Requisites

Portraits at The Penthouse – Live in Seattle ~ Bill Evans –| By Eddie Carter

I was still in a mindset to hear another pianist-led release after listening to Mal Waldron, so I chose a Bill Evans album that has become a favorite in my household. Portraits at The Penthouse: Live in Seattle (Resonance Records HLP-2979) is the 8th album reissued by the Bill Evans estate and captures the pianist and his trio in performance over two May nights. The program consists of eight originals and two standards. Sharing the spotlight with Bill Evans are Eddie Gomez on bass and Joe Hunt on drums. The copy I own is the 2025 U.S. Record Store Day, Deluxe Edition, Limited Edition, mono audiophile pressing. Number 1849 of 5000.

The trio’s introduction welcomes the audience into the Penthouse’s intimate atmosphere. They then begin the first night’s set with a lively rendition of How My Heart Sings by Earl Zindars, the title tune from Bill’s 1964 release. Bill steps up first after the opening chorus for a jaunty statement, with an almost dance-like resilience. Eddie takes over, showing how he can build an outstanding solo, while Joe provides excellent support behind them into the reprise and close. ’Round Midnight by Thelonious Monk, Bernie Hanighen and Cootie Williams is one of jazz’s most beloved and recorded standards. The trio honors the classic by beginning the theme that gently glows like embers in a hearth. Evans opens with a graceful solo, radiating warmth and charm. Gomez responds with a tender, heartfelt statement, leading to a beautiful conclusion.

Up next is Come Rain or Come Shine by Harold Arlen and Johnny Mercer, which begins with Bill’s solo introduction, segueing into the ensemble’s medium melody. Bill gets things off to a good start in the opening statement with an infectious swing. Eddie comes in next and conveys his message with authority, preceding the trio’s theme restatement and soft climax. The second night’s set gets underway with Nardis by Miles Davis, and the trio begins by cruising comfortably on the opening melody. Eddie kicks off the opening solo with a lengthy, leisurely walk that swings easily. Bill comes in next and dines on a splendid performance, leading to the theme reprise and soft finale that receives a warm ovation from the club audience.

Earl Zindars’ second contribution to the album is his beautiful ballad, Elsa, which first appeared on “Explorations.” Bill has the stage to himself for the introduction, ahead of the lovely opening ensemble. Evans sets things in motion with a lyrical solo that builds to an effective climax. Eddie follows with one of his most thoughtfully sensuous interpretations, and Bill brings the trio back to the ending theme with a few final thoughts. The second side starts with Bill’s gorgeous introduction to Time Remembered by Bill Evans. The trio’s melody gets things going before stepping aside for Bill’s opening solo that gradually shifts from a gentle, understated mood to a livelier one. Eddie steps in next with a tender reading, until the groups return to the ending theme, with approving applause from the crowd.

Who Can I Turn To? by Leslie Bricusse and Anthony Newley debuted in the 1965 Broadway musical, “The Roar of the Greasepaint – The Smell of the Crowd.” Bill’s solo introduction adds emotional depth, leading to the trio’s lightly swinging theme. Eddie sets the tone with a wonderfully delicate interpretation, then Bill rolls ahead in the following solo before the trio’s closing chorus ends the song on a good note. The beat slows down again for Bill’s tender introduction to Detour Ahead by Lou Carter, Herb Ellis, and Johnny Frigo. The lightly swinging pace picks up for the group’s theme. Eddie is up first and walks with a lively bounce that’s easy to listen to. Bill then effectively illustrates a few melodic ideas, leading back to the out-chorus and the crowd’s approval.

A sprightly piano introduction by Evans sets the tone for Autumn Leaves by Jacques Prévert, Johnny Mercer, and Joseph Kosma. The trio’s melody dresses up this old favorite for Eddie’s opening statement, shared with Joe’s spirited brushwork. Bill follows with a short solo that sizzles with exhilaration ahead of the theme’s restatement and ovation from the audience. The ensemble’s theme returns, a bright-tempoed rendition of How My Heart Sings by Earl Zindars, beginning with a lively opening chorus. Bill leads the way in the first of two solos, and his first swings with scintillating skillfulness, matched by the steady support of Eddie and Joe. Eddie follows with energetic exuberance on the second statement, then the pianist cooks on a vigorously spicy comment before the group takes it out.

I Should Care by Sammy Cahn, Alex Stordahl, and Paul Weston brings the album to a close with a fun tune from the first few notes of the trio’s brisk theme. Eddie has the solo spotlight to himself in a happy, effervescent performance, which flows efficiently to the out-chorus and a very fulfilling finish. Zak Shelby-Szyszko was the album’s production manager. Zev Feldman produced Portraits at The Penthouse for release. Charlie Puzzo, Jr., and Zak Shelby-Szyszko were the associate producers. George Klabin was the executive producer, and Jim Wilke was the engineer. Matthew Lutthans mastered the album. It’s a good recording, but not perfect. The piano tends to be somewhat subdued and less forward in the mix compared to the bass. Occasionally, tape is noticeable, though it doesn’t persist throughout the album.

The record was pressed on 180-gram vinyl in a deluxe-edition gatefold and transferred from the original master tapes. Also included in this album is a 16-page booklet with rare photos by David Azoze and others, plus interviews with Joe Hunt, Eddie Gomez, and Bob James. Even though a few tracks may not have perfect sound quality, fans of Bill Evans seeking relaxing music after a busy day or week will find Portraits at The Penthouse to be an enjoyable live album with comforting moments and musical gems you’re sure to enjoy!

~ Explorations (Riverside RLP 351/RLP 9351), How My Heart Sings (Riverside RM 473/RS 9473) – Source: Discogs.com Autumn Leaves, Come Rain or Come Shine, I Should Care, ‘Round Midnight – Source: Jazz Standards.com ~ Detour Ahead, Nardis, Time Remembered, Who Can I Turn To? – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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Left Alone ~ The Mal Waldron Trio | By Eddie Carter

This morning’s album from the library is Mal Waldron, a jazz pianist, arranger, and composer who’s recording a dedication to Billie Holiday, Left Alone (Bethlehem Records (BCP 6045/BS 6045). Mal was born in New York City on August 16, 1925. Mal began his professional career after graduating from college in 1950. As the house pianist for Prestige Records, he appeared on numerous recordings and contributed compositions. He also performed with John Coltrane, Eric Dolphy, Jackie McLean and Charles Mingus. Waldron worked with several vocalists and was Billie Holiday’s pianist from April 1957 until her passing in July 1959. On this 1960 release, he’s joined by Jackie McLean on alto saxophone (track: A1); Julian Euell on bass; and Al Dreares on drums. The copy I own is the 1981 Japanese Stereo reissue (Trio Records PAP-23001).

The title tune, Left Alone by Billie Holiday and Mal Waldron, opens the album with a solemn introduction by the pianist, leading to Jackie’s entrance to deliver the melancholy theme. Mal leads off with a delicately tender performance, then Jackie responds with a reading conveying beauty and elegance, before the quartet’s affectionate closing chorus ends softly. Catwalk is a Mal Waldron creation, and Julian makes the initial introduction, segueing into the group’s melody. Waldron has the first say and gives a tasty treat, then Euell takes a delightful walk in the following solo. The pianist concludes the solos with a final thought before restating the theme into a soft finish.

The tempo slows down for the trio’s introduction to You Don’t Know What Love Is by Gene de Paul and Don Raye. Mal sketches a lengthy musical portrait as the song’s only soloist with a delicate touch, solidified by Julian’s and Al’s accompaniment ahead of an immensely satisfying finale. Another Mal Waldron original, Minor Pulsation, gets the second side started with a two-instrument conversation between piano and drums that leads into the lively theme. Waldron takes the wheel first and drives the opening solo aggressively. Dreares gets his first solo opportunity and fuels the finale with uptempo precision preceding the group’s return to take the song out the way it began.

The threesome tackles a swinging rendition of Sonny Rollins’ Airegin next. A solo introduction by the pianist leads tothe trio’s melody. Waldron goes first again and gives a vigorous presentation, then Euell follows with a jaunty walk in the second statement. The pianist and drummer share the song’s final spotlight in a spirited exchange of ideas before the ensemble’s brisk finale takes it out. The album closes with Mal Waldron sharing a heartfelt, reflective and tender remembrance of Billie Holiday, offering a glimpse of what she was really like to work with. Teddy Charles produced Left Alone, and Peter In was behind the dials of the recording console.

The album’s sound quality is excellent, possessing a gorgeous soundstage that draws the listener into the music. Mal Waldron, renowned for his contributions as a jazz pianist and composer, built an extensive discography over five decades. Between 1952 and 2002, he released over 100 albums as a bandleader and appeared on more than 80 recordings as a supporting musician. His creative output also includes film soundtrack compositions. If you appreciate jazz piano, I highly recommend checking out Left Alone by the Mal Waldron Trio the next time you’re searching for new music at your favorite record shop. It’s a thoughtful and captivating work from an exceptionally gifted and versatile artist, making it a worthy addition to any jazz library!

p>~ You Don’t Know What Love Is – Source: JazzStandards.com ~ Left Alone – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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After Lights Out ~ Tubby Hayes Quintet | By Eddie Carter

This morning’s spotlight shines on a 1956 release by the Tubby Hayes Quintet, After Lights Out (Tempo TAP 6). It was Tubby’s seventh release as a leader, showcasing his growing influence in jazz. Teddy was born on January 30, 1935, in St. Pancras, London, and grew up in the Raynes Park neighborhood in the southwest of the city. His father, a talented violinist at the BBC studios, started teaching him the instrument when he was very young. By the time he was ten, he was also playing the piano, and at eleven, he took up the tenor saxophone. One of his earliest musical inspirations was the trumpeter Dizzy Gillespie. He’s joined on this date by Dickie Hawdon on trumpet, Harry South on piano, Peter Elderfield on bass and Bill Eyden on drums. The copy I own is the 2011 Japanese limited-edition mono reissue, sharing the original catalog number.

Side One kicks off with Ode to Ernie by Harry South. The quintet brings this upbeat tune to life with their brisk melody. Hawdon leads the way with a spirited solo, then Hayes takes the next performance for a lively ride. Young adds the exclamation mark with a concise comment before the ensemble returns for the closing chorus, including a short remark by Eyden. No, I Woodyn’t by Tubby Hayes is built on the changes of “Woody ‘n You,” by Dizzy Gillespie, and the group begins with a Latin-flavored theme. Tubby sinks his teeth into the opening statement, then Hawdon follows with a happy tone that’s sure to get your toes tapping. Young takes the reins next and delivers a delightful performance. Both horns share a short conversation with Eyden before his first solo of the set ahead of the closing ensemble.

Up next is Foolin’ Myself, a beautiful and little-known ballad by Jack Lawrence and Peter Tinturin. The front line takes the lead for a warm, affectionate melody. Hawdon opens with a thoughtfully tender solo, then Hayes unfolds a sensuously sweet statement, while the rhythm section provides a lush foundation, leading into the gentle reprise and close. The first side ends with a lightly swinging rendition of Nicole by Howard McGhee. The quintet sets the song’s tone with the easy-flowing theme. Hayes comes out cooking in the opening solo, then Hawdon builds on what Hayes began with a few attractive ideas. Young takes charge next in the third statement, then steps aside for Hayes and Hawdon, who engage in a brief exchange. The full ensemble returns for the theme’s reprise, during which Eyden has a short workout.

The quintet opens the second side with Message to the Messengers by Harry South, a leisurely-paced melody that gets things started. Hayes is up first with a bluesy interpretation that gets things off to a good start. Hawdon takes over on muted trumpet and provides a tremendous compliment to the saxophonist. Young brings out the best in the third reading, and Elderfield makes a brief point during the theme’s restatement. Hall Hears The Blues by Harry South is the pianist’s tribute to Tony Hall’s Record Mirror weekly jazz column. The trio’s introduction and melody segues into Young’s opening statement. Hayes follows with a model of melodic creativity; next, Hawdon treats us to authentic down-home cooking in a soulful solo. The front line shares a carefree exchange before Elderfield has the last word, before the group takes the song out.

Tony Hall supervised the session and wrote the album’s liner notes. Bert Steffens was behind the dials of the recording console. The album’s sound quality is superb, with a stunning soundstage that transports listeners to the studio where the musicians are performing. Tubby Hayes amassed a large discography as a leader and worked with many elite musicians, including co-leading The Jazz Couriers with Ronnie Scott. If you’re in the mood for an excellent hard bop album by one of the best British saxophonists, I offer for your consideration After Lights Out by the Tubby Hayes Quintet, the next time you’re out record-shopping. It’s a terrific album to enjoy with family and friends after dinner, or to have on hand for a quiet moment alone after the lights are out!

© 2026 by Edward Thomas Carter

CALIFORNIA JAZZ FOUNDATION

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Serenade To A Bus Seat ~ Clark Terry Quintet | By Eddie Carter

This morning’s spotlight shines on a remarkable trumpeter who, in my view, always delivered flawless performances. Serenade To A Bus Seat (Riverside RLP 12-237) by the Clark Terry Quintet is the subject of this discussion. Clark enjoyed an illustrious career performing with Charlie Barnet, Count Basie, Duke Ellington, Quincy Jones, and Oscar Peterson. He was also a member of The Tonight Show Band from 1962 to 1972. Terry’s influence extended far beyond his performances; his jazz career spanned more than 70 years, and he became one of the most-recorded jazz musicians, appearing on more than 900 recordings. He also mentored Terry Lyne Carrington, Miles Davis, Herbie Hancock, Quincy Jones, Wynton Marsalis, Pat Metheny, and Dianne Reeves.

On his third album as a leader, Clark Terry is working with Johnny Griffin, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; and Philly Joe Jones, drums. The copy I own is the 1977 Riverside Original Recording Series Japanese mono reissue (SMJ-6209M) by Victor Musical Industries. The opener, Donna Lee by Charlie Parker, begins with Philly’s introduction ahead of the quintet’s brisk melody. Johnny ignites the first solo with bursts of passionate fire, then Clark and Philly share an energetic conversation. Kenny caps off the solos with an impressive display of vibrant energy ahead of the group’s lively closing chorus and dead stop.

Boardwalk by Clark Terry is a blues that begins with an enjoyable, medium-tempo theme by the ensemble. Terry opens with a poised, almost dignified solo, then he engages in a friendly exchange of ideas with Griffin. Kelly then provides the exclamation point with a laid-back interpretation before the group reconvenes for the climax. Terry’s second creation, Boomerang, is a lively little original that takes off with the front line’s melody in unison. Clark gives his undivided attention to the opening solo, then Johnny enters and simply swings. Wynton follows with a strong statement that’s a joy to listen to. Paul takes a short walk preceding the group’s return to the theme’s reprise and close.

Digits by Clark Terry turns the temperature down for an easygoing theme by the ensemble. Terry steps up first to give a relaxing solo, then shares the next happy statement with Griffin. Kelly wraps up everything with a leisurely reading until the quintet returns for the closing chorus. The title tune, Serenade To a Bus Seat by Clark Terry, is a swinging homage to the trips musicians took from city to city with big bands. It’s off to the races with the ensemble’s melody, then Johnny is up first to ignite the first solo with passionate fire. Clark meets the challenge with an effervescent interpretation. Wynton gets the last spot and handles it comfortably before the front line’s fine blowing signals the end.

Hoagy Carmichael and Mitchell Parish’s classic, Stardust, is one of the most recorded songs in history. Both horns deliver a gentle introduction leading to Terry’s delicately phrased melody. Terry and Griffin are the featured soloists, and both turn in two beautiful solos that complement each other until the theme returns and the song ends softly. Cruising by Clark Terry opens with an easy-flowing theme led by both horns, before stepping aside for Johnny to lead off with an excellent first solo. Clark speaks his piece in the following statement, then Wynton follows at an unhurried pace, leading to the restatement of the theme and climax.

That Old Black Magic by Harold Arlen and Johnny Mercer is an old favorite from 1942 that first appeared in the film, “Star Spangled Rhythm.” The quintet wraps the album up in a bow with a short Latin rendition, which begins and ends with Terry using a cowbell and Griffin on the claves. In between, both Terry and Griffin, on trumpet and tenor sax, make swinging comments. Orrin Keepnews produced the initial session, and Jack Higgins was behind the recording console. The Victor Japanese mono reissue is a delight to hear, with a breathtaking soundstage that places the musicians in your listening room’s sweet spot with stunning fidelity.

For anyone who admires Clark Terry or is just beginning to discover his discography and enjoys hard bop, I strongly recommend picking up Serenade To a Bus Seat by the Clark Terry Quintet the next time you’re at your favorite record store. It’s a fabulous album that should make a meaningful addition to any jazz library, especially for those who appreciate the artistry of a masterful trumpeter!

~Stardust, That Old Black Magic – Source: <ahref=”http://jazzstandards.com”>JazzStandards.com

CALIFORNIA JAZZ FOUNDATION

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Open Sesame ~ Freddie Hubbard | By Eddie Carter

I’ve been a huge Freddie Hubbard fan since I was ten years old, and he’s always been one of my favorite trumpet players. It was while listening to a few of his albums that the inspiration for this morning’s discussion was born. Submitted for your consideration is his first release as a leader, a 1960 release, Open Sesame (Blue Note BLP4040/BST 84040). Freddie was 22 years old when he recorded it, and he’s joined by an excellent ensemble: Tina Brooks on tenor saxophone, McCoy Tyner on piano, Sam Jones on bass, and Clifford Jarvis on drums. The copy I own is the 1999 Classic Records U.S. stereo audiophile reissue sharing the original catalog number.

The title tune, Open Sesame by Tina Brooks, gets the first side off to a good start with the rhythm section’s intro to the quintet’s lively theme. Freddie launches into the first solo with vigorous zest. Tina follows him into the second statement enthusiastically, then McCoy explores the third reading at a consistently high level before the group reassembles for the closing chorus and ending. But Beautiful by Jimmy Van Heusen and Johnny Burke is a pretty ballad whose gentle melody begins with Freddie leading the group. Brooks starts the first solo gracefully, then Tyner continues with a wonderfully rich interpretation. Hubbard shares the song’s final elegant reflection, leading to the ensemble’s reprise and tender close.

Gypsy Blue by Tina Brooks is a medium blues that the quintet brings to life with an easygoing melody. Tina starts the opening solo at an unhurried pace, then Freddie takes over, giving a soulful interpretation. McCoy follows, feeding fresh ideas into the third statement, and Sam takes a carefree walk toward the ensemble’s restatement of the theme and fadeout. Tyner’s introduction sets the stage for the group’s speedy melody of All or Nothing at All by Arthur Altman and Jack Lawrence. Hubbard flies swiftly out of the gate first, then Brooks swings to perfection next. Tyner follows with a spirited statement, and Hubbard and Jarvis share a short exchange preceding the group’s return to the theme.

The trio’s bluesy introduction segues to the ensemble’s relaxed theme, One Mint Julep by Rudolph Toombs. Tina opens with a laid-back swing as comfortable as a favorite outfit. Freddie follows, demonstrating great poise and precision in every note. McCoy then steps into the spotlight for a few easy, flowing lines before the theme returns and the song fades out. The closer is a toe-tapper original by Freddie Hubbard, Hub’s Nub. After the sextet establishes the theme, Freddie takes the lead and constructs a joyous interpretation. Tina is right on his heels with a sprightly statement, and McCoy gets the last word before the theme’s reprise and fadeout.

The original session was produced by Alfred Lion, with Rudy Van Gelder at the controls. The Classic Records audiophile edition was expertly remastered by Bernie Grundman, delivering exceptional audio quality and an outstanding soundstage that places the musicians right in your listening room. Pressed on 180-gram vinyl, the record is perfectly quiet until the music fills the room. Fans of Freddie Hubbard’s Blue Note releases will find this album essential for their library. Open Sesame is a remarkable showcase of musicianship, and this album marks the beginning of a remarkable career. It’s also a title I’m proud to own and wholeheartedly recommend for your shelves!

~ But Beautiful – Source: JazzStandards.com ~ All or Nothing at All – Source: Wikipedia.org © 2026 by Edward Thomas Carter

CALIFORNIA JAZZ FOUNDATION

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