Requisites

Jazz at The Plaza, Volume 1  ~ The Miles Davis Sextet | By Eddie Carter

Submitted for your approval this morning is the first of two unique 1973 albums, capturing an unforgettable event. Jazz at The Plaza, Volume 1 (Columbia C 32470) is a live recording of a jazz party hosted by Columbia Records in The Persian Room of New York City’s Plaza Hotel on September 9, 1958. This celebration represented a significant moment in Columbia’s history, acknowledging the impressive talent of jazz artists on the label’s roster. The guests enjoyed a performance by The Miles Davis Sextet during the first set: Miles Davis on trumpet, Julian “Cannonball” Adderley (tracks: A1, B2) on alto sax, John Coltrane (A1, B1, B2) on tenor sax, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. My copy is the original U.S. Stereo release.

The album opener is misidentified as Jazz at The Plaza on the back cover and record label, but it is Thelonious Monk’s Straight, No Chaser. The song’s brisk pace sets the stage for the sextet’s lively introduction and theme. Miles delivers a vigorous opening statement, followed by John’s adventurous interpretation. Cannonball provides an energetic solo next. Bill makes a concise contribution before the ensemble returns for the finale and a brief presentation of the sextet’s theme. The pace slows for Bill’s introduction to the Rodgers and Hart classic My Funny Valentine. This highlight of the quartet sees Miles switching to the mute for the gentle melody and a beautiful solo. Bill follows with an enchanting statement, and Paul walks delicately toward the closing chorus and sensitive climax.

If I Were a Bell by Frank Loesser opens the second side with a short piano introduction that segues into the ensemble’s medium melody. Miles takes the lead with an agile, muted opening statement. John continues wailing in a spirited performance. Bill sinks his teeth into a captivating interpretation next, leading to the theme’s restatement and conclusion. Oleo by Sonny Rollins raises the tempo for Miles’s muted introduction, which leads to the sextet’s quick theme. Miles starts the opening statement with infectious heat, while John fuels the following performance with electrifying notes. Cannonball launches into a furiously hard-driving solo next, and then Bill keeps the fire burning with a concise comment. Paul has his turn in a short interlude before Miles guides the way to a speedy culmination.

Teo Macero and Irving Townsend produced Jazz at The Plaza, Volume 1, with recording engineer Russ Payne capturing the event for posterity. While the sound quality may not meet Columbia’s usual high standards, its unique charm conveys the exhilarating energy of the group’s performances. After listening to this album, I’ll be looking to find its companion, Jazz at The Plaza, Volume 2, featuring Duke Ellington and His Orchestra, Billie Holiday, and Jimmy Rushing. If you appreciate the trumpeter’s work from the fifties, I recommend exploring Jazz at The Plaza, Volume 1 by The Miles Davis Sextet, on your next record hunt. It offers a compelling snapshot of the ensemble’s fiery live performance and should make a worthy addition to any jazz enthusiast’s library!

Postscript: The owners of the long-out-of-print Mosaic Records box set, The Complete Columbia Recordings of Miles Davis With John Coltrane, also has a copy of Jazz at The Plaza, Volume 1.

~ Jazz at The Plaza, Volume 2 (Columbia C 32471), The Complete Columbia Recordings of Miles Davis With John Coltrane (Mosaic Records MQ9-191) – Source: Discogs.com

~ Straight, No Chaser – Source: JazzStandards.com

~ If I Were a Bell – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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Requisites

Somethin’s Cookin’ ~ Junior Cook | By Eddie Carter

Junior Cook takes center stage this morning with an excellent 1982 album, Somethin’s Cookin’ (Muse Records MR 5218). This was the tenor saxophonist’s fifth release as a leader and his second for the Muse label. He is accompanied by a stellar rhythm section: Cedar Walton on piano, Buster Williams on bass, and Billy Higgins on drums. My copy is the U.S. Stereo release. Side One opens with Cedar Walton’s Fiesta Español, a Latin-inspired tune that smoothly shifts from the introduction into the quartet’s easygoing theme. Junior’s relaxed performance sets the tone. Cedar responds with a delightful solo, and then the ensemble wraps up with a return to the melody and a satisfying finale.

Detour Ahead by Herb Ellis, John Frigo and Lou Carter starts with a concise piano introduction, leading into Junior’s delicately tender melody and personal opening statement. Cedar’s gracefully elegant solo follows while Buster and Billy maintain a gentle tempo, setting the stage for Junior’s final, reflective thoughts ahead of the ending. Illusion of Grandeur by Larry Willis changes the pace to mid-speed as the quartet begins the opening chorus. Junior seizes the expansive musical landscape with a confident, inspired interpretation. Cedar’s creativity shines in the closing solo, complemented by Buster and Billy’s support before the foursome wraps up matters.

Side Two kicks off with an energetic introduction to Heavy Blue by Larry Willis. Junior navigates the melody and opening solo with unparalleled skill. Cedar follows the leader in an enthusiastic performance. Then, Junior and Billy engage in a brief exchange before the quartet brings the song to a close. Hindsight by Cedar Walton begins with the pianist leading the way to the quartet’s melody. Buster gets the opening nod and takes a splendid walk in the lead solo. Junior gets into a soundly swinging groove on the following interpretation. The pianist concludes the solos with an impressive performance ahead of the theme’s reprise.

Chi-Chi by Charlie Parker picks up the tempo with Billy’s crisp introduction, setting the stage for the ensemble’s buoyant theme. Junior dives in with a dynamic solo right out of the gate. Cedar keeps the energy high in the following interpretation. Buster then walks exuberantly through the third performance. Lastly, Junior and Billy take us home in a short conversation, leading to a lively reprise of the melody. Cedar Walton produced Somethin’s Cookin’, and Rudy Van Gelder was the recording engineer. The album sounds fantastic; the highs sparkle, the midrange has plenty of depth, and the bass is deep and solid.

Junior Cook recorded one other album for Muse as a leader but appears as a sideman on three others with Bill Hardman and one with Walter Bishop Jr. He recorded with quite a few musicians, and his longest time as a sideman was six years with Horace Silver and five with Blue Mitchell. He also taught for a year at the Berklee School of Music during the seventies. He died at the age of fifty-seven on February 3, 1992. If you’re a fan of the tenor sax and are unfamiliar with the music of Junior Cook, I invite you to check out Somethin’s Cookin’ on your next record-shopping trip. It’s a fantastic album that will enrich any jazz fan’s library, whether you’re a beginner or a seasoned listener!

~ Detour Ahead, Junior Cook – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

Requisites

Please Send Me Someone To Love ~ Phineas Newborn Jr. | By Eddie Carter

Phineas Newborn Jr. was an exceptional pianist and one of my favorite musicians growing up. The first album I encountered by him as a teenager is this morning’s selection from the library. Please Send Me Someone To Love (Contemporary Records S7622) hit the stores in 1969 and is an excellent trio album. It was his fourth release for Lester Koenig’s label and is a companion to Harlem Blues, released six years later in 1975. Both albums were recorded during the same sessions, with the superb rhythm section of Ray Brown on bass and Elvin Jones on drums. My copy is the 1969 U.S. deep groove Stereo release.

The first side opens with Percy Mayfield’s Please Send Me Someone To Love, featuring a smooth, slow-tempo melody. Phineas delivers a dreamy solo, evoking a sense of longing and comfort, resulting in one of the album’s most beautiful moments. Ray and Elvin’s gentle accompaniment leads the trio back to the theme and a quiet, reflective conclusion. Rough Ridin’, an upbeat piece by Ella Fitzgerald, Hank Jones, and Bill Tennyson follows with an energetic melody by the ensemble. Phineas showcases his joyful groove with impressive skill as the only soloist, culminating in the group’s lively finish.

Come Sunday by Duke Ellington is a beautiful ballad that starts with Phineas’ tender solo introduction and flows seamlessly into the trio’s lovely melody. The pianist shines as the centerpiece, delivering an attractive, elegant interpretation with great warmth before a soft and gentle ending. Ray’s bass steers the course into Brentwood Blues by Phineas Newborn Jr., setting the stage for the ensemble to swing effortlessly through the melody. Phineas initiates the opening statement, articulating each note and verse with clarity. Ray then takes a brief, soulful walk to the closing chorus and climax.

Side Two starts with He’s A Real Gone Guy by Nellie Lutcher. Elvin’s Latin-flavored introduction breathes life into the track briskly, setting the stage for the trio’s lively theme. Phineas takes the lead with a vigorous interpretation, and Elvin’s electrifying brushwork fuels the finale, bringing the trio’s ending theme to a dynamic close. Black Coffee by Sonny Burke and Paul Francis Webster opens with a profoundly moving piano introduction by Phineas, transitioning into an intimately soft melody. His beautiful performance is anchored by the solid foundation laid by Ray and Elvin ahead of a lovely finale.

Little Niles is a jazz waltz by Randy Weston that is a tribute to his son. The trio’s version is delightfully vibrant, with Ray and Elvin’s introduction effortlessly shifting into the melody. Phineas showcases his impeccable technique during the song’s only solo, leading smoothly to the reprise and the song’s close. Stay On It, by Count Basie and Tadd Dameron, secures a swinging makeover with Phineas’ solo introduction. The trio’s lively opening chorus follows, with Ray and Elvin providing a solid foundation, allowing Phineas to deliver a remarkable interpretation in the song’s only solo, leading to the trio’s exit.

Lester Koenig was the producer and recording engineer for Please Send Me Someone To Love. The album’s impeccable sound quality creates the illusion that the trio is performing live in your listening room. If you seek an outstanding trio album, I wholeheartedly recommend Please Send Me Someone To Love by Phineas Newborn Jr.  It is an excellent addition to any jazz library, serving as a perfect introduction for new listeners to his music and a delight for seasoned collectors and fans. This album also pairs beautifully with Harlem Blues and is a must-have for any jazz enthusiast of piano trios!

~ Harlem Blues (Contemporary Records S7634) – Source: Discogs.com

~Come Sunday – Source: JazzStandards.com

~Black Coffee, Little Niles, Please Send Me Someone To Love – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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Requisites

The Summer Knows ~ Art Farmer | By Eddie Carter

This past week was particularly rough, and I eagerly looked forward to the weekend. This morning’s album offered for your consideration is The Summer Knows (East Wind EW-8047). It was one of my mom’s favorites, and the music brought back fond memories of when I was younger. This underrated gem is an excellent quartet date by Art Farmer, one of five albums he released in 1977. Art’s exclusively heard on flugelhorn and shares the spotlight with a stellar rhythm section: Cedar Walton on piano, Sam Jones on bass, and Billy Higgins on drums. My copy is the Japanese Stereo release.

Side One starts with the title track, The Summer Knows, by Alan and Marilyn Bergman and Michel Legrand. A gentle piano introduction transitions to Art’s sweet melody and a captivating, touching opening statement with a nostalgic and soothing vibe. Cedar follows with a delicately heartfelt performance. Art’s final enchanting choruses flow smoothly before the ensemble’s theme is softly revisited. Manhã Do Carnaval by Luiz Bonfá, Antônio Maria, and François Llenas springs to life with the trio’s introduction. Art follows them with an infectiously charming melody and opening solo. Cedar carries the festivities into the second reading until Art’s closing statement leads to the theme’s reprise.

Alfie by Burt Bacharach and Hal David starts with a piano introduction that grows into Art’s delicately sensitive theme and opening statement. Cedar’s solo creates a deep emotional resonance that is genuinely moving. Art’s concluding thoughts are hauntingly tender, preceding the closing theme. When I Fall In Love by Victor Young and Edward Heyman gets Side Two underway with Art’s solo introduction ahead of the foursome’s exquisite melody. The leader’s first solo embraces the song’s essence and intimacy. Cedar delivers enchanting beauty in the following reading; then, Art takes over the spotlight again for a short expression of love that dissolves into nothingness.

Ditty by Art Farmer starts with an energetic introduction by Sam and Cedar, setting the stage for the ensemble’s lively melody. Art begins the opening statement with a brisk and confident lead, followed by Cedar’s impressively spirited solo. Billy concludes with a concise yet impactful comment, leading back to the restated theme and climax. The album concludes with a beloved classic, I Should Care, by Axel Stordahl, Paul Weston, and Sammy Cahn. The group’s easygoing groove sets the mood for the introduction and melody. Art commences with a beautifully rendered interpretation, and Sam’s brief yet engaging solo complements it perfectly, leading into the heartfelt closing chorus.

Kiyoshi Itoh and Yasohachi Itoh produced The Summer Knows, with David Baker and Yoshihiro Suzuki behind the dials as the recording engineers. The album boasts exceptional sound quality, capturing an outstanding soundstage that places the musicians perfectly in your listening space with crystal-clear fidelity. For jazz aficionados seeking an ideal album perfect for unwinding after a long day or those only familiar with Art’s work with the Jazztet, I highly recommend The Summer Knows by Art Farmer for your library. It’s a remarkable release no jazz lover should overlook on their next record-shopping adventure!

~ I Should Care, When I Fall In Love – Source: JazzStandards.com

~ Alfie, Manhã Do Carnaval, The Summer Knows – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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Requisites

Generation ~ Dexter Gordon | By Eddie Carter

Dexter Gordon, a tenor saxophonist who has always held a special place in my heart growing up, is the focus of this morning’s spotlight with his album Generation (Prestige P-10069). As a teenager, I was fortunate to witness his live performance at the 1972 Newport Jazz Festival in a fantastic jam session. This 1973 release, his eleventh with Prestige, is a reunion with Freddie Hubbard, who previously collaborated with Dexter on Doin’ Allright and Clubhouse. Freddie plays flugelhorn (tracks: A2, B1) and trumpet (A1, B2) on the album. The rhythm section, consisting of Cedar Walton on piano, Buster Williams on bass, and Billy Higgins on drums, is equally impressive. My copy is the original U.S. Stereo release.

The album opens with the first version of Milestones by Miles Davis, setting the tone with a slightly slower groove for the theme. Dexter’s opening solo is immediately captivating, and then Freddie takes over the spotlight for an inspired improvisation. Cedar follows with a well-crafted statement, and Buster contributes a final shining moment before the theme’s reprise and climax. Scared To Be Alone by André Previn is up next. Dexter and the trio initiate the first chorus of the melody, then are accompanied by Freddie to complete the theme. Dexter’s tender and gentle solo paves the way, and Freddie’s luxuriously elegant flugelhorn conveys deep emotion. Buster’s brief reading before the theme concludes touchingly provides the perfect ending to this beautiful ballad.

We See by Thelonious Monk changes the pace with a lively start to the second side. Billy’s rhythmic introduction sets the stage for the quintet’s medium-tempo melody. Dexter demonstrates his skill and precision in a delightful opening solo, followed by Freddie, whose performance displays a dazzling tone. Cedar shines in a well-crafted statement next, while Buster comfortably strolls into the ensemble’s ending theme. The Group by Dexter Gordon wraps up the session with a lively melody led by the front line. Dexter opens the solos buoyantly; then Freddie takes over with a marvelously executed statement. Cedar moves efficiently and effectively next, with Billy adding a final comment during the closing chorus.

Generation was produced by Ozzie Cadena and recorded by Rudy Van Gelder, whose expertise behind the dials ensures an exceptional soundstage. The record’s sound quality is superb; the instruments are incredibly clear, emerging from your speakers with remarkable fidelity. For tenor sax enthusiasts, this hard-bop album certainly deserves a spot in any jazz library. The next time you’re at your favorite record store, be sure to check out Generation by Dexter Gordon. It’s a hidden gem from one of jazz’s most significant musicians, and despite being lesser known in his discography, acquiring it won’t break the bank!

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