Requisites

The Fox ~ Harold Land | By Eddie Carter

>This morning’s selection from the library features one of my favorite tenor saxophonists, Harold Land, who, alongside his band members, is in pursuit of a cunning opponent: The Fox (HiFi Jazz J 612/SJ 612), which initially hit the stores in 1959. Harold was a leading West Coast tenor saxophonist who played with some of the best jazz groups, including those led by Clifford Brown and Max Roach. After leaving the Clifford Brown-Max Roach Quintet to prioritize his family life in California, he may have sacrificed the chance for even greater recognition. Still, his impressive discography continues to illuminate a career that lasted almost fifty years. Land receives exemplary support on this date from Dupree Bolton on trumpet, Elmo Hope on piano, Herbie Lewis on bass, and Frank Butler on drums. My copy is the 1975 U.S. Stereo reissue (Contemporary Records S7619).

Side One kicks off with the title track, The Fox, a high-energy opener by Harold Land that is fueled by the quintet’s theme. The tune takes its name from a nickname given to Harold by drummer Lawrence Marable. Land leads the way, delivering a solo bursting with fiery passion. Bolton steps in next and cooks hard. Hope surges ahead with an energetic touch in the following reading. Butler then engages in a lively and playful exchange with the front line, until the theme’s reprise brings the tune to an abrupt and thrilling end. Mirror-Mind Rose, the first of Elmo Hope’s four contributions, serves as a lyrical showcase for Land, whose opening solo after the ensemble’s touching theme paints an affectionate, mellow soundscape. Bolton’s turn is a dreamy, gorgeous presentation, and Hope wraps up the solos with elegance before the group gently ends the tune together.

Hope’s One Second, Please is a rocking groove with dynamic interaction between both horns and the trio on the melody. Harold lets his horn do the talking in the opening statement. Dupree responds by getting so many ideas into the second solo. Elmo glides efficiently over the rhythm section’s backdrop next. Frank collaborates with the front line in the closing segment preceding a satisfying finale. Sims-A-Plenty, Hope’s third original starts Side Two with the unfolding of a cheerful, mid-tempo theme by the quintet. The pianist steps up first, building the opening solo into a firm, solid groove. Land matches the momentum with a swinging statement next. Bolton impresses with inventive, nuanced lines in a remarkable interpretation. Butler moves toward the reprise with exciting agility on the closer preceding the ensemble’s cohesive finale.

The playful spirit of Little Chris radiates the joy and happiness Harold Land felt for his then nine-year-old son, and that feeling shines through in the quintet’s opening notes of the melody. Harold takes the lead with a captivating statement that draws thelistener in. Bolton brings a bright, assertive tone and confident energy to the second reading. Hope makes his entrance next and swings soulfully, then Butler adds a few lively thoughts before the quintet reassembles for the closing theme. One Down by Hope begins with Butler’s breezy, island-inspired introduction, ahead of the group’s medium-fast melody. Bolton opens the solos with seasoned flair, then Elmo responds with polished virtuosity. Harold takes up the next spot vigorously, and Frank adds the exclamation point in a brief but effective solo before the quintet returns to take the song out.

Bassist Herbie Lewis is the only member of the quintet who doesn’t take a solo on any track, but his presence is truly felt throughout. His controlled strength and engaging ensemble playing create a reliable, steady foundation that beautifully supports Land, Bolton, Hope and Butler at the forefront. This album was produced by David Axelrod and recorded by Art Becker and David Wiechman at Contemporary Records. The reissue’s sound quality is first-rate and offers its owner a marvelous stereo listening experience. For fans of West Coast Jazz, the incredible interaction among the musicians is captivating, and these performances are definitely worth exploring. The Fox by Harold Land may seem like an elusive adversary during your record-shopping hunt, but once you acquire it, it won’t bite or attack; instead, it could become a treasured addition to your jazz library!

~ Little Chris – Source: Album liner notes by Leonard Feather ~ Lawrence Marable was also known as Larance Marable – Source: Wikipedia.org. © 2025 by Edward Thomas Carter

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Wheelin’ & Dealin’ ~ Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor | By Eddie Carter

This morning’s album from the library is an excellent 1957 jam session by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor. Wheelin’ & Dealin’ (Prestige PRLP 7131) is an outstanding album featuring an impressive team of musicians. The ensemble consists of John Coltrane and Paul Quinichette on tenor saxophones, Frank Wess on flute (tracks: A1, B1, B2) and tenor saxophone (track: A2), Mal Waldron on piano, Doug Watkins on bass, and Arthur Taylor on drums. The copy of this album that I own is the 2025 Worldwide Stereo audiophile reissue (Craft Recordings CR00862).

The album opens with Things Ain’t What They Used To Be by Mercer Ellington and Ted Parsons. Frank’s flute sets a welcoming tone for the sextet’s laid-back melody before moving into a relaxing first solo. Paul soars with graceful ease, then John follows him effortlessly with a mellow reading, then the saxophones revisit the sequence. Mal responds with a breezy interpretation, and Doug takes a quick walk, leading to the closing chorus. Wheelin’ by Mal Waldron takes off with the ensemble’s spirited theme. Coltrane leads the way with an energetic statement. Quinichette lets loose next, then Wess wails on the tenor saxophone. Waldron delivers a lengthy, vigorous performance. Taylor adds a brief footnote that leads to the ensemble reprising the theme and a rousing finish.

Side Two opens with Robbins’ Nest by Illinois Jacquet, Bob Russell, and Sir Charles Thompson, a tribute to DJ Fred Robbins. Frank, returning on flute, gently guides the ensemble through the melody, then enters like a cool breeze for the first solo. Paul then offers some down-home cooking; John makes every note count in a relaxed interpretation. Mal then keeps the mood easygoing, and Doug takes a brief walk before the closing ensemble. Mal Waldron’s Dealin’ starts with the sextet’s collective melody; Waldron leads with an inviting opening solo. Wess, on flute, produces a warm, fluid sound. Quinichette steps in for a few relaxing choruses, then Coltrane flows with fresh, creative ideas. Wess makes a short return on tenor sax, and Waldron has the last word before the group reunites to close the set.

The dynamic combination of Coltrane and Quinichette on tenor saxophones infuses the sextet with vibrant energy, establishing an engaging lead voice for the group. Coltrane, poised on the threshold of stardom, plays with deep emotion and a sense of adventurousness, while Quinichette’s silky, relaxed approach pays homage to Lester Young’s signature sound. Frank Wess further elevates the ensemble’s texture, seamlessly alternating between flute and tenor sax; his flute contributions, in particular, bring a light, breezy quality to the arrangements. Supporting them, the rhythm section of Waldron, Watkins, and Taylor lays down a consistent, swinging foundation, artfully mixing delicacy with spirited drive to enhance each soloist’s performance throughout the album.

Bob Weinstock supervised the first session, and Rudy Van Gelder was at the recording console. Kevin Gray did an excellent job mastering this audiophile reissue from the original tapes at Cohearant Audio. The sound quality truly shines, offering a spacious soundstage and vibrant clarity that makes you feel like the musicians are right in front of you. The record is pressed on 180-gram Virgin Vinyl and is silent until the music begins. If you’re craving a fantastic Hard-Bop album, I highly recommend checking out Wheelin’ & Dealin’ by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, and Arthur Taylor on your next record-shopping trip. It’s an outstanding album by the talented group that later became The Prestige All-Stars, and I believe it will become a beloved favorite in the libraries of both new and seasoned jazz fans for many years to come!

Things Ain’t What They Used To Be – Source: JazzStandards.com © 2025 by Edward Thomas Carter

Wheelin’ & Dealin’: 1957 | Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, Arthur Taylor

For the serious collector of jazz… #Jazz #Classic #Collectible #Music #Notorious

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That’s Where It’s At ~ Stanley Turrentine | By Eddie Carter

Stanley Turrentine was an exceptionally prolific tenor saxophonist who garnered numerous admirers throughout his career. He is widely recognized as a key contributor to the evolution of blues-inspired hard bop and soul jazz, as well as a trailblazer in smooth jazz. This morning’s featured album submitted for your approval is a 1962 release, That’s Where It’s At (Blue Note BLP 4096/BST 84096). This record was his second collaboration with pianist Les McCann and bassist Herbie Lewis, coming on the heels of their live performance at the Village Gate just a week prior. Drummer Otis Finch completes this dynamic quartet. The copy in my library is the 2020 Blue Note Tone Poet Series stereo reissue, which maintains the original catalog number.

The album opener, Smile, Stacey by Les McCann, begins with a brief dialogue between Stanley and Les that leads into the foursome’s theme. Stanley takes charge first, delivering a driving energy and brisk articulation. Les then swings in for the second interpretation. Herbie takes a short, sharply executed walk next, which Les finishes, then

Stanley and Les share a brief exchange with Otis before the ensemble’s soft fadeout. The quartet then cools down for Soft Pedal Blues by Stanley Turrentine, which starts with the trio’s slow-burning, soulful intro. Turrentine’s notes are placed with thoughtful precision during the melody and opening statement. McCann caresses each note of the second solo, and Turrentine delicately shapes a final comment into the theme’s restatement and slow fade.

Pia by Les McCann begins with the quartet easing into a mellow groove as the melody is introduced. Les initiates the solos with some good down-home cooking. Stanley steps in next, maintaining the calm atmosphere with a thoughtful message before the ensemble reunites for the closing chorus, which gently fades away. We’ll See Yaw’ll After While, Ya Heah by Les McCann is the pianist’s lively composition with a distinctly Southern flavor. After the quartet’s theme gets things off to a good start, Turrentine leads off the first solo, delivering each verse with precise articulation. McCann responds with a spirited interpretation that gets listeners tapping their feet and grinning along until the group’s return for the ending theme.

The tempo slows down again for Dorene, Don’t Cry, I, by Les McCann, a haunting ballad that begins with the ensemble’s beautiful melody. Stanley fully embraces the opening statement by gently attending to every note with careful lyricism and sensitivity. Les follows with something significant to say in a gorgeous performance preceding the tender reprise and close. Light Blue, by Stanley’s brother, Tommy Turrentine, brings this entertaining album to a close with a lightly swinging melody that invites listeners to sit back and enjoy the ride. McCann takes the lead with a loose, relaxed reading, then Lewis provides a few moments of pure joy. Turrentine offers the final memorable moment ahead of the group’s out chorus.

Alfred Lion produced the initial session of That’s Where It’s At, and Rudy Van Gelder was behind the dials of the recording. Joe Harley supervised the audiophile reissue, and Kevin Gray mastered the album from the original analog tapes at Cohearant Audio. The album’s sound quality is outstanding, with a stunning soundstage that transports the musicians to the sweet spot in your listening room with superb fidelity. The record was pressed on 180-gram Virgin Vinyl at RTI and is dead silent until the music begins. You’re also getting high-definition gatefold photos and superb cover packaging worthy of hanging on the wall. If you’re already a member of the Stanley Turrentine or Les McCann fan club, I highly recommend That’s Where It’s At on your next record hunt. If you aren’t already familiar with either musician, this record is an excellent introduction to their extensive discographies!

~ Les McCann Ltd. In New York (Pacific Jazz PJ-45/ST 45) – Source: Discogs.com © 2025 by Edward Thomas Carter

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1958 Miles ~ Miles Davis | By Eddie Carter

Throughout his career, Miles Davis was widely regarded not only as a leading figure in jazz but as a monumental presence in music as a whole. He consistently demonstrated his influence by producing an impressive array of records that have remained influential over the years, offering critics, listeners, and fellow musicians more to consider and appreciate than most artists across any musical style. This morning’s album up for discussion is 1958 Miles (CBS/Sony 20AP 1401). Interestingly, this record did not see a complete release in Japan until 1974. Tracks: A1 to A3 were initially released on “Jazz Track” in 1958. Track B1 later appeared on the 1975 double album “Black Giants, ”while track B2 appeared twice in 1973, on the compilations “Basic Miles—The Classic Performances of Miles Davis” and the CBS/Sony Japanese release “The Miles Davis Quintet & Sextet.”

By the time he recorded this album, Davis had brought in some new talented musicians to his group. Red Garland and “Philly” Joe Jones had left, and in their places, pianist Bill Evans and drummer Jimmy Cobb joined the band. Rounding out the ensemble are Julian “Cannonball” Adderley on alto sax (tracks: A1, A2, B1), John Coltrane on tenor saxophone (tracks: A1 to B2), Bill Evans (tracks: A1 to A3, B1), and Red Garland on piano (track: B2). On bass, Paul Chambers is featured on track B2, while Jimmy Cobb (tracks: A1 to A3, B1) and “Philly” Joe Jones (track: B2) keep the rhythm going on drums. The copy of the album I used for this report is the 1979 Japanese Mono Reissue.

Side One kicks off with the timeless song On Green Dolphin Street by Bronislaw Kaper and Ned Washington.Initially written for the 1947 film “Green Dolphin Street”, it’s Miles Davis’s version that truly made it a jazz standard we cherish today. He starts his soulful dialogue on the muted horn, with the trio providing a relaxed, friendly groove around the melody. His energetic lead solo radiates positive vibes, sizzling at a comfortable medium heat, while Coltrane responds with a lively, lyrical interpretation. Cannonball adds his beautiful touch on the third reading, and Evans plays just as wonderfully, culminating in a joyful moment before Miles wraps up the song with a satisfying finish.

Fran-Dance is a heartfelt tribute from Miles to his second wife, Frances Taylor. I first heard this beautiful tune on the 1961 live album, “Miles Davis In Person, Saturday Night at The Blackhawk, San Francisco, Volume 2.” Miles, playing a gently muted trumpet, creates a beautifully dreamy theme that feels warm and inviting, ending with a rich, mellow note. Coltrane’s opening is so lush that it feels like it melts right into your heart. Cannonball's tender, slightly fragile tone adds a delicate touch to the next performance, and Evans approaches the finale with such fingertip delicacy that it becomes one of his most touching ballad performances.

The 1944 jazz classic Stella By Starlight, by Victor Young with lyrics by Ned Washington, provides a graceful ending to the album’s first side and stands as a cherished staple of The Great American Songbook. Cannonball takes a reflective moment to appreciate this enduring masterpiece, highlighting the remarkable solos by Miles, Coltrane, and Evans. The enchanting atmosphere is set immediately with the opening chorus, as the muted trumpet conveys each phrase with deep emotion. Coltrane delivers a powerful, regal rendition, seamlessly leading into Evans’ exquisite solo, which builds to a memorable climax.

Love For Sale, by Cole Porter, made its first appearance in the 1930 musical “The New Yorkers.” The song’s lyrics paint a vivid image of a streetwise woman offering love for purchase, and it has become one of Porter’s most frequently covered songs. Notably, Cannonball and Miles recorded their own rendition just two months earlier for the 1958 album “Somethin’ Else.” Miles opens with a brisk, upbeat introduction, playing with a mute and delivering a truly memorable highlight. Following that, Cannonball takes over and shines brilliantly. Evans then immerses himself in the closing statement, providing a remarkable performance before the group’s theme reprise concludes.

Jackie McLean’s composition Little Melonae made its debut on his 1955 album, “Presenting Jackie McLean”, and is dedicated to his daughter. Cannonball Adderley also doesn’t perform on this track. The quintet introduces the tune with a unified statement of the melody, followed by a captivating solo from Miles Davis, who opens with the mute off, adding a striking touch. John Coltrane responds with heartfelt sincerity in the following statement. Red Garland impresses with refined technique and elegance on his only appearance on the album. Paul Chambers briefly steps into the spotlight, after which the quintet brings the song to a close together.

Teo Macero produced the album, and Larry Keyes carefully engineered each recording session. The sound quality is absolutely stunning across all ranges—treble, midrange, and bass—creating a rich, immersive experience. The sextet’s performance surrounds your favorite listening spot with a beautifully solid soundstage from the instruments, making every note feel alive. Since this is a Japanese release, 1958 Miles might be a bit tricky to track down on your next vinyl hunt. But with a little patience, you’ll be rewarded with an extraordinary album that would make an excellent addition to the Hard-Bop section of your library. It also offers a fresh perspective on Miles Davis’s sound in the Modal style, which reached its peak a year later with “Kind of Blue!”

~ Basic Miles-The Classic Performances of Miles Davis (Columbia KC 32025); Black Giants (Columbia KG 33402); Jazz Track (Columbia CL 1268); Kind of Blue (Columbia CL 1355/CS 8163); Miles Davis In Person, Saturday Night at The Blackhawk, San Francisco, Volume 2 (Columbia CL 1670/CS 8470); Presenting Jackie McLean (AdLib 6601); Somethin’ Else (Blue Note BLP 1595/BST 81595); The Miles Davis Quintet & Sextet (CBS/Sony SOPM-140) – Source: Discogs.com

~ On Green Dolphin Street, Love For Sale – Source: JazzStandards.com

© 2025 by Edward Thomas Carter

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Over the past fifty years, I’ve found immense joy in listening to Ahmad Jamal’s work across his extensive catalog, including releases on Argo, Cadet, and later Impulse Records. Each time I was fortunate enough to experience his trio live in Atlanta, their performance was absolutely electrifying. Jamal and his group consistently delivered music that was both profoundly moving and impeccably polished. Today’s featured album from my collection is Freeflight (Impulse! – ABC Records AS-9217), which showcases the trio’s live set at the Montreux Jazz Festival. On this recording, Ahmad Jamal plays both the Fender Rhodes electric piano and acoustic piano, joined by Jamil Nasser on bass and Frank Gant on drums. My personal copy is the 1973 U.S. stereo reissue, which retains the original catalog number.

The set opens with a warm welcome to the musicians, setting the stage for the trio’s spirited rendition of Effendi, by McCoy Tyner. The trio dives straight into the brisk tempo, with Ahmad igniting an energetic solo on the electric piano. There’s a brief exchange between Jamil’s bass and Ahmad’s acoustic piano before Jamal returns to the electric keys. Frank contributes a concise, lively reading, and Jamil finishes with an exhilarating finale, driving the tune to a thrilling close, earning an enthusiastic response from the audience. The tempo eases as Jamal introduces Dolphin Dance by Herbie Hancock on the acoustic piano, segueing into the group's melody. Jamal’s deeply expressive playing doesn’t disappoint, leading to a vibrant conclusion and audience applause.

Side Two begins with Ahmad and Jamil engaging in a musical conversation, leading into the pianist’s Manhattan Reflections. Jamal returns to the electric piano for a buoyant mid-tempo melody, then takes off first with a spirited opening statement that captures the energy of both instruments. The piano and bass then share the spotlight briefly to revisit the theme before the trio’s closing chorus ends gently. Ahmad returns to the acoustic piano to conclude the set with his signature tune, Poinciana by Nat Simon and Buddy Bernier. A solo introduction from Jamal leads into the ensemble’s mid-tempo theme. As the only soloist, Jamal tells a captivating story with Nasser and Gang’s support until the trio reunites to conclude the song, greeted by the audience’s enthusiastic applause!

The production of Freeflight was a collaborative effort between Ahmad Jamal and Ed Michel, while Carlos Olms and Stephan Sulke handled the recording of the live performance. Overall, the recording quality is commendable, though there’s one significant flaw: the microphone was positioned too close to Jamal’s electric piano during Effendi, resulting in noticeable harshness and overmodulation. However, please don’t let that minor drawback deter you from seeking out Freeflight by Ahmad Jamal when browsing for records on your next shopping trip. Although not as well- known as his earlier live release, At The Top: Poinciana Revisited, this album still deserves consideration for your library. Even after more than five decades, the album delivers outstanding piano trio music and is highly Recommended!

~ At The Top: Poinciana Revisited (Impulse! – ABC Records AS-9176) – Source: Discogs.com
~ Poinciana – Source: Wikipedia.org
© 2025 by Edward Thomas Carter


 

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