Requisites

Monday Night at Birdland is a live album that was recorded on April 21, 1958 at Birdland in New York City and released by the Roulette label.

Track Listing | 46:00

1. Introduction by Symphony Sid – 0:09
2. Walkin’ (Richard Carpenter) – 12:26
3. All the Things You Are (Jerome Kern, Oscar Hammerstein II) – 11:27
4. Bag’s Groove (Milt Jackson) – 12:29
5. There Will Never Be Another You (Harry Warren, Mack Gordon) – 9:29

• Hank Mobley, Billy Root – tenor saxophone
• Lee Morgan – trumpet
• Curtis Fuller – trombone
• Ray Bryant – piano
• Tommy Bryant – bass
• Specs Wright – drums

Monday Night at Birdland | by Eddie Carter

This morning’s subject of discussion takes us to the legendary jazz club Birdland where Monday nights were always special, especially during the fifties and sixties.  Musicians and vocalists who were performing would be off that night and the stage would be given to up and coming jazz artists. Thankfully, Roulette Records was available to record the performance on April 21^st to give jazz fans, Monday Night at Birdland (Roulette R–52015/SR–52015) to enjoy for all who couldn’t be there in person.  The Master of Ceremonies for these weekly jam sessions is the legendary jazz disc jockey, “Symphony Syd” Torin of WBNX in the Bronx, New York; WHOM in Jersey City, New Jersey, and WWRL, WMCA and WJZ in New York City.  Syd announces all the tunes on the album and has a brief comment after three of them conclude. The stars of this set are Lee Morgan on trumpet; Curtis Fuller on trombone; Hank Mobley, Billy Root on tenor sax; Ray Bryant on piano; Tommy Bryant on bass and “Specs” Wright on drums.  My copy used in this report is the 1988 Spanish Mono reissue (FSR-631) by Fresh Sound Records.

Symphony Syd starts the first side with the song’s introduction; the septet then launches Walkin’ by Richard Carpenter.  The trio opens the song evolving into the ensemble’s collective melody. Hank takes the spotlight first wailing enthusiastically followed by Lee who picks up the pace with a bright tone and feisty phrasing.  Curtis takes the reins next with a considerable zest for a rousing performance, Ray solos with evident delight in the next reading. “Specs” takes the final scintillating statement in exchange with the front line for a robust finish into the closing chorus and climax.  The septet eases the throttle back for the 1939 standard, All The Things You Are by Jerome Kern and Oscar Hammerstein II. Fuller cooks at an easy groove on the opening melody, then infuses the lead solo with a lively simplicity and splendor. Mobley makes his presence felt on a brisk interpretation next, then Morgan illustrates his assured mastery on the trumpet with an engaging performance.  Root takes his first solo next, giving an exquisite statement that fits the ensemble’s artistic temperament with a superb reading. Bryant ends with a short solo that’s profoundly moving before the collective reprise and coda.

Side Two opens with Milt Jackson’s contemporary classic, Bags’ Groove; it was written in 1952 and made its debut on Wizard of The Vibes (Blue Note LP 5011), released that year.  After a collective theme treatment, Lee is up first, combining lyricism and emotion for a charming lead solo. Curtis soars joyously on the next statement, then comes Hank who takes the next reading with a solid rock-steady rhythm from beginning to end.  Billy steps up next for a captivating performance unleashing red-hot notes from his horn and Ray glows brilliantly on the final spot ahead of the out-chorus and ovation. The set ends with an invigorating finale, There Will Never Be Another You by Harry Warren and Mack Gordon, originally written in 1942 and appearing in the musical film, Iceland.  The propulsive power of Wright’s drums brings the song to life leading to the speedy melody. Mobley accelerates to race car speed on the opening statement and never decelerates. Root’s tenor sax is an adrenaline rush on the next scintillating solo, followed by Morgan who also gives a spectacular exhibition. Fuller pulls no punches with a buoyant, effervescent interpretation next and Bryant shows he’s a fierce and fervid performer on the closer before the closing chorus and appreciative applause from the crowd.

Monday Night at Birdland was produced by Rudy Traylor, who’s also an arranger, jazz drummer, pianist, and vibraphonist.  The sound quality of the album is quite good throughout, and Hank Mobley, Billy Root, Lee Morgan, Curtis Fuller, Ray Bryant, Tommy Bryant, and “Specs” Wright offer the listener the very essence of live jazz.  In fact, there’s only one noticeable defect, on Symphony Syd’s introduction of Walkin’, his microphone has a little harshness. I don’t know if this appears on the original album or is exclusive to this LP. I’ll admit, I’m not that familiar with Fresh Sound Records, and don’t know if they’re in that group of European labels like DOL, Doxy, Jazz Wax, Jazz Workshop, Wax Time, etc.  However, I’m pretty impressed with what I’ve heard on this particular reissue and the performances are worth the price of admission for me to invite you to seek a copy of Monday Night at Birdland to check out for yourselves and form your own opinion!

~ All The Things You Are, There Will Never Be Another You – Source: JazzStandards.com ~ Bags’ Groove – Source: Wikipedia.org ~ © 2020 by Edward Thomas Carter

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Daily Dose Of Jazz…

Erskine Butterfield, born February 9, 1913 in Syracuse, New York and began playing piano at an early age when his family moved to Newark, New Jersey, where he later studied piano. In the 1930s, he regularly appeared on radio, including WOR in New York City, and played with Noble Sissle’s orchestra. He made his first sound recording and reproduction in 1937 on the Variety record label.

In 1938, he signed with Decca Records for which he recorded over forty titles between 1940 and 1942, many of which were released. Butterfield was called the Singing Vagabond of the Keys by the Chicago Defender in 1939. He was innovative in utilizing black and white musicians together in his combo, which included session musicians such as clarinetist Jimmy Lytell, guitarist Carmen Mastren, and Haig Stevens on bass.

1939 saw Butterfield signing with Joe Davis of Beacon Records, with whom he would maintain a long term relationship. However, in 1943 he was drafted but continued to play in a group, recorded eight titles for Joe Davis under the name Erskine Butterfield and his Blue Boys in ‘44 and cutting V-Discs in 1945.

After World War II, Erskine formed a trio and toured extensively, but his music style was less successful commercially. He recorded for a number of small labels in the late 1940s, after which his recording activity dropped off. In 1956, however, he again recorded a number of titles for Joe Davis with a reformed group, Butterfield and his Blue Boys, including musicians such as Sam “The Man” Taylor on saxophone and Panama Francis on drums. He made appearances on The Nat King Cole Show, The Tony Martin Program and The Jo Stafford Show.

His light swing and traditional piano phrases resulted in some of his songs, such as Lovin’ Man and Because Of You, being used in film soundtracks. Pianist, singer, bandleader and composer Eskine Butterfield, credited with helping to invent the style of cocktail piano, passed away on July 11, 1961 in New York City.

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Daily Dose Of Jazz…

On February 8, 1947 Kerrie Agnes Biddell was born in the inner-city community of Kings Cross in Sydney, New South Wales, Australia. An only child two pianist parents, her mother an accomplished jazz pianist and her father a part-time pianist, she attended St. Vincent’s Convent at the age of six, soon after her father left her mother. In 1962, she suffered a collapsed lung and rheumatoid arthritis, the latter of which affected her piano playing, so she decided to become a singer.

At twenty, Kerrie sang background vocals for Dusty Springfield and impressed, Springfield suggested she become a lead singer. She joined a local band, The Echoes, then in 1968, The Affair. With her added voice the group was able to cover various musical styles, such as soul, funk, and pop compositions. In 1969, they competed and won the national competition Hoadley’s Battle of the Sounds in the vocal-group category. The prize was a trip to London, England, the group relocated in mid-1970, only to disband months later. Before disbanding, they recorded Sly and the Family Stone’s Sing a Simple Song, which would become one of Biddell’s signature songs.

Returning to Australia she toured with the Daly-Wilson Big Band, performing swing music. In between her stint with Wilson, she toured with Dudley Moore, Cilla Black, and Buddy Rich. In 1972, married to former alto saxophonist for Sounds Incorporated David Glyde, they moved to Canada and her career as a session singer began soon after. She and her husband toured in the United States, including clubs in Las Vegas. Offered a three-year six-figure contract with the MGM Grand Hotel and Casino, but declined and moved back to Australia, enrolling in the Sydney Conservatorium of Music.

Moving on to a solo career, her first album won two ARIA awards, she sang on hundreds of jingles, television shows and film scores, and joined the faculty of the Jazz Diploma course at the Conservatorium. She wrote a one-woman show, Legends, which later included June Bronhill, Lorrae Desmond, Toni Lamond, and Jeanne Little. In 2001, due to poor health, she retired from performing but continued her teaching career. On 4 September 2014, jazz and session singer and vocal teacher Kerrie Biddell passed away from a stroke on September 5, 2014. She was 67.

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Daily Dose Of Jazz…

Irving A. Aaronson was born in New York on February 7, 1895 and learned to play the piano from Alfred Sendry at the David Mannes School for music. By age 11 he played accompaniment in silent movie theaters called nickelodeons. In 1921 he co-wrote a hit song, Boo-Hoo-Hoo.

When his band was signed with the Victor label, the band name was changed to Irving Aaronson and his Commanders. From 1926 to 1929, the band recorded for the label and had a notable success with Let’s Misbehave in 1927. The band appeared in Cole Porter’s Broadway musical Paris, in 1928 and broadcasted on KFWB in Hollywood, California in 1929.

In 1935, he starred in the Irving Aaronson Orchestra radio program on NBC. The band toured movie theatres and ballrooms across the US before calling it quits in the mid-1930s, But his band had included at various times musicians such as Phil Saxe, Joe Gillespie, Artie Shaw, Gene Krupa, Tony Pastor, and western movie actor Fuzzy Knight was the band’s drummer in the late Twenties.

By the time he turned 45, Irving was working as a musical director for MGM studios. He remained there in that capacity, voicing for television Mr. Nobody in the MGM’s animation Betty Boop for President and as an assistant to producer Joe Pasternak, until his death from a heart attack. Pianist, bandleader and composer Irving Aaronson passed away in Hollywood, California on March 10, 1963 at the age of 68. His most popular song, The Loveliest Night of the Year, was not recorded with his band but was adapted by Aaronson in 1950 for the Mario Lanza film The Great Caruso.

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Nelson Boyd was born on February 6, 1928 in Camden, New Jersey and played in local orchestras in Philadelphia, Pennsylvania around 1945. Two years later he moved to New York City in 1947 and played with Coleman Hawkins, Tadd Dameron, and Dexter Gordon, and later with Sarah Vaughan, Dizzy Gillespie, and Charlie Barnet in 1948.

In 1947, he recorded with Fats Navarro and Charlie Parker, later with Jay Jay Johnson on Miles Davis’ Birth of the Cool sessions in 1949. In addition, the Davis composition Half Nelson was named after Boyd because of his stature.

After 1949, he often played with Gillespie and toured the Middle East with him in 1956. Later, he recorded with Melba Liston in 1958 with her trombone ultimates on Melba Liston and Her ‘Bones. Boyd also did sessions with Max Roach and Thelonious Monk. His last recordings were in 1964. Bebop bassist Nelson Boyd passed away in October 1985 in his hometown of Camden.

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