Requisites

Soul Hits ~ Les McCann | By Eddie Carter

In 1972, I was in my senior year at Glenville High School and starting my first year at Cuyahoga Community College’s Metro Campus in Cleveland, Ohio. I studied radio and had an hour-long program titled Edward Carter and All That Jazz playing albums from my library for the students and faculty on school stations, WGHS and WCCC. My goals at that time were to work at Record Rendezvous once I graduated, get my broadcast license, and become a disc jockey at Cleveland’s then jazz station, WCUY 92.3 FM. Sadly, neither of these came to fruition, but I mention it because a few nights ago, I listened to the album that became the inspiration for this morning’s discussion, and it brought back some great memories. Soul Hits (Pacific Jazz PJ-78/ST-78) by pianist Les McCann hit the stores in 1964 and is his ninth record for Richard Bock and Roy Harte’s label. His bandmates are Joe Pass on guitar, Paul Chambers on bass, and Paul Humphrey on drums. My copy used in this report is the original Stereo album.

Jimmy Smith’s Soul-Jazz classic, Back At The Chicken Shack starts Side One at a lively tempo for the quartet’s melody. Joe kicks off the solos swinging easily, then Les gives the next performance a carefree groove ahead of the closing chorus and slow fade. The beat moves upward for Sack O’ Woe by Julian Cannonball Adderley. I first heard it on The Cannonball Adderley Quintet at The Lighthouse. The ensemble crackles with energy on the opening chorus, then Pass swings like mad on an invigorating solo. McCann takes over, fanning the flames with fire on the closing statement into the out-chorus and quick fadeout.  Groove Yard is by pianist Carl Perkins and was the song I used to end each radio show with. It’s a very pretty melody that’s a centerpiece for Joe on the melody, reprise, and the respectful grace he demonstrates on the song’s only solo. The trio’s interaction behind him is subtle and beautifully detailed.

Sermonette by Nat Adderley is an infectious tune with an attractive gospel-flavored rhythm by the foursome in unison. The solo order is Pass, Humphrey, and McCann, and each musician preaches an irresistible abbreviated lesson designed to have the listener clap their hands and tap their toes before a soft fade into nothingness. The first side concludes with a brisk workout of Sonnymoon For Two by Sonny Rollins. The quartet’s collective opening chorus is a sheer delight for the ears. Joe is first in the spotlight with an emotionally charged interpretation, then Les performs impressively on a brief closing statement with Chambers and Humphrey providing firm support into the coda.

Milt Jackson’s 1954 standard, Bags’ Groove (pronounced Bag’s Groove here) opens Side Two with McCann opening the song with a spirited statement of optimistic joy.  Joe cruises into the melody at a comfortable speed, then the foursome disappears into darkness on a short ending. Shiny Silk Stockings aka Shiny Stockings was written by Frank Foster in 1955 and the quartet treats this young lady to a lovely night on the town with Joe delivering a relaxing theme treatment.  Les takes over for a delightfully, dazzling performance preceding the foursome’s reprise and affectionate finale.

The beat moves to mid tempo for Horace Silver’s 1959 standard, Sister Sadie that premiered on Blowin’ The Blues Away that year.  The quartet’s rendition is pure fun from first note to last with a danceable beat that compels you to move your feet.  Joe is up first and engages the ear with a delightful performance of vivacious licks that’s a pleasure to listen to.  Les gets down to business on the second solo with some home cooking that builds nicely into the closing chorus by Paul who executes a flawless interpretation convincingly before the quartet takes the tune out.

The final two tracks on the album are Neal Hefti’s 1957 timeless standard Li’l Darlin’ and Nat Adderley’s contemporary classic Work Song.  On Li’l Darlin’, McCann is the featured soloist, and he delivers a deeply thoughtful presentation of warm beauty with Pass providing the perfect punctuation culminating into an intimate ending.  Work Song was written in 1960 and is one of Nat Adderley’s finest works as a composer.  It’s also the title tune for what many feel is his best studio album.  Oscar Brown, Jr. added lyrics to the instrumental and recorded it on his LP, Sin & Soul, making the song a favorite jazz standard among musicians and vocalists around the world.  Pass leads the foursome through a very strong opening chorus raising the temperature to a cooking tempo on Joe’s lead solo.  Paul’s bass is impeccable on the second reading and Les wraps up the album with a robust exuberance that you can move to.

Richard Bock produced and engineered Soul Hits and the sound is stunning with the incredible definition of each instrument that surrounds your perfect place to listen with sweet sounds throughout the treble, midrange, and low end.  The quartet communicates a wonderful sense of delight and sheer pleasure in the music they’re making.  Though out of print since the 1981 US reissue by Liberty Records, Soul Hits by Les McCann is an album of great music that’ll delight the fan discovering his music for the first time, the seasoned collector who’s a fan of piano jazz, or if you already own the record as I do, it’ll bring back some great memories!

~ Back at The Chicken Shack (Blue Note BLP 4117/BST 84117); Blowin’ The Blues Away (Blue Note BLP 4017/BST 84017); Sin & Soul (Columbia CL 1577/CS 8377); Soul Hits (Liberty Records LN-10079); The Cannonball Adderley Quintet at The Lighthouse (Riverside RLP 344/RLP 9344); Work Song (Riverside RLP 12-318/RLP-1167) – Source: Discogs.com

~ Shiny Stockings, Li’l Darlin’ – Source: JazzStandards.com

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Daily Dose Of Jazz…

Garnett Brown, born January 31, 1936 in Memphis, Tennessee and graduated from the University of Arkansas at Pine Bluff and later studied film scoring and electronic music at University of California Los Angeles. Winning the DownBeat Reader’s poll for trombonists, he appeared on the classic 1976 recording Bobby Bland and B.B. King Together Again…Live.

As a sideman he recorded with Chico Hamilton, Charles Lloyd, Roland Kirk, Art Blakey, Booker Ervin, Lou Donaldson, Teddy Edwards, Frank Foster, Duke Pearson, George Benson, Charles Tolliver, Johnny Hodges, Houston Person, Louis Armstrong, Gene Ammons, Modern Jazz Quartet, Gil Evans, Jackie and Roy, Airto Moreira, Hubert Laws, Dakota Staton, Reuben Wilson, Charles Earland, Don Sebesky, Lou Donaldson, Charles McPherson, Joe Chambers, Yusef Lateef, Jack McDuff, Rusty Bryant, Les McCann, Billy Cobham, Arif Mardin, Herbie Hancock, Charles Tolliver,  Richard “Groove” Holmes, Eddie Harris, Horace Silver, Ahmad Jamal, and Gerald Wilson Orchestra of the 80’s among others.

He has worked as a composer in film and television due to his training in the field. In 1989 he was the conductor and orchestrator for Harlem Nights. Trombonist Garnett Brown, having been diagnosed with dementia, he is now retired and living in West Hollywood, California.

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Daily Dose Of Jazz…

Jim Lanigan was born on January 30, 1902 in Chicago, Illinois. Learning piano and violin as a child, he played piano and drums in the Austin High School Blue Friars before specializing on bass and tuba.

A member of the Austin High Gang, he played with Husk O’Hare in1925), the Mound City Blue Blowers and Art Kassel from 1926 to 1927, the Chicago Rhythm Kings, the Jungle Kings, and the 1927 McKenzie and Condon’s Chicagoans recordings.

From 1927 to 1931 he was with Ted Fio Rito and worked in orchestras for radio, including NBC Chicago. Performing sideman duties in the 1930s and 1940s with Jimmy McPartland, Bud Jacobson’s Jungle Kings, Bud Freeman, and Danny Alvin, he began to concentrate more on music outside of jazz at that time. He played with the Chicago Symphony Orchestra from 1937 to 1948, and did extensive work as a studio musician.

Bassist and tubist Jim Lanigan, who never recorded as a leader, played reunion gigs  for the Austin High Gang, passed away on April 9, 1983.

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Daily Dose Of Jazz…

Fred Ramsey was born Charles Frederic Ramsey, Jr. on January 29, 1915 in Pittsburgh, Pennsylvania and received his BA at Princeton University in 1936. After graduation he took jobs at Harcourt Brace until 1939, the United States Department of Agriculture from 1941 to 1942, and then with Voice of America.

In 1939 with Charles Edward Smith, he wrote Jazzmen, an early landmark of jazz scholarship particularly noted for its treatment of the life of King Oliver. After receiving Guggenheim fellowships, Fred visited the American South in the middle of the 1950s to make field recordings and do interviews with rural musicians, some of which were used in releases by Folkways Records and in a 1957 documentary, Music of the South.

He curated an anthology of early jazz recordings for Folkways, titled simply Jazz. Ramsey worked with the Institute of Jazz Studies at Rutgers University from 1970. He researched Buddy Bolden’s life with a grant from the National Endowment for the Humanities in 1974–75 and continued with a Ford Foundation grant in 1975–76. He presented early jazz interviews on National Public Radio in 1987.

Writer and record producer Fred Ramsey, who authored six books on jazz, passed away on March 18, 1995 in Paterson, New Jersey.

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The Quarantined Jazz Voyager

Adapting and accepting the mask wearing, social distancing and self-quarantining has made life so much easier from this jazz voyager’s perspective. As we experience continued spikes in the coronavirus as the vaccine is rolled out, we still need to make the conscious effort to do our individual part to stave the spread.

So continuing my uninterrupted time to kick back, relax and listen to music, the album I have chosen The Sting Variations by vocalist Tierney Sutton. The recording session was arranged and produced by Trey Henry at LAFX Recording Services, The Doghouse Studio in May 2016, and released on September 9, 2016 for BFM Records.

The album was engineered and mixed by Zackary Darling, mixed and mastered by Michael Aarvold– mastering, mixing and earned the Tierney Sutton Band a Grammy Award nomination for Best Jazz Vocal Album.

1. Driven To Tears ~ 5:47
2. If You Love Somebody Set them Free ~ 5:53
3. Seven Days ~ 6:17
4. Shadows In The Rain ~ 4:37
5. Walking In Your Footsteps ~ 3:50
6. Fragile/Gentle Rain (Sting/Luis Bonfa/Matt Dubey) ~ 4:37
7. Message In A Bottle ~ 4:27
8. Fields Of Gold ~ 4:45
9. Fortress Around Your Heart ~ 4:04
10. Language Of Birds (Sting/Rob Mathes) ~ 5:09
11. Every Little Thing He Does Is Magic ~ 3:02
12. Every Breath You Take ~ 4:46
13. Synchronicity ~ 4:11
14. Consider Me Gone ~ 5:35

• Tierney Sutton – vocals
• Christian Jacob – piano
• Ray Brinker – drums, percussion
• Kevin Axt – double bass
• Trey Henry – double bass, bass guitar

This pandemic is here for the long haul. In the meantime, stay vigilant, wear masks and remain healthy and we’ll all be jet setting sooner than we think.

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