Requisites

This Time The Drum’s On Me ~ Stan Levey | By Eddie Carter

Stan Levey, one of the great Bebop drummers, enters the spotlight with his second album as a leader, This Time The Drum’s On Me (Bethlehem BCP-37). Stan was born in Philadelphia, Pennsylvania, and started playing with Dizzy Gillespie at age sixteen. He left for New York City, where he worked with Gillespie, Charlie Parker, and Oscar Pettiford. Levey also spent some time with the Stan Kenton Orchestra before moving to the West Coast and becoming an essential contributor to West Coast Jazz with Howard Rumsey, Don Joham, and The Lighthouse All-Stars. Here, he’s accompanied by Conte Condoli on trumpet, Frank Rosolino on trombone, Dexter Gordon on tenor sax, Lou Levy on piano, and Leroy Vinnegar on bass. The copy in this report is a friend’s original 1956 US Mono deep groove release.

Diggin’ For Diz, by George Handy, sets the album in motion with a danceable beat for the sextet’s collective melody featuring a few comments by the front line. Conte swings into the opening solo with a joyful improvisation that builds to an effective climax. Dexter follows with a marvelous statement that cooks convincingly, then Frank follows with a captivating performance. Stan shares the subsequent interpretation with all three horns, and Lou closes with a concise reading into the theme’s restatement and close. Thelonious Monk’s hauntingly beautiful Ruby, My Dear, is a feature for Condoli. He leads the ensemble in a thoughtfully tender melody, then gives an elegant first solo. Before the group’s gentle ending, Levy compliments him with a short, delicately attractive reading.

Tune Up, by Miles Davis, brings the sextet back to a vibrant beat, and the ensemble begins the melody briskly before Dexter starts the solos with some spirited blowing. Conte comes behind him for a quick and agile interpretation; then Frank sparkles on an energetic reading. Lou takes the listener on a swift joyride, followed by Leroy’s scintillating walk. Stan shares a short conversation with Dexter preceding the closing chorus. The first side ends with La Chaloupée by Jacques Offenbach from the 1881 French opera, The Tales of Hoffman. The front line starts the melody collectively at a medium groove, giving way to Frank, Dexter, Conte, Stan, and Lou, who all excel in five utterly charming presentations ahead of the ending theme.

Side Two starts with the sextet’s upbeat rendition of Day In, Day Out by Rube Bloom and Johnny Mercer. Conte leads the ensemble’s theme, then Gordon launches into a scintillating opening statement. Condoli is next to give a vigorous interpretation; then Rosolino delivers a vitalized performance. Levy has the last word and reveals his keyboard artistry with energy to spare, leading to the group’s reprise and climax. Dexter Gordon’s Stanley The Steamer is a bluesy tribute to Stan Levey. Lou brings the song to life with a brief introduction segueing into the sextet’s easygoing theme. Dexter delivers an inspired improvisation as the song’s only soloist to the rhythm section’s infectious accompaniment before the ensemble’s conclusion.

The title tune, This Time The Drum’s On Me, was initially titled Max is Making Wax, Oscar Pettiford’s tribute to drummer Max Roach. The sextet puts the accelerator to the floor at a breakneck pace from the opening chorus to the final note. Gordon ignites the opening statement with blazing heat, then Condoli shines like a bright beacon on the second solo. Rosolino takes over to give a speedy presentation; next, Lou moves into the next spot aggressively. Stan wraps up things nicely in a high-powered workout ahead of the enthusiastic ending. It’s unknown who produced the album, but Val Valentin was the man behind the dials of the recording. The sound quality is excellent, with a clean and crisp soundstage that’s a delicious treat for any jazz fan!

Stan Levey recorded three albums for Bethlehem as a leader but appeared on many more as a sideman with some of the best jazz musicians. Levey retired from music altogether in 1973 and became a professional photographer. He died at age seventy-nine on April 19, 2005. If you’re a fan of Bop like me, I invite you to check out This Time The Drum’s on Me on your next vinyl hunt. It’s a perfect introduction to drummer Stan Levey and an excellent release worthy of a spot in any jazz library and repeated listening on the turntable!

~ Stan Levey Plays The Compositions of Cooper, Holman, and Giuffre (Bethlehem BCP 1017), Grand Stan (Bethlehem BCP-71) – Source: Discogs.com ~ Day In, Day Out, Tune Up – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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Requisites

1957 ~ Red Rodney | By Eddie Carter

Red Rodney enters the spotlight to begin this morning’s discussion with 1957 (Signal S 1206), his second release as a leader. He was born in Philadelphia, Pennsylvania, and began playing the trumpet professionally at age fifteen, appearing in some of the best big bands during the Forties. Red later began playing Bebop after hearing Dizzy Gillespie and Charlie Parker. He played with Gillespie, Woody Herman, Gene Krupa, Ira Sullivan, and Claude Thornhill and was part of Parker’s quintet for two years. Ira Sullivan on tenor sax (A1 to A3, B2, B3) and trumpet (B1), Tommy Flanagan on piano, Oscar Pettiford on bass, ‘Philly’ Joe Jones (A1 to A3), and Elvin Jones (B1 to B3) on drums complete the ensemble. My copy is the 1997 Classic Records Stereo audiophile reissue sharing the original catalog number.

Star Eyes by Gene de Paul and Don Raye opens the album with Red taking the lead at a relaxing tempo in the melody and opening chorus. Ira gets his teeth into the second statement and swings comfortably, then Tommy strolls into the next reading with intuitive ease. Oscar has the last say and glows in a delightful performance before the quintet reassembles for the closing chorus and climax. Up next is a beautiful rendition of You Better Go Now by Robert Graham and Bickley Reichner. The rhythm section provides the perfect backdrop for Rodney’s elegantly tender opening chorus and lead solo. Sullivan follows with a sensuously warm statement, then Flanagan and Pettiford turn in two touching interpretations leading to a graceful ending.

The first side finale, Stella By Starlight by Victor Young and Ned Washington, begins with a brief introduction by Philly, leading to the quintet’s lively melody. Ira kicks off the solos with a spirited opening statement. Red makes his mark next with an aggressive interpretation. Tommy delivers the third reading with evident enjoyment, and Philly shines in a short solo ahead of the song’s conclusion. Side Two starts with Red Arrow, the first of two tunes by Red Rodney. Sullivan is featured on trumpet, and Elvin Jones takes over on drums. Rodney and Sullivan begin the melody briskly; then, Red opens with a vigorous first solo. Flanagan provides a brief break; then Ira gives a quick, pulse-raising reading. After Flanagan’s second break, the two trumpets share an invigorating exchange before a speedy closing chorus.

Red’s Box 2000 is a blues that Oscar introduces before the front line delivers the medium-tempo melody in unison. Ira launches into a well-constructed opening statement, and Red excels on the second interpretation; then Tommy and Oscar share a swinging conversation, and Jones engages in a short exchange with both horns ahead of the theme reprise and exit. The finale is Oscar Pettiford’s Ubas, dedicated to conga player Sabu Martinez. This song is festive from the opening chorus, and Sullivan kicks off the solos with a happy lead solo, and Rodney responds with a joyful spirit in the second statement. Flanagan has a jubilant moment next, and Elvin provides a bit of propulsive energy in the finale preceding the theme’s return and close.

Jules Colomby, the founder of Signal Records, supervised the initial session of 1957, and Rudy Van Gelder was the recording engineer. Bernie Grundman remastered this reissue, and the record was pressed on 180 grams of audiophile vinyl. The sound quality is superb, with a breathtaking soundstage that transports the musicians to the sweet spot in your listening room with stunning fidelity. Despite his struggles with drug addiction, Red recorded twenty-four albums as a leader and appeared on twelve releases as a sideman over a five-decade career. He died from lung cancer at age sixty-six on May 27, 1994. If you’ve not heard Red Rodney before and are a fan of jazz trumpet, I invite you to check out 1957 or its two reissues, Fiery (1973) and The Red Arrow (1972), on your next vinyl shopping trip. It’s an excellent album that’s a welcome introduction to his music and an addition to any jazz lover’s library!

~ Fiery (Savoy Records MG 12148), The Red Arrow (Onyx Records ORI 204) – Source: Discogs.com ~ Star Eyes, Stella By Starlight – Source: JazzStandards.com © 2023 by Edward Thomas Carter

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Overseas ~ Tommy Flanagan Trio | By Eddie Carter 

Tommy Flanagan steps into the spotlight of this morning’s discussion with Overseas (Prestige PRLP 7134/PRST 7632), recorded during his 1957 tour with J.J. Johnson and released the following year. The pianist works with Wilbur Little on bass and Elvin Jones on drums on this album. My copy is the 2012 Analogue Productions US Mono audiophile reissue sharing the original catalog number. The album starts quickly with Relaxing at Camarillo by Charlie Parker. It was named for Bird’s six-month stay at Camarillo State Hospital, where he recuperated from drug addiction. Tommy takes off on the opening solo briskly. Wilbur’s bass walks lively on the next reading, then Elvin caps off the closing presentation, exchanging exquisite brushwork with Tommy ahead of the theme reprise and climax.

Chelsea Bridge by Billy Strayhorn is one of his best-loved compositions. Flanagan is the single soloist, and the pianist gives a gorgeous interpretation emphasizing his light touch. Eclypso, Flanagan’s first of six originals, has a Caribbean-flavored rhythm on the melody and closing chorus. Tommy offers a cheerfully bright mood in the opening solo, and Elvin shares an exuberant exchange with Flanagan before the song fades gracefully. Tommy’s tune Beat’s Up featuring him and Jones in two spirited interpretations with short interludes by Little that spices things up nicely. Skål Brothers is a concise midtempo blues by Flanagan, who cruises leisurely on the opening chorus and ending theme anchored by the relaxing foundation Wilbur and Elvin provide.

Little Rock opens Side Two with a delightful statement by Little. Flanagan and Jones join him; the pianist serves up some down-home cooking on a delicious performance. Wilbur delivers a tasty reading which walks firmly into the finale by Elvin, who adds a scrumptious dessert on the drums. Flanagan’s Verdandi brings the trio back to uptempo with an electrifying opening solo by Tommy and a fiery showcase for Elvin, who gives a virtuoso demonstration before the trio’s finale. Delarna is dedicated to the province in central Sweden, known for its breathtaking landscape. The trio opens with a beautiful melody that starts at a slow tempo but moves upward for Flanagan’s execution of a solo of extraordinary beauty into a gentle climax.

Willow Weep For Me comes from the pen of Ann Ronell, who also composed the lyrics. The jazz standard opens with a quiet demeanor collectively followed by a passionate performance by Tommy, and Wilbur takes us toward the album’s climax with a profoundly affecting presentation. Overseas began his forty-five-year career as one of the most respected and revered jazz musicians. The recording engineer was Gösta Wilholm, and Kevin Gray remastered the album. The sound quality of this Mono reissue is demonstration class with a superb soundstage that places the trio in your listening room with stunning definition. For anyone who’s a fan of this remarkable pianist, I invite you to treat yourself to Overseas by The Tommy Flanagan Trio on your next vinyl search. It’s a forty-minute trip that requires no luggage, passports, or plane tickets, just a turntable, stereo system, and your favorite drink to enjoy while you listen!

~ Chelsea Bridge, Relaxing At Camarillo, Willow Weep For Me – Source: JazzStandards.com ~ Tommy Flanagan – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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Gettin’ Together ~ Paul Gonsalves | By Eddie Carter 

I confess to a fondness of the tenor saxophone among my favorite Jazz instruments. Gettin’ Together (Jazzland JLP 36/JLPS 936S) is a 1961 release from the library for this morning’s report. Paul Gonsalves was a proficient tenor saxophonist whose sound and style stood beside Chu Berry, Don Byas, and Coleman Hawkins. Paul, however, was no imitator; he was an original pioneer who began experimenting with different tonalities years before Coltrane started conducting his tonal investigation. He’s best known for the electrifying extensive solo of twenty-seven choruses on Diminuendo and Crescendo in Blue at The Newport Jazz Festival in 1956. It immortalized him as an outstanding musician and resulted in one of the biggest-selling albums, Ellington at Newport. Here, he’s working with Nat Adderley on cornet, Wynton Kelly on piano, Sam Jones on bass, and Jimmy Cobb on drums. My copy is the 1985 Original Jazz Classics Stereo reissue (Jazzland OJC-203 – J-936).

Side One opens with Yesterdays by Jerome Kern and Otto Harbach. The rhythm section introduces the song gracefully. Gonsalves states the melody, then blends beautifully with Adderley’s muted cornet as the theme unfolds. Kelly opens at a softly enunciated swing. Adderley follows with a whispery, delicate reading exhibiting tender restraint. Gonsalves saves the best for last with two choruses of persuasive gentleness. J. & B. Blues by Joe Livramento turns the temperature upward with a speedy opening chorus. Paul starts with an energetic interpretation. Nat unleashes high-octane virtuosity in the following reading, and Kelly cooks on a passionately swift statement. Cobb blazes through the closer, standing out like a beacon with confident brilliance revealing the marvelous interaction he shares between Gonsalves and Adderley, who trade melodic phrases with Jimmy before the theme’s reprisal and abrupt end.

I Surrender Dear by Harry Barris and Gordon Clifford, the first of three quartet numbers, is next. Paul opens with a luxuriously fine presence. The trio joins him, providing the well-constructed foundation underneath Paul’s elegant melody and opening chorus. Kelly responds with a short, tenderly expressive reading presented with proficient taste and poetic sensibility to the incredible warmth from Jones and Cobb’s lush supplement. The first side closes with Gonsalves’ Hard Groove. A cooker launched by a fierce introduction by Cobb before the ensemble’s at a cracking pace. Gonsalves provides the concentrated heat with a scintillating opening statement. Adderley returns to the mute and sparkles on a glowingly hot reading of relentless voracity and fiery enthusiasm. Kelly follows with passionate confidence that raises the temperature for the horns, who return for a few irresistibly explosive riffs before the quintet returns to the closing theme and song’s finale.

Low Gravy, the first of two tunes by Babs Gonzales, kicks off Side Two. This blues establishes the quintet’s ability to change gears while retaining a lyrically innovative beat. The trio begins the introduction; the horns invite the listener to join this bluesy quest at a tranquil tempo. Gonsalves leads off with a firm-toned, folksy tenor solo that’s as smooth as butter on toast. Adderley returns to the open cornet and compliments the leader with some down-home cooking, an excellent display of his rhythmic subtlety and endearing depth of emotion. Kelly continues the laid-back pace on the third interpretation, capturing the character of this music very well with a groovy lick and phrasing so clear it’s velvety soft, and rhythmically moving. Jones ends the solos with an alluring, innately graceful performance in the song’s final statement that concludes with a sensuously moving ending.

I Cover The Waterfront by Johnny Green, and Edward Heyman shows off Gonsalves in one of his favorite tunes to play. This evergreen begins with a cascading flow of notes from Kelly’s piano ahead of a peerless display of sensitivity in Paul’s melody and soothing lead solo. Kelly gives an elegantly tasteful reading that relishes the song’s characteristic beauty. The title tune, Gettin’ Together, by Babs Gonzales, returns the quintet to a lively beat and opens with a memorable melody by the ensemble. Adderley solos first on the open cornet and is most robustly resourceful on the crisp, biting opening statement. Kelly skillfully makes a pertinent comment about unrestrained excitement in the following reading. Gonsalves peppers the closing statement with lively choruses of strength and assurance that meticulously soar over the rhythm section.

The album’s closer is Walkin’, by Richard Carpenter, best known as one half of the sibling Pop Vocal duo The Carpenters. The quartet opens with an aggressive introduction to get this speedy ride started. Gonsalves launches the solos with a blisteringly hot reading, steering an excellent course for Kelly to follow. He continues to surprise with a vigorously spicy presentation. Cobb also gets a chance to stretch out on the closing statement with an impeccably resilient sense of time before the theme’s return and Cobb’s fueling the energetic emotion of the quartet to the sudden finale. Gettin’ Together by Paul Gonsalves is exceptionally presented by this talented quintet and excellently recorded by Bill Stoddard. It’s also a record I’m sure will be able to provide many hours of enjoyable listening as a handsome addition to your jazz library.

~ Ellington at Newport (Columbia CL 934/CS 8648) – Source: Discogs.com ~ Yesterdays, I Surrender Dear, I Cover The Waterfront, Walkin’ – Source:JazzStandards.com, Wikipedia.org © 2023 by Edward Thomas Carter

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That’s The Way It Is ~ Milt Jackson Quintet Featuring Ray Brown | By Eddie Carter

One of my favorite musicians, Milt Jackson, steps into the spotlight with a live date for this morning’s subject. After listening to it, I thought it would be good to discuss. That’s The Way It Is (Impulse – ABC Records AS-9189) is the first of two albums The Milt Jackson Quintet recorded in performance over two August nights at Shelly’s Manne-Hole in 1969. The companion album is Just The Way It Had To Be, and both records hit the stores a year later. Teddy Edwards on tenor sax, Monty Alexander on piano, Ray Brown on bass, and Dick Berk on drums complete the ensemble. My copy is the original 1970 US Stereo release.

The quintet begins its set with Frankie and Johnny. Monty begins the introduction, then steps aside for Ray, who provides the first two choruses of the melody. Teddy is up first and swings nicely on the opening solo; next, Milt speaks with the sweetest of sounds. Monty compliments his colleagues with ease before Ray’s theme reprise and soft ending. Here’s That Rainy Day by Johnny Burke and Jimmy Van Heusen is a quartet feature for Milt and the rhythm section. It begins with a tender dialogue between Jackson and Alexander that grows into the quartet’s pretty theme. Milt combines tenderness and warmth in the song’s only solo for one of his most profoundly moving and lyrical performances preceding the gentle climax.

Wheelin’ and Dealin’ by Teddy Edwards takes off quickly from Monty’s introduction. Teddy picks up the pace for a quick run through the theme and brisk opening chorus. Milt swings into an enthusiastic interpretation, then Monty neatly summarizes the solos with an exhilarating turn leading to the ensemble’s speedy finish. Side Two starts with a Ray Brown creation, Blues In The Bassment. The bassist begins the song with a tasteful introduction that blossoms into a two-instrument melody with Berk. Edwards steps up first to deliver a delightful feast for the ears on the lead reading. Jackson unfolds an inspired presentation next, and Alexander adds a fitting summation that proceeds to the closing chorus and subtle ending.

Up next is Tenderly, by Walter Gross and Jack Lawrence. Ray is the featured musician in this quartet performance. He begins with an extended introduction and the first of two gorgeous readings, and Milt takes a brief moment to shine delicately in a short statement. Ray concludes his second solo with a sensuously beautiful interpretation culminating with the audience’s ovation. The evening ends with the title tune, That’s The Way It Is, by Monty Alexander. This soulful blues begins with Monty’s succulent introduction and segues into the ensemble’s collective theme. Jackson, Edwards, and Alexander provide three soul food dishes with band introductions by Milt, who also thanks the audience before they wrap it up.

Ed Michel produced both That’s The Way It Is and its companion album, Just The Way It Had To Be. Wally Heider was the recording engineer for both nights. The album’s sound quality is quite good, with a ‘you are there’ feel. The musicians are in fine form throughout, and the addition of Ray Brown makes this date a fantastic live session to listen to and enjoy. If you are a fan of Milt Jackson, I invite you to check out, That’s The Way It Is by The Milt Jackson Quintet Featuring Ray Brown. The album is an enjoyable listening experience and is worth considering for your library the next time you’re out vinyl shopping!

~ Just The Way It Had To Be (Impulse – ABC Records AS-9230) – Source: Discogs.com ~ Here’s That Rainy Day, Tenderly – Source: JazzStandards.com © 2023 by Edward Thomas Carter

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