Requisites

Homecoming – Live at The Village Vanguard ~ Dexter Gordon | By Eddie Carter

I’ve been a Dexter Gordon fan since childhood and saw him perform in an all-star jam session at The 1972 Newport Jazz Festival. In 1976, he returned to the US for an engagement at The Village Vanguard. Dexter received a warm welcome upon his arrival and played to sold-out crowds each night. This morning’s album from the library, Homecoming (Columbia PG 34650), finds Dexter effectively demonstrating he was still a master on the tenor sax. His bandmates on this live date are Woody Shaw on flugelhorn (tracks: A2, D1) and trumpet (A1, B1, B2, C1, C2, D2), Ronnie Matthews on acoustic piano, Stafford James on acoustic bass, and Louis Hayes on drums. My copy is the 1977 US Stereo release.

The album opens with Gingerbread Boy by Jimmy Heath. The front line leads the ensemble in a lively melody. Dexter is off to an adventurous start on the opening solo. Woody and Louis share the spotlight in the following reading; first, in a vigorous exchange; next, Woody takes the reins. Ronnie follows with an exciting closing statement ahead of the reprise. Gordon introduces Woody Shaw’s Little Red Fantasy, a dedication to his wife and manager, Maxine Gregg opens with the ensemble’s attractive melody. Gordon begins the opening solo affectionately, then gradually increases the intensity as it unfolds. Shaw comes behind him with a beautiful performance, then Matthews moves into the third reading elegantly. James walks the bass confidently until the ensemble’s delicate ending.

Fenja, Dexter Gordon’s touching tribute to his wife, begins Side Two with the quintet’s medium theme. Dexter takes the first solo at an easy swing, then builds to a happy groove. Woody adds a bit of home cooking in the following interpretation. Ronnie emerges next for a relaxing reading one can almost dance to, and Stafford eases into a delightfully personal statement preceding the ensemble’s closing chorus. In Case You Haven’t Heard by Woody Shaw picks up the pace for the rhythm section’s introduction and quintet’s melody. Gordon is up first with a lively interpretation; then Shaw engages in a vigorous conversation with Hayes. Matthews has the last spot and dispenses vibrant notes into the melody reprise and ending.

Side Three starts with It’s You Or No One by Sammy Cahn and Jule Styne. The saxophonist opens with an energetic introduction, succeeded by the quintet’s spirited melody. Dexter swings hard on the first solo. Woody comes in next for an enthusiastic romp, then Ronnie responds with a passionate improvisation. Louis provides a memorable exclamation point preceding a vibrant closing chorus. Let’s Get Down by Ronnie Matthews begins with his introduction segueing into the group’s peppy theme. Gordon kicks off the solos with an inspired improvisation; Shaw has much to say in the following statement. Matthews settles in for some straight-ahead swinging next, then James’ bass walks smoothly. Both horns share the finale with Louis before the quintet takes the song out.

‘Round Midnight is Thelonious Monk’s best-known and most recorded composition. It opens Side Four with Ronnie’s gentle introduction; then Dexter comes in for the tender theme, accented by Woody’s comments. Dexter continues with a delicately pretty opening solo. Woody delights with velvet smoothness in the following reading. Ronnie shows expressive artistry in the next statement. Dexter provides a final comment ahead of the ensemble’s summation. The rhythm section opens Dexter’s Backstairs with a brisk introduction to the quintet’s quick melody. Gordon gives the opening solo an energetic workout; then Shaw delivers a passionate intensity in the second statement. Matthews raises the temperature in a quick finale leading to the quintet’s climax, and Dex thanking the audience.

Michael Cuscuna produced Homecoming, and Malcolm Addey recorded it. The album has a splendid soundstage that transports the listener to the Village Vanguard’s intimacy as the musicians perform. If you’re a Dexter Gordon fan and are in the mood for an excellent live quintet date, I invite you to consider Homecoming for a spot in your library. It’s a jazz time capsule with many magical moments that not only rewards those in attendance but allows the listener to enjoy these outstanding performances each time it’s on the turntable!

~ Round Midnight – Source: JazzStandards.com © 2023 by Edward Thomas Carter

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Requisites

Lover Man ~ Duke Jordan Trio | By Eddie Carter

The Duke Jordan Trio enters this morning’s spotlight with an album initially recorded in 1975 but not released until 1979. Lover Man (SteepleChase Records SCS 1127) is the companion to Duke’s Delight, an excellent quintet date, recorded at the same session and released a year later. I’ve been a fan of this extremely gifted pianist since first hearing Flight To Jordan (1960) and Two Loves (1975). Sam Jones on bass and Al Foster on drums are the rhythm section for this date, and Duke’s Delight. My copy is the original Danish Stereo release.

Side One takes off with Dig by Miles Davis. Duke opens with a concise introduction segueing into the threesome’s medium theme. The leader swings freely on the song’s only solo, propelled by Sam and Al’s support into the reprise and close. Up next is Dancer’s Call, the first of two Duke Jordan originals. The trio introduces the song easily and then delivers the melody. Jordan sets the mood in the opening solo with a lightly swinging interpretation; then Jones sculpts the following statement blissfully. Foster shares a conversation with piano and bass in the finale ahead of the trio’s closing chorus and finish.

Duke’s Love Train leaves the station heading down the track with a leisurely paced melody. Sam takes the opening solo unaccompanied, followed by Duke, who contributes a splendid statement. Al keeps the beat flowing in an exchange with the pianist into the ending theme. Lover Man by Jimmy Davis, Roger Ramirez, and Jimmy Sherman begins with a pretty introduction by Jordan, which develops into an elegant theme by the threesome. The pace picks up for the song’s only statement by the leader. He gives a gorgeous performance as crisp as the cool night air with a soft sensitivity preceding an affectionate climax.

They Say It’s Wonderful by Irving Berlin comes from the 1946 Broadway musical Annie Get Your Gun. Duke introduces this old evergreen, leading to the trio’s gentle melody. The pianist again has the song’s only reading and scores on a delicately pretty solo into a gorgeous theme reprise and soothing finale. Out Of Nowhere by Johnny Green and Edward Heyman begins with a concise introduction by Jordan that segues into a delightfully happy melody. The pianist is up first with a brisk opening statement; then Jones takes a short walk in the following solo. Foster concludes the proceedings with a scintillating conversation with Jordan before the close.

Nils Winther produced Lover Man, and Chuck Irwin recorded this album and Duke’s Delight. The sound quality is excellent, with a wonderful soundstage that transports the trio from the studio to your listening room with superb definition. The record is also noticeably quiet until the music starts. If you’re a piano trio fan and unfamiliar with this marvelous musician, I offer for your consideration Lover Man by The Duke Jordan Trio. It’s an excellent album and a fine showcase for Duke Jordan’s pianistic artistry with a superb rhythm section, resulting in an entertaining title I strongly recommend for a spot in your library!

~ Duke’s Delight (SteepleChase SCS 1046) – Source: Discogs.com ~ Lover Man, Out of Nowhere – Source: JazzStandards.com ~ They Say It’s Wonderful – Source: Wikipedia.org © 2023 by Edward Thomas Carter

Mr. Carter’s review is based upon the original album release. As you listen, know that Sea and Don’t Blame Me are bonus tracks available only on compact disc.

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Requisites

The Boss ~ Jimmy Smith | By Eddie Carter

Jimmy Smith‘s impact on jazz in the sixties was immense, influencing every other organist that followed him. In 1968, he came to Atlanta, Georgia and performed at Paschal’s La Carousel, the only nightclub where blacks and whites were welcome. The Boss (Verve Records V6-8770) is a little gem that’s sadly overlooked because of Root Down, Jimmy’s funkier live album recorded four years later. It’s still an enjoyable album that steps into the blues with the assistance of George Benson (tracks: A1 to A3, B2), Nathan Page (B1) on guitar, and Donald Bailey on drums. My copy is the original 1969 US Stereo release.

The set opens with Some of My Best Friends Are Blues, the first of three by Jimmy Smith, which he introduces with soulful charm. George and Donald join in to complete the soulful melody, then George offers the first course of this delectable dish. Jimmy delivers the main course with the succulent support of the rhythm section into a delicious ending. The trio glides into The Boss next, with Smith dispensing the opening chorus. Benson leads off with an extremely welcome solo. Smith takes an adventurous turn in a vibrant, unrestrained display before settling down to reprise the melody and fade gently into silence.

This Guy’s In Love With You by Burt Bacharach and Hal David begins with the trio’s beautiful introduction and melody. George starts the opening solo tenderly; then Jimmy holds the audience spellbound in the following statement preceding the ending theme and George’s slow dissolve. Side Two starts with Nathan Page taking over the guitar duties for Jimmy’s third original, Fingers. Smith states the melody rather simply, then proceeds into a marvelous interpretation with authority. Page is up next and delivers an inspired performance with a fine flow of ideas. Smith adds the exclamation point with a few final comments into the ending theme and graceful fadeout.

George Benson returns for the set’s finale, Tuxedo Junction, by Buddy Feyne, Erskine Hawkins, Bill Johnson, and Julian Dash. This popular song from the swing era is taken at a medium groove for the ensemble’s melody. George’s opening solo is as mellow as a fine wine, and Jimmy closes with a captivating improvisation ahead of the reprise and graceful fade out. Esmond Edwards produced The Boss, and Val Valentin was the man behind the dials of the recording. The sound quality is good, with a “you are there” feeling, placing the listener among the La Carousel audience as the group performs.

If you’re a jazz organ fan like me, I invite you to check out The Boss by Jimmy Smith on your next shopping trip. Jimmy, George Benson, Nathan Page, and Donald Bailey take a splendid ride through a bluesy, laid-back landscape in a live album that, though overlooked and underrated, is delightful to listen to and should be considered for a spot in your library! ~ Root Down (Verve Records V6-8806) – Source: Discogs.com ~ This Guy’s In Love With You, Tuxedo Junction – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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Requisites

Steppin’ Out ~ Harold Vick | By Eddie Carter

One of the joys of jazz collecting is seeing favorite LPs surface again in the wild and as audiophile albums. This morning’s discussion is a welcome reissue by Harold Vick. Steppin’ Out (Blue Note BLP 4138/BST 84138) was the tenor saxophonist’s debut album and the only one he made for the label as a leader. It was recorded in 1963 and released the same year. For his first effort, Harold’s joined by Blue Mitchell on trumpet, John Patton on organ, Grant Green on guitar, and Ben Dixon on drums. I first heard him on Oh Baby! Patton’s 1965 release with the same lineup. My copy is the 2022 Blue Note Tone Poet Series Stereo audiophile reissue sharing the original catalog number.

Our Miss Brooks is the first of five originals by the leader. It starts with the quintet’s finger-snapping, toe-tapping melody. Harold serves up the first slice of this soulful song; next, the group makes a short bridge into Grant’s tasteful reading. The second bridge leads to John mining a vein of bluesy riches in the finale ahead of the ensemble’s close. Trimmed In Blue steps up the pace for the quintet’s theme. Vick starts the solos with a spirited interpretation, then Mitchell comes behind him to give an exuberant reading. Green replies with a sparkling statement, followed by Patton’s zesty bounce leading to the theme’s reprise.

Laura, by David Raskin and Johnny Mercer, became a jazz standard as the title tune of the 1944 film noir. Blue sits out for the quartet’s hauntingly dreamlike melody. Harold makes a profound impression in the song’s only solo with nostalgic romanticism over the rhythm section’s subtle support into a gorgeous ending. Dotty’s Dream opens Side Two with the quintet in a swinging groove from the opening chorus. Vick gets down to business first, then Mitchell enters for a lively romp. Green responds with a vibrant reading, and Patton’s closing remarks are fueled with comments from both horns into the climax.

The quintet takes a relaxing trip to Vicksville next. The ensemble’s easy-swinging theme starts this comfortable ride into Blue’s smooth-sailing opening statement. Grant builds a perfect solo from simple ideas next. Harold strolls into an exquisite interpretation; then, John concludes with a carefree comment before the closing chorus fades out. The title tune, Steppin’ Out, moves the beat upward for the ensemble’s invigorating melody. Vick lets the listener know they’re in for a treat on the opening statement; then Green follows with an excellent solo. Mitchell comes in for a cheerful reading next, and Patton winds up the session in a festive finale preceding the theme’s return.

Alfred Lion produced the initial session of Steppin’ Out. Rudy Van Gelder was the recording engineer behind the dials. Joe Harley supervised the audiophile reissue, and Kevin Gray mastered it at Cohearent Audio. The front and rear covers are high gloss and gorgeous, with session gatefold photos worthy of hanging in your listening room. The record is pressed on 180-gram audiophile vinyl. The sound quality is quite good despite a bit of harmonic distortion from John Patton’s organ microphone placement as he’s supporting the other musicians. It’s particularly noticeable on Vicksville and Steppin’ Out.

Don’t let that dissuade you from checking out this album on your next vinyl treasure hunt. Steppin’ Out is a solid debut and a great introduction to this underrated, talented tenor saxophonist with wonderful performances by Grant Green, Blue Mitchell, John Patton, and Ben Dixon, keeping the beat efficiently! If you enjoy soulful jazz from the tenor sax with a double dose of the Blues and Hard-Bop, I offer for your consideration, Steppin’ Out by Harold Vick. It’s just right for an evening listening session with your favorite drink in hand!

~ Oh Baby! (Blue Note BLP 4192/BST 84192) – Source: Discogs.com ~ Laura – Source: JazzStandards.com © 2023 by Edward Thomas Carter

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My Conception ~ Sonny Clark | By Eddie Carter

Sonny Clark enters this morning’s spotlight with a 1959 recording session that remained in the vault for two decades. My Conception (Blue Note GXF 3056) is a 1979 release that came out first in Japan and later as a 2000 CD album in the US. Clark was one of the label’s house pianists, recording some of his finest albums as a leader. He also appeared on numerous releases as a sideman. Here, Sonny is leading a stellar quintet in a program of his original tunes. Donald Byrd on trumpet, Hank Mobley on tenor sax, Paul Chambers on bass, and Art Blakey on drums. My copy is the 2021 Blue Note Tone Poet Series Stereo audiophile reissue (BST 22674).

Junka starts with the quintet’s upbeat melody. In the opening reading, Hank gets things going energetically, then Donald makes an impressive appearance. Sonny follows with a high-spirited statement next. Paul delivers a sparkling comment; then Art shares the last spot with the front line preceding the theme’s reprise. Blues Blue starts with the quintet’s danceable beat in the opening chorus. Mobley leads the way with an attractive reading, then Byrd comfortably swings into the next segment. Clark improvises the following message effectively, then Chambers’ inspired bass work comes. Blakey shares the final conversation with both horns ahead of the climax.

There’s nothing minor about the first side finale, Minor Meeting. Art calls the quintet together for their vivacious melody. Donald is off and running in the opening solo, then Hank soars to new heights in the following presentation. Sonny closes with a series of scintillating choruses leading to the finale. Side Two commences with Royal Flush, a toe-tapping medium groove that gets underway with the ensemble’s theme. Mobley goes to work first, followed by Clark’s thoroughly relaxed reading. Byrd is up next and is shown to good advantage, and Chambers takes the final stroll while Blakey keeps the beat into the quintet’s closing chorus.

The group enjoys Some Clark Bars next. After the group establishes the spirited melody, Hank leads the way in a terrific opening solo as tasty as the candy bar. Donald swings as hard in the following interpretation, and Sonny has a great turn in the third reading. Art finishes off the solos in a concise exchange, with the front line before the close. The title tune, My Conception, is a perfect example of Clark’s ability to compose a beautiful ballad. The rhythm section opens with a tender introduction until Mobley emerges to give an elegantly phrased theme and lead solo. Clark takes over to give a wonderfully warm statement, then Byrd concludes with a delicately expressed performance of soulful emotion.

Alfred Lion produced the initial session, and Rudy Van Gelder was the man behind the dials of the recording. Joe Harley supervised the audiophile reissue, and Kevin Gray remastered the album. The front and rear covers are high gloss, with great session photos inside the gatefold. The sound quality is sensational, with an exceptional soundstage. The instruments emerge from your speakers as if you’re in the studio with the musicians while they work. The record was pressed on 180-gram audiophile vinyl, and it’s incredibly quiet until the music starts. If you’re in the mood for Hard-Bop, I invite you to check out My Conception by Sonny Clark the next time you’re out vinyl shopping. Despite being unreleased for so many years, it’s a great album that was well worth the wait and a joy to listen to!

~ My Conception (Blue Note Connoisseur Series 7243 5 22674 2 2) – Source: Discogs.com © 2023 by Edward Thomas Carter

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