Requisites
My Laurie ~ Art Pepper | By Eddie Carter
I’ve listened to and enjoyed the music of Art Pepper for many years. Despite his drug addiction and times spent in prison that interrupted his career, he recorded some great live and studio albums. My Laurie (Trio Records PAP-25037) is a 1978 live performance documenting the final part of a twenty-one-day, nineteen concert Japanese tour by the quartet. It was also the alto saxophonist’s first tour with his group, Milcho Leviev on piano, Bob Magnusson, on bass, and Carl Burnett on drums. My copy used in this report is the 1983 Japanese Mono release.
Side One starts with an original tune from Art’s pen, Ophelia. The quartet gets our fingers popping on the collective melody. Art is up first and sparkles brightly on the opening solo, then Milcho takes an infectiously swinging turn next. Bob comes in and has his say on a lively reading. Carl shares a feisty finale with Art ahead of the ending and the trio’s introductions.
Bésame Mucho by Consuelo Velázquez and Sunny Skylar is one of the most popular and recorded songs in jazz. Pepper stretches himself ambitiously on the vivacious introduction preceding the song’s theme. Art then tugs at our emotions with a heartfelt first solo. Leviev begins the second reading with a tender lyricism that soars briskly to a satisfying finish. Magnusson has a short say next leading to the foursome’s gorgeous exit and the crowd expressing their approval.
My Laurie is Art’s loving tribute to his wife occupying the second side. The ensemble makes a regal introduction into a gentle melody by the altoist. He makes a compelling case with two beautifully expressed readings culminating with appreciative applause from the audience at the song’s end. Sandwiched between Art’s solos is a tender interpretation by Milcho.
The concert was produced by Haruo Serikawa, the recording engineer was Morio Shoya, and the remastering for My Laurie is by James Mooney. The sound quality on Side One is excellent with a vibrant soundstage across the highs, midrange, and low end. On Side Two, there’s a slight bit of harshness during Pepper’s second solo on My Laurie. That said, I hope that won’t dissuade you from seeking out this album for a spot in your library. The highlight for me personally is Bésame Mucho, the quartet gives this old favorite new life with an exceptionally fresh and creative approach. There are three other live records in The Art Pepper Memorial Collection, and I’ll be on the lookout for them. If you’re a longtime fan of his or are just discovering his music, I hope you’ll consider My Laurie by Art Pepper on your next vinyl expedition. He’s in great form here and the rhythm section compliments him splendidly!
~ The Summer Knows, Vol. 2 (Trio Records PAP-25038), I’ll Remember April, Vol. 3 (Trio Records PAP-25041), A Night In Tunisia, Vol. 4 (Trio Records PAP-25044) – Source: Discogs.com ~ Bésame Mucho – Source: JazzStandards.com © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
Charles Robert Munro was born on May 22, 1917 in Christchurch, New Zealand. While in his teens he became quite proficient on several saxophones and by 21 had moved to Sydney, Australia where he played in the bands led by Myer Norman and Wally Parks. In addition he worked as a sideman on various nightclub, theater, and ship gigs.
Serving in the military during World War II, Charlie went on to work with Wally Norman at the Roosevelt nightclub in Sydney. In 1950 he played with Bob Gibson, then joined the Australian Broadcasting Commission’s dance band in 1954, continuing to perform with the group through 1976 as a composer and arranger.
He worked extensively with Bryce Rohde in the 1960s, participating in many of Rohde’s Australian jazz experiments. He led his own bands toward the end of his career, and also worked with Georgina de Leon.
Saxophonist and flutist Charlie Munro, who also played the cello and delved into free jazz movement, transitioned on December 9, 1985, in Sydney.
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Daily Dose Of Jazz…
Thomas Bryant was born May 21, 1930 in Philadelphia, Pennsylvania and grew up in a musical family. His mother was a choir director, his brother Ray was a pianist, and another brother, Len Bryant, is a vocalist and drummer. He began playing bass at the age of 12 and played in many local outfits.
The late Forties saw Bryant join Elmer Snowden’s band, staying there until 1952, when he took a tour of duty during the Korean War. In 1956 he returned and formed his own trio, though he never recorded as a leader, he recorded seventeen albums as a sideman.
He is better known for his work with his brother Ray, as well as Jo Jones, Charlie Shavers, Roy Eldridge, Dizzy Gillespie, Barney Wilen, Benny Golson, Big Joe Turner, Hank Mobley, Curtis Fuller, Lee Morgan, Billy Root and Coleman Hawkins.
In the last ten years of his life he played in the follow-up band to The Ink Spots. Double bassist Tommy Bryant, who also recorded with Mahalia Jackson under the name Tom Bryant, transitioned on January 3, 1982.
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Daily Dose Of Jazz…
Thomas Joseph Gumina was born on May 20, 1931 in Milwaukee, Wisconsin. He began playing accordion at age eleven, and took lessons on the instrument in Chicago, Illinois throughout the second half of the 1940s.
He began his professional career working with Harry James on television in 1952 as an accompanist for popular tunes, and in 1955 Gumina began working solo and as a leader with an ensemble. He recorded with Buddy DeFranco and Willie Smith in the 1960s.
Tommy started experimenting with modifying an electric accordion, whose amplified sound resembled that of an electronic organ. During the Seventies he was occasionally active as a performer, working with Art Pepper in 1974, but he increasingly turned his concentration to his amplifier manufacturing business, Polytone Musical Instruments which was based in North Hollywood, California.
Along with guitarist Joe Pass, they co-founded Polytone Records in 1987. Accordionist Tommy Gumina, who was also a musical instrument builder, transitioned on October 28, 2013.
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The Quarantined Jazz Voyager
If you don’t know what to do by now to keep yourself and your family safe and healthy, there’s nothing else I can say to change your perspective. So, with that said, this week the Jazz Voyager is pulling from the stacks a 1965 hard bop studio album titled Spunky released by Monty Alexander. The session was produced by Richard Bock and recorded at World Pacific Studios in Los Angeles, California and Plaza Sound Studios in New York the year of its release. It was offered on Pacific Jazz LP record ST-20094 in stereo and PJ-10094 in mono.
- Monty Alexander: piano (all tracks)
- Victor Gaskin: bass (all but 4, 6)
- Bob Cranshaw: bass (tracks 4, 6)
- Paul Humphrey: drums (all but 4, 6)
- Bruno Carr: drums (tracks 4, 6)
- Gene Bertoncini: guitar (tracks 4, 6)
- Scott Turner: guitar (track 9)
- Cover design by Woody Woodward
- Cover Photography by Les McCann
- Back Cover Photography by Eddie Rio
- Liner Notes written by Paul Compton
- Spunky (Monty Alexander) ~ 2:39
- Naturally (Nat Adderley) ~ 3:35
- Jamaica Shake (Monty Alexander) ~ 2:25
- Heart Strings (Milt Jackson) ~ 3:33
- Taggie’s Tune (Junior Mance) ~ 4:14
- Rattlesnake (Monty Alexander) ~ 2:30
- Whisper Not ( Benny Golson) ~ 3:58
- I’m An Old Cowhand (Johnny Mercer) ~ 2:32
- Little Children Of Peru (Scott Turner) ~ 2:50
- Spirit Of Foo (Monty Alexander) ~ 4:45
- Monty Alexander: piano (all tracks)
- Victor Gaskin: bass (all but 4, 6)
- Bob Cranshaw: bass (tracks 4, 6)
- Paul Humphrey: drums (all but 4, 6)
- Bruno Carr: drums (tracks 4, 6)
- Gene Bertoncini: guitar (tracks 4, 6)
- Scott Turner: guitar (track 9)
- Cover design by Woody Woodward
- Cover Photography by Les McCann
- Back Cover Photography by Eddie Rio
- Liner Notes written by Paul Compton
Tracks | 33:10
- Spunky (Monty Alexander) ~ 2:39
- Naturally (Nat Adderley) ~ 3:35
- Jamaica Shake (Monty Alexander) ~ 2:25
- Heart Strings (Milt Jackson) ~ 3:33
- Taggie’s Tune (Junior Mance) ~ 4:14
- Rattlesnake (Monty Alexander) ~ 2:30
- Whisper Not ( Benny Golson) ~ 3:58
- I’m An Old Cowhand (Johnny Mercer) ~ 2:32
- Little Children Of Peru (Scott Turner) ~ 2:50
- Spirit Of Foo (Monty Alexander) ~ 4:45
- Monty Alexander: piano (all tracks)
- Victor Gaskin: bass (all but 4, 6)
- Bob Cranshaw: bass (tracks 4, 6)
- Paul Humphrey: drums (all but 4, 6)
- Bruno Carr: drums (tracks 4, 6)
- Gene Bertoncini: guitar (tracks 4, 6)
- Scott Turner: guitar (track 9)
- Cover design by Woody Woodward
- Cover Photography by Les McCann
- Back Cover Photography by Eddie Rio
- Liner Notes written by Paul Compton
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