reading of his own, and Wilbur takes a short, satisfying walk toward the song’s conclusion.
Stranger In Paradise by Chet Forrest and Robert Craig Wright begins with a brief introduction by Philly that blossoms into Tina and the rhythm section stating the melody. Johnny steps up first with an impressive statement. Tina swings skillfully next, and Kenny glows brightly on the closer, leading to the reprise and gentle fadeout. The Waiting Game kicks off with the ensemble’s invigorating beat to the melody. Tina blows with feeling in the first solo spot, paving the way for Johnny’s spontaneous ideas that flow constantly. Kenny ends with a few marvelously executed ideas before the theme’s restatement and abrupt halt.
Alfred Lion produced the original session, and Rudy Van Gelder was the recording engineer. Joe Harley produced the audiophile reissue, and Kevin Gray mastered this album. The reissue’s sound quality is amazing, with a stunning soundstage and excellent dynamics. The pressing is extremely quiet until the music starts. The gatefold photos are breathtaking and worthy of hanging on your wall. The front and rear covers are gorgeous, and the use of 180-gram audiophile vinyl is the icing on the cake. If you’re in the mood for an excellent album by one of the best, underrated tenor saxophonists, I invite you to check out The Waiting Game by Tina Brooks on your next record-shopping trip. It’s a great album if you love jazz and are a hard-bop fan that’s highly recommended for a spot in your library!
~ True Blue (Blue Note BLP 4041/BST 84041) – Source: Discogs.com ~ Stranger In Paradise – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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