Requisites

Sunny Side Up ~ Lou Donaldson | By Eddie Carter

This morning’s spotlight shines on alto saxophonist Lou Donaldson, who would’ve turned 100 on November 1st. Sunny Side Up (Blue Note BLP 4036/BST 84036) was his seventh release as a leader and hit the U.S. stores in 1961. Musically, it bridges Donaldson’s bebop roots and the blues-soaked hard bop and soul-jazz sound he later became known for. On this album, he’s working with Bill Hardman on trumpet (tracks: A1 to A4, B2, B3); Horace Parlan on piano; Laymon Jackson (A1, A2, A4, B1) and Sam Jones (A3, B2, B3) on bass; and Al Harewood on drums. For this report, I used my 1983 King Records Company Japanese mono reissue (Blue Note BLP 4036-K18P-9236).

The opener, Blues For J.P., by Horace Parlan, begins with an easy swing into the quintet’s theme. Bill’s opening solo is crisply constructed right from the start. Lou continues cooking with a down-home flavor in the second statement. Horace delivers a relaxing reading next, and Laymon takes a short walk, leading to the melody’s restatement and ending. Lou deceptively opens The Man I Love by George and Ira Gershwin slowly before the pace picks up for the group’s upbeat melody. Lou has the first spot this time for a rocking reading. Bill follows the leader with a solo of infectious energy. Horace comfortably digs into the third statement, and the front line shares a short conversation with Al before the song concludes.

Politely by Bill Hardman starts with the group’s theme at a slow, relaxing tempo. Lou gets things going with a solo as comfortable as a walk in the park. Bill glides through the second statement with a model of consistency and execution. Horace wraps things up before the ensemble returns to take the song out. It’s You or No One by Jule Styne and Sammy Cahn is a happy romper that takes off with the quintet’s brisk opening chorus. Lou takes charge on the first solo with an energetic statement. Bill flexes in the second interpretation, and Horace’s fingers get a good workout before the ensemble’s reprise and ending.

Lou Donaldson’s The Truth opens the second side, blending the blues with a spiritual flavor in a quartet showcase. Lou’s opening statement is warm and affectionate as it unfolds. Horace steps into the spotlight next for a short solo that’s hauntingly beautiful until Lou returns for a tender theme restatement and close. Goose Grease reunites the quintet for a medium-tempo melody led by both horns. Lou’s opening solo establishes an engaging rhythmic momentum, then Bill follows the leader with an impressive performance. Horace settles into an easygoing groove, while Sam delivers a terrific closing statement before the ensemble’s reprise and fadeout.

Softly As In A Morning Sunrise by Oscar Hammerstein II and Sigmund Romberg begins with Bill leading the rhythm section on the theme and opening solo. Lou steps up next and puts his personal stamp on a relaxing interpretation, then Horace delights with a soulful statement. Sam walks with well-thought-out ideas before the group takes it out softly. Alfred Lion produced Sunny Side Up, and Rudy Van Gelder recorded it. This King reissue’s sound quality is simply superb, with a dynamic soundstage that brings the musicians to your listening room with stunning fidelity.

For fans of Lou Donaldson who only know his soul-jazz releases and want a terrific alto sax-led album, I invite you to check out Sunny Side Up the next time you’re out record shopping. Lou Donaldson keeps things rocking, and his sidemen deliver in fine style. It’s an album that makes you feel good, rewards repeated listening and is highly recommended for a spot in your jazz library!

~ Softly As In A Morning Sunrise, The Man I Love – Source: JazzStandards.com ~ It’s You or No One – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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Requisites

Make Everybody Happy ~ MJT + 3 | By Eddie Carter

Submitted for your approval from my library this morning is one of the tightest, most underrated hard bop groups to emerge out of Chicago, Illinois, at the beginning of the sixties. MJT+3 (short for Modern Jazz Two + Three) was co-founded by drummer Walter Perkins and bassist Bob Cranshaw, who solidified the lineup by recruiting three young Memphis musicians: trumpeter Willie Thomas, alto saxophonist Frank Strozier and pianist Harold Mabern. “Make Everybody Happy” (Vee-Jay VJLP 3008/VJSR 3008) was the second of four albums the quintet made together and captures the ensemble delivering a distinct Midwestern brand of hard bop and firing on all cylinders. I own the 1960 U.S. Stereo misprint reissue (a stereo label on both sides listing the mono catalog number).

The title track, Make Everybody Happy by Harold Mabern, opens the album with sanctified blues and gospel overtones in a marching melody by the quintet. Frank enters first with a biting tone and imaginative ideas. Willie follows with a superbly constructed reading, and Harold cooks consistently into the theme’s reprise and close. The Trolley Song by Hugh Martin and Ralph Blane was introduced by Judy Garland in the 1944 film “Meet Me in St. Louis.” Perkins and the rhythm section mimic a train coming down the track toward the ensemble’s theme. On this twelve-minute trip, Willie, Frank, and Harold each take turns at the controls ahead of the quintet’s closing melody and Perkins’s fade-out.

Sweet Silver by Booker Little is a bluesy tribute to pianist Horace Silver, and the group’s opening chorus gets into a good groove right out the gate. Frank’s opening solo will have the listener popping their fingers, then Willie impresses on the following statement with solid assurance. Harold delivers a final, concise reading that swings comfortably before leading the quintet into the reprise. Don’t Get Around Much Anymore by Duke Ellington and Bob Russell opens Side Two, with the ensemble’s melody giving this old favorite fresh clothes. Willie and Frank both take short solos, with Walter and Bob offering a concise comment before the closing chorus.

Up next is My Buddy by Walter Donaldson and Gus Kahn. After the front line’s introduction, Frank takes the lead on the melody, and Willie switches to a mute to join him. Frank shapes the first solo with a touch of the blues. Willie follows with an exquisite reading, smooth as glass. Harold then delivers an impressive statement before the climax. Harold Mabern’s original, Richie’s Dilemma, kicks the energy level up for the quintet’s medium melody. Willie goes first with a laid-back solo, then Bob takes a short walk in the following interpretation. Frank works his magic next, followed by Harold, who provides a delightfully constructed reading. Willie and Frank share an impressive offering with Walter, leading to the group’s climax.

The quintet eases back on the throttle one final time for Love Letters by Edward Heyman and Victor Young. The opening ensemble begins with Willie’s elegant mid-tempo bounce. Frank’s opening statement is warm and compassionate. Then Walter has his say next and gives a short, deeply satisfying moment. Willie puts an exclamation point on the song with a mellow performance, before the group reconvenes for the closing chorus. The session was supervised by Sid McCoy, but the recording engineer is not known. The album’s sound quality is excellent, with a soundstage that’s warm, engaging and musical.

Make Everybody Happy by MJT + 3 is an overlooked gem with a well-balanced lineup and thoughtful repertoire. Willie Thomas and Frank Strozier create a compelling two-horn conversation, while Harold Mabern adds harmonic richness and rhythmic drive. Bob Cranshaw and Walter Perkins anchor the ensemble with steady, assured support. Together, MJT + 3 offers the listener a prime example of soulful, bluesy jazz that, as the title suggests, is sure to Make Everybody Happy every time it’s on the turntable. I highly recommend it for your library, and I hope you’ll check it out the next time you visit your favorite record store!

~ Don’t Get Around Much Anymore – Source: JazzStandards.com ~ Love Letters, The Trolley Song – Source: Wikipedia.org © 2026 by Edward Thomas Carter

Requisites

Outstanding (Live in Tirano) ~ Guido Manusardi Trio | By Eddie Carter

Italian pianist Guido Manusardi has long been one of Europe’s most distinctive jazz musicians. Rooted in hard bop, modal jazz, and European influences, his trio performances and sessions always sparkle with lively, dynamicinterplay. This morning’s column, Outstanding by the Guido Manusardi Trio (Splac(h) Records H-115), is a 1986 live release that captures the trio performing three familiar standards and one original composition at the Mignon Theatre. Manusardi is working with Piero Leveratto on bass and Luigi Bonafede on drums. I own the 1986 Italian stereo release.

The opener, On Green Dolphin Street, by Bronislaw Kaper and Ned Washington, is one of jazz’s most recognizable standards. Piero and Luigi bring the song to life with a two-instrument dialogue that blossoms into Guido’s relaxing melody. Guido leads the solos with a lively presentation, then Piero takes a short, crisp walk before the pianist reprises the theme into a soft finish. Cole Porter’s 1930 classic Love for Sale begins with the trio’s medium theme, which steps aside for Manusardi’s opening statement, rising to a rousing finish. Leveratto moves through formidable territory in the next reading, leading to the trio’s closing chorus and the audience’s approval.

Side Two starts with another 1930 chestnut, But Not For Me by George and Ira Gershwin. The trio tackles the theme with playful buoyancy, then Guido dazzles the audience with a neatly paced opening statement that dances along. Piero follows, showcasing immaculate intonation, melodic warmth, and fluid articulation. Luigi shares his first solo of the set with the pianist ahead of the trio’s spirited theme and climax. Guido Manusardi’s Sorrow opens with a cascading piano introduction of rich modal harmony that leads into the trio’s medium melody. Manusardi’s opening solo swings from start to finish, then Leveratto has another fine solo before Bonafede wraps it up, leading to theclosing chorus.

Guido Manusardi, Achille Silipo, and Peppo Spagnoli produced Outstanding for Splac(h) Records. Vincenzo Martegani and Vittorio Valsecchi engineered the sound. The album’s sound quality is excellent, with a vibrant soundstage that places the listener in the audience as the musicians perform. Outstanding is an excellent live album that shines with a repertoire that’s a pleasure to listen to. Guido Manusardi, Piero Leveratto, and Luigi Bonafede together deliver an engaging live album whose appeal lies in its directness. If you’re a fan of piano jazz or new to Guido Manusardi's music, I invite you to audition Outstanding by the Guido Manusardi Trio at your earliest opportunity. The album captures the pianist at his best, and I’m sure it will become a favorite in your library!

~ But Not For Me, Love For Sale, On Green Dolphin Street – Source: JazzStandards.com

© 2026 by Edward Thomas Carter

Requisites

Down To Earth ~ Freddie Roach | By Eddie Carter

Submitted for your approval from the library this morning is an underrated, yet wonderful 1962 album by organist Freddie Roach. Down To Earth (Blue Note BLP 4113/BST 84113) was the first of five releases he recorded as a leader for the label, and brings together a hard-swinging quartet featuring Perry France on tenor sax, Kenny Burrell on guitar, and Clarence Johnston on drums. France and Burrell appeared on Jimmy Smith’s Home Cookin’ album, and this hard-bop session by Roach follows in the same vein, with a classic organ-jazz foundation. My copy is the 1994 Toshiba-EMI Japanese stereo reissue, which shares the original catalog number.

The opener, De Bug, is the first of five originals by Freddie Roach, and a catchy original that begins with the quartet’s medium melody. Kenny gets things started with a leisurely opening solo. Perry follows with a marvelously executed reading, and Freddie continues making it fun in the finale, leading to the group’s ending theme and slow dissolve. Ah Miz is Freddie’s play on the phrase “I’m Is,” and the group gets things going with a bluesy midtempo theme. Perry leads off this time with a joyously carefree presentation. Kenny unfolds the second reading as smoothly as velvet, and Freddie extends the happy mood toward the ensemble’s closing chorus and fadeout.

Lujon is a beautiful tune by Henry Mancini that comes to life with Kenny and Clarence’s subtle introduction to the ensemble’s melody. Kenny has the first say and approaches the solo with elegant simplicity. Perry follows with a touching interpretation, and Freddie comes in last, gently, before the quartet restates the ending and the song fades out softly. Freddie Roach’s Althea Soon picks up the pace to begin the second side with the group’s medium melody. Perry leads the way and takes the listener on an eventful ride, then Kenny keeps it going with an easy swing. Freddie has the last word and makes an indelible impression ahead of the theme’s restatement and close.

More Mileage is Freddie Roach’s tribute to Miles Davis and pure, greasy quartet funk, letting the foursome swing easily through the opening chorus. Kenny sets the pace with a relaxed attitude on the opening statement. Perry takes the reins next with a cheerful reading. Freddie turns in another standout turn ahead of the theme’s reprise and fadeout. Lion Down is Freddie’s nod to Blue Note founder Alfred Lion, and the ensemble operates at an effortless shuffle tempo. Perry gets right down to business on the opening statement. Kenny lays out his ideas in the following reading, and Freddie brings considerable enthusiasm before the theme returns and finishes!

Alfred Lion produced Down To Earth with Rudy Van Gelder managing the recording console. The Toshiba reissue sounds good, though not exceptional, as the organ microphone overmodulates and grows increasingly distorted as the album progresses. That said, fans of soul-jazz and jazz organ will find Freddie Roach’s Down To Earth a delight, even though it remains one of Blue Note’s most overlooked albums. It’s a swinging set that rewards repeated listening, and I hope you’ll consider seeking it out on your next record-shopping trip!

~ Home Cookin’ (Blue Note BLP 4050/BST 84050) – Source: Discogs.com

© 2026 by Edward Thomas Carter

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Requisites

The Right Touch ~ Duke Pearson | By Eddie Carter

Submitted for your approval this morning is The Right Touch (Blue Note BLP 4267/BST 84267), an exceptional 1967 album by Duke Pearson. It was the arranger, composer, and pianist’s fifth release for Alfred Lion’s label and his tenth as a leader. Here he’s arranged and composed all the tunes and is leading an all-star ensemble: Freddie Hubbard on trumpet; Garnett Brown on trombone; James Spaulding on alto saxophone; Jerry Dodigon on alto saxophone (tracks: A2, A3, B1 to B3) and flute (A1); Stanley Turrentine on tenor saxophone; Gene Taylor on bass and Grady Tate on drums. I own the 1994 U.S. Stereo reissue (Blue Note B1 7243 8 28269 1 0).

Chili Peppers kicks off the first side with lively energy and a bright, confident ensemble theme. Stanley gets into a cheerful groove on the opening solo. Duke follows with a rousing interpretation, paced beautifully ahead of the octet’s closing chorus and fade-out. Jerry’s flute adds a gentle touch to the opening and closing melodies, making the tune even more inviting. Make It Good begins with a lengthy, relaxed introduction that segues into the octet’s soulful opening melody while Gene and Grady provide a firm foundation. Duke takes the first spot again and lays down a bouncy rhythm. Freddie is up next with a good-natured performance that swings smoothly into the theme’s reprise and slow dissolve.

My Love Waits (O Meu Amor Espera) slows things down as Freddie leads the ensemble’s gorgeous bossa nova theme. Freddie and Duke are the featured performers, and the trumpeter’s opening statement is graceful. Duke speaks next with delicacy and tenderness before the group returns to the sentimental ending theme and a gentle fadeout. Los Malos Hombres picks up the pace to begin the second side, with Grady introduction to the group’s brisk melody. Stanley ignites the first solo and burns brightly. Freddie breathes fire into the second solo, then James keeps things cooking next. Duke follows with a spirited reading, and Grady doesn’t pull any punches, leading to the theme’s restatement and dead stop.

Scrap Iron opens with the ensemble’s mournful, harmonically rich blues melody, reflecting the song’s hard-edged rhythmic character. Stanley begins the opening statement, delivering his signature robust, earthy, gospel-drenched sound. Duke follows, creating an easy, conversational groove that reflects the blues’ lingering, smoky atmosphere before the octet reenters and ends with an evocative climax. Rotary draws the curtain down in a Monkish vein for the group’s theme. Freddie takes the lead, followed by James, Garnett, Stanley, and Duke, who take the listener on a leisurely ride, preceding the theme’s restatement and a satisfying conclusion.

Francis Wolff produced The Right Touch, and Rudy Van Gelder was behind the recording console. Kevin Reeves cut the lacquer, and Capitol Mastering gave the final mastering touch. This reissue's sound quality is excellent, with a superb soundstage that makes you feel as if the musicians are right in your listening room, delivered with remarkable clarity. If you’re a jazz piano enthusiast like me and looking for a wonderful album to relax to after a busy day or week, I invite you to check out The Right Touch by Duke Pearson on your next record-shopping trip. It’s an underrated gem with an incredible lineup of musicians that will surely bring you hours of joy and musical delight!

© 2026 by Edward Thomas Carter