Requisites

Live At The Village Gate ~ Milt Jackson Quintet | By Eddie Carter

I’ve been a huge fan of Milt Jackson ever since seeing him in concert with The 1972 Newport Jazz All-Stars at Music Hall in New York City. He swung effortlessly that evening with solos that were exciting and spirited, and I began collecting all his albums. A few nights ago, I was listening to this morning’s choice from the library and that’s what prompted this discussion. Live at The Village Gate (Riverside RM 495/RS-9495) is a 1967 release documenting the vibraphonist leading a wonderful quintet, Jimmy Heath on tenor sax, Hank Jones on piano, Bob Cranshaw on bass, and Albert “Tootie” Heath (Jimmy’s brother) on drums. My copy used in this report is the 1987 Original Jazz Classics Stereo reissue (Riverside OJC-309 – RLP-9495).

Side One starts with the first of three tunes by Bags, a nickname given to Milt by a Detroit bass player that he would be called the rest of his life. Bags of Blue is a tune that’ll have you tapping your toes from the quintet’s lively melody. Milt opens with a peppy first solo, then Jimmy takes a sprightly reading. Hank makes everyone feel good on the next statement. Milt and Jimmy split the finale with a few verses ahead of the ensemble’s ending and club’s applause. Little Girl Blue by Richard Rodgers and Lorenz Hart is one of their prettiest compositions from the Broadway musical, Jumbo (1935). Bags and Hank make a dainty introduction, then Bob and Albert come in for the tender theme. As the song’s only soloist, Milt gives a gorgeous performance complemented by the trio’s delicately sensitive support.

Up next is an upbeat original by Jimmy Heath, Gemini. It made its first appearance on his album, Triple Threat (1962). The group begins the melody briskly, then Milt leads off the opening statement with high-spirited energy. Jimmy applies some vigorous passion to the second presentation. Hank closes with a dazzling reading before the quintet takes their exit. Jackson’s light-hearted Gerri’s Blues begins Side Two with the first of two sparkling solos by Hank preceding the ensemble’s theme. Bags takes the first solo and constructs an infectious interpretation that’s perfectly suitable for dancing. Hank keeps the happy beat alive on the next reading, followed by Jimmy’s extremely nimble solo. The leader and saxophonist engage in a three-way conversation with Albert leading to a very satisfying conclusion.

Time After Time by Sammy Cahn and Jule Styne is a beautiful jazz standard and the second quartet presentation featuring Bags as the lone soloist. The quartet states a delicately pretty melody, then Milt seamlessly moves into a statement of great tenderness and intimacy capable of melting even the coldest heart. The quintet ends the set with Jackson’s Ignunt Oil that Bags first recorded on Plenty, Plenty, Soul (1957). The group struts their stuff on the opening chorus in unison. Milt starts off the solos with a joyous workout. Jimmy follows with some inspired ideas. Hank comes in next and cooks at a nice momentum. Bags leads toward the close with a few final thoughts preceding the quintet’s perfect ending to a great set.

Live at The Village Gate was originally recorded by Ray Fowler. The remastering by Phil DeLancie delivers a spacious soundstage transporting the listener to the club with all the intimacy and ambiance of being there in person. The result is a great recording of swinging jazz by one of the consummate musicians, Milt Jackson. It’s also a good place to discover his immense discography as a leader, sideman, and principal member of The Modern Jazz Quartet in an illustrious career lasting forty years. If you’re a fan of Bags, Jimmy Heath, or Hank Jones, I invite you to check out Live at The Village Gate by The Milt Jackson Quintet on your next vinyl hunt. It’s a nice way to unwind after a long day with your favorite drink and in my opinion, would make a great addition to any jazzophile’s library!

~ Plenty, Plenty, Soul (Atlantic 1269/SD 1269), Triple Threat (Riverside RLP 400/RLP 9400) – Source: Discogs.com ~ Little Girl Blue, Time After Time – Source: JazzStandards.com © 2022 by Edward Thomas Carter

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Daily Dose Of Jazz…

Nenad Vasilic was born on May 8, 1975 in Niš, Serbia and started playing piano at the age of 5. By twelve he received his first bass guitar and at the age of 15 he enrolled in the Secondary Music School in Niš. When he was 19 he studied contrabass and bass guitar at the Jazz Academy in Graz, Austria.

In 1998 he formed his own band Vasilić Nenad Balkan Band and 1999 saw him in Austria recording his debut album as a leader titled Jugobasija. Since that first outing he has produced albums as a band leader, double bass player and composer, collaborating with jazz singers Mark Murphy and Sheila Jordan, as well as Ritchie Beirah, Peter Ralchev, Vlatko Stefanovski, Wolfgang Puschnig, Bojan Zulfikarpasic, John Hollenbeck, Martin Lubenov, Stjepko Gut, Bilja Krstić, Tamara Obrovac, Lori Antonioli, Amira Medunjanin and others.

Bassist, composer and bandleader Nenad Vasilic continues to explore the possibilities of his music creativity.

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Daily Dose Of Jazz…

Leon Alexander Anthony Abbey was born in Minneapolis, Minnesota on May 7, 1900 to Luther James Robert Abbey and Eva Lee Alexander. He started his career in 1920 as a classical violinist with the orchestra of J. Rosamond Johnson. Five years later, he recorded with Clara Smith on If You Only Knowed and You Better Keep The Home Fires Burning.

By 1926, Leon was leading the Savoy Bearcats and toured with the band the next year in Argentina, Brazil, and Uruguay. For a decade, he toured throughout Europe and performed in India two times.

Abbey led a band with blues singer Ethel Waters. In Chicago, Illinois he led a trio until 1964. His sideman during his career included Fletcher Allen, Emile Christian, Bill Coleman, Peter DuConge, and Crickett Smith. He recorded Jazz and Hot Dance in Denmark as a leader in 1938 on Harmony Records in Copenhagen, Denmark. It was also issued under the name Whoa Babe.

Violinist and bandleader Leon Abbey transitioned in September 1975.

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Daily Dose Of Jazz…

Denys Justin Wright was born on May 6, 1924 in Deptford, London, England and grew up in Brockley. His first instrument was the piano but was soon trying to play his brother’s guitar. Known professionally as Denny Wright, he began playing professionally before World War II while at school. He nearly always used his thumb on the top E string and could only play as fast as he could sing.

Wright spent the first part of World War II playing in jazz clubs in the West End of London, doing session work and performing in bands on radio shows. He worked with Stephane Grappelli for the first time in London around 1941. At school he served with the Auxiliary Fire Service in Brockley. Classified medically unfit to serve due to a childhood injury, he joined Entertainments National Service Association (ENSA), entertaining the troops.

In 1945 he started the first bebop club in London where he played piano and guitar. The late 1940s saw him touring Italy and the Middle East with the Francisco Cavez Orchestra. Throughout the 1950s DEnny provided guitar accompaniments for Lonnie Donegan, Johnny Duncan, Humphrey Lyttelton, and Marie Bryant, as well as appearing on Guitar Club on the BBC. In 1952, he accompanied Tex Ritter for a season at the Texas Western Spectacle, and with Joel David on Old Bones and added a guitar solo on Be My Valentine Tonight.

Establishing the Denny Wright Trio with violinist Bob Clarke took skiffle and jazz to the Soviet Union in 1957 for the 6th World Festival of Youth and Students. For four decades from the Forties he worked as a session musician working with the likes of Mary Hopkin, Dusty Springfield and Tom Jones. In the 1960s, he went on to record under The Cooper-Wright Quintet, and during the late Seventies formed the band Velvet with Ike Isaacs, Len Skeat, and Digby Fairweather.

Never one to not be working he continued to put bands together as well as lecturing and giving private lessons. He arranged for and fixed sessions, and was a prolific jazz and orchestra composer. He worked with Latin American, Afro-Cuban and Jamaican bands. Denny was voted the 1980 BBC Jazz Society Musician of the Year.

Guitarist, pianist, arranger and composer Denny Wright transitioned on February 8, 1992 in London after a nine-year battle with bladder cancer.

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The Quarantined Jazz Voyager

Contrary to the announcement that the pandemic is over and the unmasking the country has clearly exhibited, a variant is still present and this Jazz Voyager is getting out remains distant from crowds and enclosed spaces. So we will continue to listen to great music.

My selection this week is the Complete Studio Recordings, a two compact disc set whose songs were recorded between 1956 and 1958 by the Curtis Counce Quintet composed of Counce, Jack Sheldon, Harold Land, Carl Perkins and Frank Butler went into the studio of Contemporary Records and recorded twenty-four songs. Though the group was short~lived, their impact produced a powerhouse two-disc set of music comprising the main recordings on the Contemporary label.

The group’s expressed purpose was to develop a West Coast answer to the soulful, hard-bop East Coast sound. Each of the musicians was among the most gifted on his instrument, yet the focus was always on a collaborative result that would reflect undiscovered possibilities within a familiar post-bop idiom. Seldom does a group of musicians come together and play so seamlessly that they sound like one voice speaking. The contribution of each of the five principals, therefore, invites close scrutiny.

The beauty of the recorded disc is that it is a lasting tribute to the musicians who performed on this recording. Lester Koenig at Contemporary Records was known for extremely high audio standards and turned out some of the best-sounding records of the day thanks to the expertise of engineer Roy DuNann. The audio on these Contemporary dates is rich in depth and detailing, allowing the listener to pick out each of the subordinate motifs and subtle moving harmonies. The engineering created a naturally ambient soundscape inviting the listener to partake of the worthy.

The caveat is that this music appeared on previously released albums by Curtis Counce and this is an opportunity to pick up the excellence of 24 tracks of music in a one~stop shop. This represents African-American indigenous art of the highest order. Released by Gambit Records in 2007 and definitely one for the collector.

Track Listing | 150:00+

1. Landslide (Harold Land) ~ 8:37
2. Time After Time (Sammy Cahn/Jule Styne) ~ 6:32
3. Mia (Carl Perkins) ~ 4:55
4. Sarah (Jack Sheldon) ~ 11:38
5. Fifth For Frank (Gerald Wiggins/Cal Tjader) ~ 7:14
6. Big Foot (Charlie Parker) ~ 9:07
7. Sonar (Kenny Clarke/Gerald Wiggins) ~ 7:28
8. Stranger In Paradise (Robert Wright/George Forrest) ~ 7:04
9. Woody’n You (Dizzy Gillespie) ~ 6:18
10. Pink Lady (Jack Sheldon) ~ 4:41
11. Councelation (Curtis Counce) ~ 6:05

1. Love Walked In (George Gershwin/Ira Gershwin) ~ 4:56
2. Too Close For Comfort (Larry Holofcener) ~ 5:38
3. How Deep Is The Ocean (Irving Berlin) ~ 6:37
4. Complete (Curtis Counce) ~ 5:52
5. Nica’s Dream (Horace Silver) ~ 8:00
6. How Long Has This Been Going On (George Gershwin/Ira Gerswin) ~ 3:18
7. Mean To Me (Fred E. Ahlert/Roy Turk) ~ 4:31
8. I Can’t Get Started (Vernon Duke/Ira Gershwin) ~ 8:01
9. Larue (Clifford Brown) ~ 5:04
10. Carl’s Blues (Carl Perkins) ~ 5:54
11. Night In Tunisia (Dizzy Gillespie/Frank Paparelli) ~ 8:17
12. Love Walked In (George Gershwin/Ira Gershwin) ~ 2:55
13. Sophisticated Lady (Duke Ellington) ~ 4:10
14. Fifth For Frank (Gerald Wiggins/Cal Tjader) ~ 1:56
15. The Butler Did It (Frank Butler) ~ 4:39

Personnel

• Jack Sheldon ~ trumpet
• Harold Land ~ tenor saxophone
• Carl Perkins ~ piano
• Curtis Counce ~ bass
• Frank Butler ~ drums
• Gerald Wilson ~ trumpet (replaces Sheldon on three tracks of disc 2)

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