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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The Quarantined Jazz Voyager

Politics, unfortunately, are an integral ingredient in getting their idea of bringing financial stability back to America. Let us continue to practice the use of common sense when it comes to the future of society. As I observe, public companies are following the suggestions of governors to allow entry without masks and without checking. I can’t get with the honor system.

So in maintaining social distancing, this week I have selected the 1998 album Pure Imagination by pianist and composer Eric Reed, released through Impulse! Records. The album contains reinterpretations of traditional songs from classic Broadway and Hollywood productions.

Reed recorded the album on July 28~29, 1997 and was produced by Tommy LiPuma. The musicals from which the songs were taken are (2) West Side Story, (3) The King & I, (4) Willy Wonka & The Chocolate Factory, (5) 42nd Street, (6) A Little Night Music, (7) Porgy & Bess, and (9) Carousel.

It peaked at #8 on Billboard’s Top Jazz Album charts. All songs are written by famous songwriters of said productions except for the opening and closing tracks that were composed by Reed.

Track Listing | 49:52

1. Overture ~ 2:02
2. Maria (Leonard Bernstein, Richard Rodgers, & Stephen Sondheim) ~ 6:35
3. Hello, Young Lovers (Rodgers and Hammerstein) ~ 5:16
4. Pure Imagination (Leslie Bricusse, & Anthony Newley) ~ 4:04
5. 42nd Street (Harry Warren & Al Dubin) ~ 4:07
6. Send in the Clowns (Stephen Sondheim) ~ 4:54
7. My Man’s Gone Now/Gone, Gone, Gone (DuBose Heyward, George & Ira Gershwin) ~ 8:15
8. Nice Work If You Can Get It (George & Ira Gershwin) ~ 3:58
9. You’ll Never Walk Alone (Rodgers and Hammerstein) ~ 2:18
10. I Got Rhythm (George & Ira Gershwin) ~ 5:05
11. Finale (Last Trip) ~ 3:40

• Eric Reed – Piano
• Brian Bromberg – Bass
• Reginald Veal – Bass
• Gregory Hutchinson – Drums

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The Quarantined Jazz Voyager

As cities begin to open back up I am remaining vigilant in my social distancing and trust you are doing the same. Wary of large groups or crowded public transportation, I am staying to my schedule of grocery, doctor visits, home.

I’ve selected Jazz in Film, a studio album by trumpeter Terence Blanchard released on March 2, 1999 on Sony Records. The recording was split into two sessions, the first on March 17~18, 1998 at Signet Soundelux in Los Angeles, Californiaand the second on April 7, 1998 at Clinton Recording Studios, Studio B, New York City.

The album was meant to be a portrait of jazz in cinema history, a way to chronicle the evolution of jazz score from the late 1940s to present day. It featured highly influential themes from classics like Anatomy of a Murder, Taxi Driver and seminal noir The Man With the Golden Arm. Blanchard has carved out a little space for himself, revisiting one of his compositions written for Spike Lee’s Clockers.

The album features an all-star lineup backed by a string orchestra arranged by Blanchard. Steven Mercurio and J.A.C. Redford were the conductors for the sessions.

1. A Streetcar Named Desire (Alex North) ~ 7:55
2. Chinatown (Jerry Goldsmith) ~ 8:23
3. The Subterraneans (André Previn) ~ 9:08
4. Anatomy of a Murder (Duke Ellingtn) ~ 8:25
5. The Pawnbroker (Quincy Jones) ~ 7:02
6. Taxi Driver (Bernard Herrmann) ~ 7:12
7. Degas’ Racing World (Ellington) ~ 7:57
8. Man With The Golden Arm (Elmer Bernstein) ~ 4:13
9. Clockers (Terence Blanchard) ~ 8:01

• Terence Blanchard – trumpet, arranger
• Joe Henderson – tenor saxophone (3, 6, 7, 8, 9)
• Steve Turre – trombone (1, 4, 8)
• Donald Harrison – alto sax (1, 4, 5)
• Kenny Kirkland – piano
• Reginald Veal – bass
• Carl Allen – drums

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The Quarantined Jazz Voyager

Home but not alone because I have the voices of so many musicians and vocalists to keep me company. I’ve been noticing all the positive things that are coming out of this pandemic experience with people becoming more relaxed with being by themselves, spending less money on things they don’t need, watching more documentaries and movies and more comfortable and stress free relaxing in the confines of their homes.

In my listening room I’ve selected this week’s next choice is the 1997 album Why Are We Here! Live At Agape by vocalist and actor Carl Anderson. The album was released on the Abu Khalil Productions/Music label. The executive producer is Carl Anderson, the producer is Michael Beckwith and the live concert was mixed and recorded in the Agape Sanctuary Concert Hall at 8440 Wilshire Boulevard, Beverly Hills, California.

1. Daybreak ~ 5:38
2. Lover’s Mask ~ 7:35
3. Who Can I Turn To ~ 4:52
4. Sophisticated Lady ~ 5:57
5. 5. Round Midnight ~ 5:45
6. How Do You Keep The Music Playing ~ 4:33
7. How Deep Does It Go ~ 6:13
8. It Is The Law! ~ 5:34
9. My Ship ~ 3:14
10. My Funny Valentine ~ 3:46
11. Hot Coffee ~ 5:35
12. Heavy Weather ~ 6:01

• Carl Anderson ~ vocal
• Michael Paolo ~ Saxophone
• Alphonso Johnson ~ Bass
• Freddie Ravel ~ Keyboards

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The Quarantined Jazz Voyager

Having completely adapted to a new modus operandi for living this glorious life, I remain vigilant in my social distancing and reminding myself of music I haven’t listened to in a long time. This week I’m pulling out the late great Roy Hargrove who had the vision to record With The Tenors of Our Time. It’s a 1994 release on the Polygram Record label that was recorded at Teatro Mancinelli and Giani Grascinelli Sound Service with executive producer Richard Seidel. The album’s art direction and design is by David Lau, photography by James Minchin, liner notes by Jimmy Katz.

>Others in the team contributing to the production of this album were Larry Clothier ~ production, engineering, mixing; Ed Rak ~ engineering, mastering, mixing; Robert Friedrich ~ assistant engineering; Troy Halderson ~ mastering; Camille Tominaro ~ production coordination; and Nelly Muganda ~ make-up and hair stylist.

1. Soppin’ the Biscuit (composer Roy Hargrove, featuring Stanley Turrentine) ~ 7:59
2. When We Were One (composer Johnny Griffin, featuring Johnny Griffin) ~ 5:59
3. Valse Hot (composer Sonny Rollins, featuring Branford Marsalis, Ron Blake) ~ 6:57
4. Once Forgotten (composer Pamela Watson, featuring Ron Blake on tenor and soprano saxophone) ~ 5:45
5. Shade of Jade (composer Joe Henderson, featuring Joe Henderson) ~ 5:24
6. Greens at the Chicken Shack (composer Cyrus Chestnut, featuring Johnny Griffin) ~ 5:45
7. Never Let Me Go (composer Jay Livingston and Ray Evans, featuring Rodney Whitaker) ~ 5:36
8. Serenity (composer Joe Henderson, featuring Joe Henderson) ~ 5:35
9. Across the Pond (composer Roy Hargrove, featuring Joshua Redman) ~ 6:47
10. Wild Is Love (composer Robert Mickens and G. Brown, featuring     Stanley Turrentine) ~ 6:50
11. Mental Phrasing (composer Roy Hargrove, featuring Ron Blake, Joshua Redman) ~ 6:25
12. April’s Fool (composer Ron Blake) ~ 3:54

• Roy Hargrove – trumpet, flugelhorn (2,4,7,10), production
• Cyrus Chestnut – piano
• Rodney Whitaker – bass
• Gregory Hutchinson – drums
• Ron Blake – soprano, tenor saxophone
• Johnny Griffin – tenor saxophone
• Joe Henderson – tenor saxophone
• Branford Marsalis – tenor saxophone
• Joshua Redman – tenor saxophone
• Stanley Turrentine – tenor saxophone

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