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

Requisites

Mercy, Mercy, Mercy! ~ The Cannonball Adderley Quintet | By Eddie Carter

Have you ever heard a record so good it literally got into your head and stayed there forever? This morning’s album is one of those for me. Mercy, Mercy, Mercy! (Capitol Records T 2663/ST 2663) is a live album by the Cannonball Adderley Quintet. It was initially said to have been recorded in 1966 at The Club in Chicago. But it was actually recorded at the Capitol Records Tower with an invited audience and an open bar. The discrepancy arose because Adderley and the clUB’s new manager were friends, and the saxophonist offered the club free publicity. That aside, it’s a terrific album that’s worth the money if you enjoy live jazz. 

The quintet consists of Nat Adderley on cornet, Cannonball Adderley on alto saxophone, Joe Zawinul on piano (tracks: A2, A3, B1 to B3) and electric piano (A4), Vic Gatsky on bass, and Roy McCurdy on drums. I own the 1967 U.S. Mono release. The announcer’s introduction sets the stage for Fun, the first of two tunes by Nat Adderley that immediately energizes the audience with the quintet’s lively melody. Cannonball’s brisk lines soar effortlessly in the opening statement, Nat’s spirited response adds warmth, and Joe’s vigorous interpretation ties it all together, showcasing their tight musical chemistry and improvisational skill that truly captures the audience’s excitement.

Cannonball announces the song title to the audience, then notes that their next tune is titled Games, which kicks off with the quintet’s upbeat introduction and theme. Cannonball opens with one of his most inventive solos, then Nat settles into an effervescent groove perfect for finger-popping and toe-tapping. Joe responds with a marvelous interpretation that builds to a satisfying finale. Joe switches to the electric piano as the rhythm section provides a warm backdrop for Cannonball’s intro to the album’s defining moment, Joe Zawinul’s Mercy, Mercy, Mercy. The quintet’s memorable theme and Joe’s soulful solo make this track a highlight, inviting listeners to experience the album’s emotional depth firsthand.

Sticks by Julian Adderley shifts the album into a finger-snapping tempo, opening the second side with the quintet’s danceable melody. Nat takes the lead with an energetic reading, leaving room for his brother to soar next. Joe comes in last and adds an indelible contribution before the ensemble’s theme restates and ends firmly. Hipadelphia by JosefZawinul begins with the ensemble’s relaxed melody. Cannonball has the first say and moves comfortably through the rhythm section with an easy-flowing stream of ideas. Nat rocks the second reading with a light, airy sound. Joe wraps up everything smoothly in the closer before the horns return to take the song out.

The set wraps up with Cannonball’s warm introduction to his tune, Sack O’ Woe. The rhythm section softly sets the mood for the quintet’s lively melody, a heartfelt blend of blues and church influences. Cannonball takes the spotlight first with a soulful sermon. Nat brings everyone to their feet with his finger-snapping, toe-tapping performance. Joe adds emotional intensity in his turn, and Vic finishes off ahead of the ensemble, bringing it all together in the closing chorus. David Alexrod produced Mercy, Mercy, Mercy, while the recording engineer remains a mystery. The album’s sound quality is excellent, making you feel like you're right there in the studio audience, sharing in the joy of the music as it happens.

Mercy, Mercy, Mercy truly shines as a jazz album that is both beautifully crafted and immediately captivating. The quintet’s arrangements and performances flow together smoothly, letting each musician shine and filling the album with warmth and vibrant energy. The title track really highlights what makes this album so special, while the other songs show that Cannonball Adderley and his band could groove in many different ways. I’m sure those in attendance walked away feeling like they had experienced something truly memorable. If you’re already a fan of the Cannonball Adderley Quintet or discovering their music for the first time, I encourage you to pick up Mercy, Mercy, Mercy on your next record shopping trip. It’s a lively and cohesive album that’s perfect for focused listening and relaxing enjoyment!

© 2026 by Edward Thomas Carter

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Requisites

Reflections ~ Frank Morgan Allstars | By Eddie Carter

I discovered Frank Morgan in the 80s while living in Cincinnati, Ohio and listening to WNOP 740 AM, the city’s then jazz station. This morning’s album from the library was his eighth release as a leader and seventh for Lester Koenig’s label. Reflections (Contemporary Records C-14052) by the Frank Morgan Allstars is the only album the group recorded together and isn’t a loose, thrown-together blowing session. The sextet is a powerhouse group of musicians: Frank Morgan on alto sax; Joe Henderson on tenor sax; Bobby Hutcherson on vibraphone; Mulgrew Miller on piano; Ron Carter on bass; and Al Foster on drums. I own the 1989 U.S. stereo release.

The first side gets underway with Old Bowl, New Grits by Mulgrew Miller. The sextet’s easy-flowing melody gives way to Joe’s opening solo, inviting us to settle in. Bobby follows with a blissfully happy reading, then Frank continues motoring along next. Mulgrew gets the final word ahead of the theme's restatement and fade-out. The title track, Reflections by Thelonious Monk, shifts the energy toward Frank and Joe taking center stage for the enticingly delicate theme. Frank shows a tender vulnerability in the first interpretation. Joe takes over with a gracefully emotional response, then Bobby takes a sensitive, poignant turn, leading to the theme’s return and gorgeous ending.

Starting Over by Bobby Hutcherson picks the beat back up with a lively opening ensemble. Bobby comes out swinging hard first, then Frank dives into the second solo with surgical precision. Joe jumps right into the third reading next, then Mulgrew provides the exclamation point, soaring cheerfully into the ensemble’s vigorous reprise and climax. Side Two opens with the rhythm section’s introduction to Black Narcissus by Joe Henderson, segueing into a compelling front-line dialogue between Frank and Joe. Frank paints a delicate palette first, then Joe adds a few more elegant colors. Bobby infuses the third statement with tender beauty, and Mulgrew saves the best for last in a gorgeous finale before the close.

Sonnymoon for Two by Sonny Rollins affords everyone solo space and begins with the trio’s introduction to the sextet’s medium melody. Frank’s first solo is a great example of relaxed lyricism. Bobby follows with a bounce that’s pure artistry. Joe sets up the next reading perfectly, then Mulgrew keeps the line moving forward. Ron takes a short, satisfying walk before Al brings the curtain down, preceding the closing chorus. O.K. by Ron Carter is his tribute to album producer Orrin Keepnews, and the ensemble opens with a leisurely paced theme. The solo order is Frank, Joe, and Mulgrew before the melody’s reprise and Bobby, who gets the last word in a gentle fade to nothingness.

Orrin Keepnews produced the album; Danny Kopelson managed the recording console, and George Horn mastered the album. The recording is fantastic, with an exceptional soundstage and outstanding detail that emerges through your speakers with exceptional fidelity. Reflections by the Frank Morgan Allstars is a gorgeous album with an all- star lineup and a wonderful selection of tunes. If you’re a fan of the alto saxophonist and in the mood for a terrific blend of bop and modal jazz, I invite you to check it out on your next record shop visit. I’m sure it’ll be a welcome addition to your library, and you’ll enjoy it as much as I do!

© 2026 by Edward Thomas Carter

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Requisites

Movin’ Along ~ Wes Montgomery | By Eddie Carter

Submitted for your approval this morning is an overlooked, underrated gem by one of my favorite jazz guitarists: Wes Montgomery. Movin’ Along (Riverside RLP 342/RLP 9342) was his third release as a leader and one of six albums he recorded in 1960. Two as a leader, plus one each with Cannonball Adderley, Nat Adderley, Harold Land and his brothers. All six albums received critical acclaim, underscoring how rapidly Wes Montgomery’s star was rising. The personnel on this release are James Clay on flute (tracks: A1, A2, A4, B1) and tenor sax (B2); Wes Montgomery on guitar (A1, A3, B2, B3) and bass guitar (A2, A4, B1); Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums. I own the 1977 Victor Musical Industries Japanese Mono reissue (Riverside SMJ-6199M).

Wes Montgomery’s Movin’ Along, which opens the album, is a perfect tune to listen to and unwind to after a long workday or week. The quintet’s soothing, soul-pleasing melody starts at a leisurely pace. James steps up first with a relaxing solo as enjoyable as spending time with old friends, then Wes follows with a velvety-smooth reading. Victor takes a mellow stroll last before the group’s theme reprise fades out softly. The temperature moves upward for the ensemble’s spirited theme to Tune-Up by Miles Davis. Wes switches to bass guitar and gets a nice little swing groove going in the opening statement. James cruises into the second interpretation with vigorous enthusiasm, and Victorhas the last word with a few energetic choruses ahead of the theme’s restatement.

Ghost of a Chance by Bing Crosby, Ned Washington, and Victor Young is a beautiful ballad from the thirties that later became a jazz standard. This rendition becomes a quartet showcase for Wes and the rhythm section. The foursome begins the melody delicately, then steps aside for the guitarist’s thoughtful and tender opening solo. Victor shares a reflective moment of lyrical beauty in a short statement leading to the gentle closing chorus. Sandu by Clifford shifts the mood to a medium groove for the opening ensemble, with Wes back on bass guitar. Wes takes the reins first, and the listener will snap their fingers and tap their toes along. Sam comes in next for a short walk before engaging in a brief exchange with Wes before the theme’s return.

Side Two starts with Body and Soul, by Edward Heyman, Robert Sour, Frank Eyton, and Johnny Green. Wes, on bass guitar, introduces a warm, gentle melody as soothing as a summer breeze. The rhythm then becomes lively for James’s spirited opening solo. Wes follows with a wonderful reading, and Victor wraps up with a bright and sparkling finale. Wes slows down softly to conclude the song beautifully. Wes Montgomery’s So Do It slows the ensemble’s beat down slightly to medium for their opening chorus, featuring James on tenor sax. Wes moves right into the first solo with a bouncy effervescence. James handles the second statement with a few inspired ideas. Victor shapes the third interpretation into something special. Wes, Louis, and Sam take turns in a short three-way conversation before the quintet takes the song out.

Sam Jones’s Says You ends the album with the group’s upbeat theme. Wes gets things started with a cheerful, engaging solo. Victor follows with an easygoing interpretation, and Sam takes a brief walk before the quartet returns for the climax. Orrin Keepnews produced the album, and Wally Heider managed the recording console. The Victor reissue sounds excellent, offering a spacious soundstage that emerges from your speakers with superb fidelity. Wes Montgomery possessed a special gift for drawing listeners into his music, giving them a glimpse into the creative world of a true master. is one of the best albums in his discography. With the added talents of James Clay and the Cannonball Adderley Quintet’s rhythm section, I highly recommend checking it out on your next record-shopping trip!

~ Body and Soul, Ghost of a Chance – Source: JazzStandards.com © 2026 by Edward Thomas Carter

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