The Quarantined Jazz Voyager

With rising cases of the Delta variant continuing to fill hospital beds to capacity with the unvaccinated causing other procedures to be postponed and medical staff walking out, I remain even more vigilant in protecting myself from those whose sole purpose is to put themselves and others in harm’s way. Remaining masked, socially distanced and secluded.

This week I’m pulling out the classic 1997 album Big Band by saxophonist Joe Henderson, the fourth of the five albums he recorded for Verve Records during the end of his career. The album was recorded at the Power Station ~ Berklee, New York City over a four year period between March 16, 1992 ~ June 26, 1996 and was released in 1997.

The sessions were produced, written and arranged by Joe Henderson, along with executive producer Richard Seidel, and producers Bob Belden (2,3,4,6,7,9), and Don Sickler (1,5,8). The production coordinator was Patricia Lie. The recording was mastered by Allan Tucker, mixed by Jim Anderson, photography by Jim Katz, and the i​Illustration was created by Edwin Fotheringham.

1. Without a Song (Vincent Youmans, Billy Rose, Edward Eliscu) ~ 5:24
2. Isotope ~ 5:20
3. Inner Urge ~ 9:01
4. Black Narcissus ~ 6:53
5. A Shade Of Jade ~ 8:22
6. Step Lightly ~ 7:19
7. Serenity ~ 5:52
8. Chelsea Bridge (Billy Strayhorn) ~ 4:30
9. Recordame (Recuerdame) ~ 7:25

• Joe Henderson ~ tenor saxophone, arranger (tracks 1, 2, 5, 8)
• Slide Hampton ~ conductor, arranger (tracks 3, 7))
• Dick Oatts ~ soprano saxophone, alto saxophone
• Pete Yellin, Steve Wilson, Bobby Porcelli, John O’Gallagher ~ alto saxophone
• Craig Handy, Rich Perry, Tim Ries, Charles Pillow ~ tenor saxophone
• Joe Temperley, Gary Smulyan ~ baritone saxophone
• Freddie Hubbard, Raymond Vega, Idrees Sulieman, Jimmy Owens, Jon Faddis, Lew Soloff, Marcus Belgrave, Nicholas Payton, Tony Kadleck, Michael Mossman, Virgil Jones, Earl Gardner, Byron Stripling ~ trumpet
• Conrad Herwig, Jimmy Knepper, Robin Eubanks, Keith O’Quinn, Larry Farrell, Kiane Zawadi ~ trombone
• David Taylor, Douglas Purviance ~ bass trombone
• Chick Corea, Helio Alves, Ronnie Mathews ~ piano
• Christian McBride ~ bass
• Joe Chambers, Al Foster, Lewis Nash, Paulinho Braga ~ drums
• Michael Mossman ~ arranger (track 9)
• Bob Belden ~ arranger (tracks: 4, 6)

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The Quarantined Jazz Voyager

Masking and social distancing are still my mantra in maintaining my health and this time has given me a steady flow of opportunities to sit and listen to albums I have in my collection. So this I am revisiting music that was recorded over a quarter of a century ago. This week I turn to tenor and soprano saxophonist Joshua Redman and his 1994 studio album by his quartet titled Moodswing. All compositions on this album are original and released on the Warner Bros. The album was re-released on vinyl in 2009.

Recorded on March 8~10, 1994 at the Power Station in New York City. The production team was led by producer Matt Pierson, Jennifer Zeitlin ~ production coordinator, James Farber was the recording/mixing engineer, Greg Calbi and Scott Hull ~ mastering engineers, and Rory Romano, Tony Black ~ engineer assistants. The art direction and design was by Jeri Heiden and Tom Recchion, Jim Merrill did the photography of the band and Marc Hom took the photographs of Joshua. Mary Ann Topper was responsible for management and booking.

1. Sweet Sorrow
2. Chill
3. Rejoice
4. Faith
5. Alone in the Morning
6. Mischief
7. Dialogue
8. The Oneness of Two (In Three)
9. Past in the Present
10. Obsession
11. Headin’ Home

• Joshua Redman ~ tenor, soprano saxophone
• Brad Mehldau ~ piano
• Christian McBride ~ bass
• Brian Blade ~ drums

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The Quarantined Jazz Voyager

It amazes me how many people want to get back to the old normal so quickly that they are walking around without any protection. Honor is rare in America, so that system is flawed. However, I remain vigilant with my safety and health as governors across the country are removing mandatory masking and social distancing.

So in light of those decisions, I have chosen from my collection the 1993 Concord Records album by one of the industry’s most seasoned musicians. The album Scott Hamilton With Strings paired the tenor saxophonist with pianist Alan Broadbent, who served as musical director, conductor, and arranger for the session. Throw in a 20-piece string orchestra and you have the makings of an enjoyable listening experience.

The recording sessions were done October 5, 1992 & October 6, 1992 at Group IV Recording Studios, Hollywood, California. The photography was taken by David Lubarsky, the art direction by Kent Judkins, and the liner notes were written by Peter Straub. The recording and remix engineer was Phil Edwards, and the assistant recording engineer was Dann Thompson. The album was mastered by George Horn. The producer on the recording dates was Carl E. Jefferson along with his assistant producers, Elizabeth Bell and Nick Phillips.

1. My Foolish Heart (Ned Washington, Victor Young) ~ 5:28
2. Goodbye Mr. Evans (Phil Woods) ~ 7:29
3. The Shining Sea (Peggy Lee, Johnny Mandel) ~ 6:07
4. Angel Eyes (Ned Brent, Matt Dennis) ~ 6:09
5. Heart’s Desire (Alan Broadbent, Dave Frishberg) ~ 5:27
6. The Look Of Love (Burt Bacharach, Hall David) ~ 5:15
7. Nancy(With The Laughing Face) (James Van Heusen, Phil Silvers) ~ 4:21
8. Young And Foolish (Albert Hague, Arnold B. Horwitt) ~ 5:26
9. I Concentrate On You (Cole Porter) ~ 6:48
10. Tonight I Shall Sleep (With A Smile On My Face) (Duke Ellington, Mercer Ellington, Irving Gordon) ~ 5:24

• Scott Hamilton ~ tenor saxophone
• Alan Broadbent ~ piano,
• Bob Maize ~ bass
• Roy McCurdy ~ drums
• Cello ~ Dennis Karmazyn, Fred Seykora, Jodi Burnett, Paula Hochhalter, Ray Kramer*
• Viola ~ Carole Mukogawa, Dan Neufeld, Harry Shirinian, Maria Newman, Pamela Goldsmith
• Violin ~ Bonnie Douglas, Darius Campo, Endre Granat, Gordon Marron, Haim Shtrum, Harris Goldman, Henry Ferber, Israel Baker, James Getzoff, John Wittenberg, Juliann French, Ken Yerke*, Mari Tsumura-Botnick, Paul Shure, Robert Brosseau
• Violin, Concertmaster ~ Murray Adler

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The Quarantined Jazz Voyager

I REMEMBER MILES 6.10.21

As I continue to be vigilant in my social distancing, masking, and avoiding the unasked that no one is checking I take down off the shelf a favorite vocalist who I used to see perform at the Bohemian Caverns in Washington, DC. This week the album I have selected is the 1998 studio album I Remember Miles by Shirley Horn. It was recorded in tribute to Miles Davis and covers songs that showed the sensitive side of the musicians..

The album’s cover art is a drawing Davis had once done of them both. The album design and artwork was by Chika Azuma, and Ira Gitler wrote the liner notes. Horn’s performance on this album won her the Grammy Award for Best Jazz Vocal Performance at the 41st Grammy Awards.

The production team was composed of producer Richard Seidel, assistant producer Sheila Mathis, production coordination by  Camille Tominaro, Dave Baker engineered and mixed the album, and mastering was performed by Duncan Stanbury.

Track List | 52:54

1. My Funny Valentine (Lorenz Hart, Richard Rodgers) ~ 5:33
2. I Fall in Love Too Easily (Sammy Cahn, Jule Styne) ~ 5:39
3. Summertime (George Gershwin, Ira Gershwin, DuBose Heyward) – 4:59
4. Baby Won’t You Please Come Home (Charles Warfield, Clarence Williams) ~ 7:21
5. This Hotel (Johnny Keating, Richard Quine) ~ 3:37
6. I Got Plenty o’ Nuttin’ (Gershwin, Gershwin, Heyward) – 3:39
7. Basin Street Blues (Williams) ~ 5:28
8. My Man’s Gone Now (Gershwin, Gershwin, Heyward) ~ 10:39
9. Blue in Green (Miles Davis, Bill Evans, Al Jarreau) ~ 5:59

• Shirley Horn ~ piano, vocals, producer
• Ron Carter ~ bass guitar
• Roy Hargrove ~ flugelhorn, trumpet
• Toots Thielemans ~ harmonica
• Buck Hill ~ tenor saxophone
• Charles Ables ~ double bass
• Steve Williams ~ drums, percussion
• Al Foster ~ drums

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Requisites

Evidence ~ Vincent Herring | By Eddie Carter

This next choice from the library is by alto saxophonist Vincent Herring who I first heard at the 1992 Atlanta Jazz Festival as a member of The Nat Adderley Quintet. Their performance was a highlight of the AJF, and Herring’s solos were breathtaking throughout the set, mesmerizing the crowd. Evidence (Landmark Records LLP-1527) is his second album as a leader, and accompanying him are Wallace Roney on trumpet, Mulgrew Miller on piano, Ira Coleman on bass, and Carl Allen on drums. My copy used in this report is the 1991 Swiss Digital Stereo pressing.

Side One opens with Mr. Wizard by Vincent and Larry Willis, swinging from the outset with an invigorating theme statement. Wallace takes off first driven by jet propulsion, followed by an energetic workout by Vincent. Mulgrew speaks last with a fierce intensity preceding an exuberant closing chorus and abrupt ending. The mood moves to a slower tempo for a beautiful rendition of I Sing a Song by Tex Allen. This tune opens showing grace and politeness with a Bossa-Nova beat on the melody. Roney begins with a seductively appealing performance, the altoist delivers a sublimely beautiful reading next. Miller’s closing presentation is an equal mix of elegance, poignancy, and warmth. Stars Fell on Alabama, the 1934 jazz standard by Frank Perkins and Mitchell Parish is a touching tribute to Cannonball Adderley who recorded it on Cannonball Adderley Quintet in Chicago (1959). Vincent opens the soloing with a sweet lyricism like a rare vintage wine that’s mellowed with age. Mulgrew adds a richly evocative romanticism to the finale matched by Ira and Carl’s tender interplay.

Voyage by Kenny Barron is the Side One finale with a lively, uptempo beat by the quintet on the opening chorus. Herring solos first with a captivating interpretation.  Roney bursts into the next reading with a blazingly hot attack of electrically charged energy. Miller takes the final spot for an effervescent statement into the reprise and ending. Never Forget is Herring’s second contribution to the album and a very pretty ballad by Vincent expressing a voluptuous richness on the opening chorus and affectionate intimacy on the lead solo. Mulgrew gives a vivid example of his ability to communicate something special by caressing each phrase of the closing reading, making it truly distinctive and memorable for a deeply satisfying performance.

Evidence was written by Thelonious Monk in 1948, this jazz standard was first recorded as a single, and later on Milt Jackson and The Thelonious Monk Quintet (1955). The quintet starts with a happy groove exhibited in the opening statement by Herring showing a remarkable maturity beyond his age. Roney takes over in fine spirits and exceptional form on the second solo. Miller comes in next for an equally inspired reading.  Carl shares the finale with all three soloists before the ensemble’s exit. Soul-Leo by Mulgrew Miller begins with a joyous medium theme. Wallace delivers tremendous excitement on the first solo. Vincent continues with an infectious groove next, then Mulgrew provides the summation ahead of a few closing comments by Vincent into the close.

The engineer on Evidence is Paul Goodman who has a large discography of notable jazz albums for Atlantic, Cobblestone, Elektra Musician, MPS Records, Muse Records, Onyx Records, Prestige, RCA Victor, and Xanadu. The digital mastering is by George Horn who also has a lengthy resume of albums at Fantasy Studios, and his own company, George Horn Mastering. The quality of this digital recording is splendid with a natural soundstage surrounding your listening chair with sweet sounds. In his closing remarks of the liner notes, producer Orrin Keepnews described Vincent Herring as “a force to be reckoned with in the world of jazz”. I agree with his statement and will only add that Vincent’s playing is indeed a satisfying experience supporting the Evidence found in the seven selections on this album!

~ Cannonball Adderley Quintet in Chicago (Mercury Records MG 20449/SR 60134), Evidence (Blue Note 549), Milt Jackson and The Thelonious Monk Quintet (Blue Note BLP 1509/BST 81509) – Source: Discogs.com
~ Stars Fell on Alabama – Source: JazzStandards.com
© 2021 by Edward Thomas Carter

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