Requisites

No Blues ~ The Horace Parlan Trio | By Eddie Carter

There’s nothing I enjoy more than listening to a piano trio album and that’s what prompted this morning’s discussion. The Horace Parlan Trio steps into the spotlight with their 1976 album, No Blues (SteepleChase Records SCS-1056). Horace was born in Pittsburgh, Pennsylvania, and was stricken with polio as a child, partially paralyzing his right hand. As a result, he developed a left-hand chord-voicing style and an ability to play with the right hand effectively. Parlan was discovered by Charles Mingus and spent two years with his Jazz Workshop. Over his lengthy career, he recorded with some of the elite musicians in jazz as a leader and sideman. On this date, Horace is joined by a burning rhythm section, Niels-Henning Ørsted Pedersen on double bass, and Tony Inzalaco on drums. The copy used in this report is a friend’s original Danish Stereo release.

Side One gets underway with the trio’s mid~tempo theme on Miles Davis’ No Blues. Horace swings blissfully into the opening solo with flawless execution. Niels-Henning bounces into the second statement with efficient ease, and Tony executes some nifty drumming in a conversation with the piano ahead of the threesome’s reprise and exit. My Foolish Heart by Victor Young and Ned Washington is one of the prettiest jazz standards in The Great American Songbook. Parlan has the solo showcase to himself and applies an equal amount of warmth and tenderness with Pederson and Inzalaco gracefully moving in the background towards a gentle ending. The tempo moves up rapidly for Richard Rodgers and Lorenz Hart’s Have You Met Miss Jones? Tony takes flight first on a brief intro, then Horace kicks off the melody swiftly. Parlan and Inzalaco make it a brightly swinging affair with two energetic readings before the close.

A Theme For Ahmad is Horace’s very moving tribute to Ahmad Jamal. As the song’s only soloist, he gives an elegant performance that’s quite beautiful with Niels-Henning and Tony adding their subtle support into a gorgeous finale. Side Two starts with one of the best-known tunes by Randy Weston, Hi-Fly. Parlan begins with a very pretty introduction segueing into the threesome’s laid-back and tasty opening chorus. Horace takes the lead and swings easily with sprightly notes, then Tony adds a short soulful statement ahead of the ending theme. Up next is a beautiful song by Austin Wells, West of Eden. The rhythm has a bouncing beat and tropical flavor that the ensemble portrays on the melody. Parlan has the only solo spotlight again and gives a delightful interpretation preceding the group’s slow disappearance into nothingness.

The pace picks up for the album’s closer, Holy Land by Cedar Walton. The trio gets into a good groove from the outset of the melody. Horace gives a vivid impression with a fleet lead reading, then Niels-Henning keeps things moving with a joyful excursion into the trio’s reprise and exit. No Blues was produced by Nils Winther and the recording engineer was Freddy Hansson. The sound quality is crystal-clear with superb fidelity that’s audiophile class and the interaction between the trio is exceptional. If you’re a fan of jazz piano or are just discovering Horace’s music for the first time, I invite you to audition No Blues by The Horace Parlan Trio for a spot in your library. It’s an album of beautiful music that’s sure to please your ears with each listen!

~ Darn That Dream, My Foolish Heart, Have You Met Miss Jones? – Source: JazzStandards.com ~ Hi-Fly – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

All Night Long ~ The Prestige All-Stars | By Eddie Carter

This morning’s choice from the library is a recent acquisition I’ve been hunting for since it was reissued as part of The Prestige Mono Series. It’s a swinging Fifties jam session that was originally released in 1957 by The Prestige All-Stars. All Night Long (Prestige PRLP 7073/PRST 7289) brings together a first-class ensemble, Donald Byrd on trumpet, Hank Mobley on tenor sax, Jerome Richardson (tracks: A1, B1 to B3) on flute, and (track: A1) on tenor sax, Mal Waldron on piano, Kenny Burrell on guitar, Doug Watkins on bass, and Art Taylor on drums. My copy used in this report is the 2012 Analogue Productions Mono audiophile reissue (APRJ 7073 – PRLP 7073).

Side One opens with Kenny Burrell’s All Night Long occupying the entire side. Art kicks off the song with an infectious beat. Kenny starts the opening solo with exquisite execution. Jerome’s flute flows with a happy feeling on the first of two statements. Hank takes us on a carefree joyride in the next reading, then Donald speaks his peace with a stellar presentation. Jerome resurfaces on tenor for a sparkling performance, and Mal gives a soulful effort on the next interpretation. Art follows with a brief exchange with the principal soloists before the group takes the song out. Side Two starts with the first of two tunes by Hank Mobley, Boo-Lu. Richardson sets the mood of this happy groove on the melody and opening chorus. Burrell, Byrd, Mobley, and Waldron follow with four short solos ahead of the reprise and close.

Flickers by Mal Waldron suggests a homage to the movies. It begins with the ensemble’s collective mid~tempo theme. Jerome is up first and shines with a light-hearted warmth. Donald and Hank follow with one easygoing reading each, then trade a few feisty riffs. Kenny turns in a tasty performance next and Mal applies blues-rooted energy to the finale leading to the closing chorus and Doug’s slow fade into oblivion. Mobley’s Li’l Hankie comes at you at medium speed with the ensemble in unison on the melody. Hank leads off the solos with a marvelous interpretation. Donald delves into the second reading on muted trumpet mining a vein of musical riches. Kenny tells a short story that makes every note count on the third statement. Jerome lights a fuse of creative inspiration on the next performance, followed by a stimulating conversation between the front line, Waldron, and Richardson ahead of the ending theme.

Bob Weinstock supervised the original album and the man behind the dials was Rudy Van Gelder. Kevin Gray did the remastering from the analog tapes. The record has a flat-edge and deep groove on the label like the original release, and the album cover has a high gloss. This reissue was pressed on 200-gram audiophile vinyl by Quality Record Pressings. The soundstage is outstanding, transporting the musicians to your listening room and the record is silent until the music starts. Burrell, Byrd, Watkins, and Taylor also appear on the companion album, All Day Long, recorded just a few days after this date. If you’re a Hard-Bop fan and are looking for an album with superb musicianship, I can’t think of a better choice to introduce you to The Prestige All-Stars than All Night Long! It’s a gorgeous recording that’s highly recommended and well worth adding to your library!

~ All Day Long (Prestige PRLP 7081/PRST 7277) – Source: Discogs.com © 2022 by Edward Thomas Carter

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Requisites

Johnny Griffin Sextet | By Eddie Carter

This morning’s discussion is the 1958 album, Johnny Griffin Sextet (Riverside RLP 12-264). Griffin began his career in the forties, playing the alto sax until joining Lionel Hampton’s Orchestra after graduating high school. Hampton urged him to play the tenor sax, and he did in the band until 1947. Johnny also played with Art Blakey, The Kenny Clarke-Francy Boland Big Band, Eddie “Lockjaw” Davis, and Thelonious Monk.

He made three albums for Blue Note and recorded for a variety of labels as a leader and sideman. Griff was nicknamed The Little Giant for his diminutive size but possessed a robust sound that produced riveting solos effortlessly. Donald Byrd on trumpet, Pepper Adams on baritone sax, Kenny Drew on piano, Wilbur Ware on bass, and Philly Joe Jones on drums complete the sextet. My copy used in this report is the 1974 Japanese Mono reissue (Riverside SMJ 6285) by Victor Musical Industries.

Side One opens with Stix’ Trix by Wilbur Campbell. A lively introduction by Philly precedes the ensemble’s feisty opening chorus. Kenny takes the first solo and gives a vigorously spirited performance. Pepper states his case on the second reading, then Donald follows in fine form on the next statement. Philly picks up the baton with some exciting brushwork, and Johnny gives a vivacious finale into the sextet’s reprise and conclusion.

What’s New? by Bob Haggart and Johnny Burke begins with a thoughtfully tender introduction and gentle melody by Griff. The saxophonist’s opening solo is beautifully constructed and poignant. Byrd and Adams split the next chorus with two pensive performances. Drew executes an elegant touch on the next interpretation, then Griffin returns for a few more intimate thoughts before ending with a sultry, seductive exit.

The first side ends with Dizzy Gillespie’s tribute to Woody Herman, Woody ‘n’ You. It starts with a lively conversation between Johnny and Philly. The rhythm section joins them for a cheerfully spirited theme, then Wilbur kicks off the solos with a rousing unaccompanied reading. Kenny delivers a dynamic performance on the next statement. Griff is up next with an interpretation that swings soulfully, and Philly generates an electrical charge ahead of the ensemble’s vigorous closing chorus.

Johnny G.G. by John Hines opens Side Two at a laid-back tempo for the sextet’s melody. Drew is up first with a smoothly flowing solo, then Griff carries the easygoing mood to a delightfully satisfying close. Byrd approaches the third reading with thoughtful construction and fluid lines. Adams delivers the next statement free and easy. Ware has a wonderful thing going into the closing chorus after sharing a final thought with Griff.

The finale is Catharsis, an upbeat swinger by Johnny Griffin that begins with a brisk collective theme and allows everyone solo space. Pepper takes off with rapturous enthusiasm on the opening statement. Donald creates an exuberant reading next. Kenny follows with a solo that’s like the cherry and cream on top of a succulent, tasty sundae. Johnny and Wilbur share the spotlight again on the next interpretation, then Philly has a short exchange with the front line leading to the closing chorus.

Johnny Griffin Sextet was originally recorded by Jack Higgins at Reeves Sound Studios, and the remastering by Victor Musical Industries has a spectacular soundstage. If you’re in the mood for a superb blowing session, I invite you to audition Johnny Griffin Sextet for a spot in your library. It’s forty-two minutes of some of the best Hard-Bop you’ll hear on a turntable and an enjoyable album I highly recommend!

~ A Blowing Session (Blue Note BLP 1559), Introducing Johnny Griffin (Blue Note BLP 1533/BST 81533), The Congregation (Blue Note BLP 1580) – Source: Discogs.com ~ Woody ‘n’ You, What’s New? – Source: JazzStandards.com © 2022 by Edward Thomas Carter

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Swiss Nights, Vol. 1 ~ Dexter Gordon Quartet | By Eddie Carter

The Dexter Gordon Quartet steps into the spotlight for this morning’s discussion with Swiss Nights, Vol. 1 (SteepleChase SCS-1050), the first of three albums recorded live at The Zürich Jazz Festival ’75. Dexter’s joined on stage by an all-star rhythm section, Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Alex Riel on drums. My copy used in this report is the 1976 US Stereo release (Inner City Records IC 2050). 

Side One starts with Gordon introducing the first number, an uptempo rendition of Tenor Madness by Sonny Rollins. The quartet launches the melody briskly, and Dexter gets things off to a rousing start on the lead solo. Kenny maintains the momentum on a swiftly paced performance next. Niels-Henning lays down a rocking beat on the third reading. Alex sizzles in a brief exchange with the leader ahead of the ending and the audience’s ovation.

Wave by Antônio Carlos Jobim is one of his most beautiful compositions. Jobim first recorded it as the title tune of his 1967 album. After Dex’s introduction, the rhythm section gently sets the mood for this bossa nova. Gordon shines brightly on the melody and cooks with conviction on the opening statement. Drew is up next with a delightfully creative interpretation, then Pedersen delivers a melodic, rich-toned reading. Gordon returns for a few final comments into the closing chorus. 

Side Two begins with Dexter quoting a few of the lyrics to announce You’ve Changed by Bill Carey and Carl Fischer. This is a poignant story beautifully told by the quartet with a delicately gentle melody. Dexter makes the opening solo his own with a glowingly tender performance. Kenny responds with an emotionally touching reading, then the leader returns for an especially moving closing statement that’s very nice.

The set ends with Days of Wine and Roses by Henry Mancini and Johnny Mercer. This old favorite is the title song from the 1962 film and the ensemble opens with an infectious opening chorus. Gordon is up first expressing pleasure on the first statement. Drew swings easily on the following interpretation, then Pedersen takes great delight on the next reading. Dexter reappears briefly preceding the quartet’s closing theme and exit. Swiss Nights, Vol. 1 was produced by Nils Winther. The recording and mixing engineer is Helmuth Kolbe. The album transports the listener to the festival with a solid soundstage that doesn’t disappoint and captures The Dexter Gordon Quartet in fine form. Now that I have Swiss Nights, Vol. 1 in my library, I’ll certainly be seeking out the two remaining volumes in this series. If you’re a fan of Dexter Gordon and love live jazz, this is one I highly recommend!

~ Swiss Nights, Vol. 2 (SteepleChase Records SCS-1090), Swiss Nights, Vol. 3 (SteepleChase Records SCS-1110), Wave (A&M records SP-3002) – Source: Discogs.com
~ Days of Wine and Roses, Wave – Source: JazzStandards.com
~ You’ve Changed – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

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It’s About Time ~ McCoy Tyner and Jackie McLean | By Eddie Carter

This morning’s discussion brings two jazz giants together for their only collaborative album. It’s About Time (Blue Note BT 85102) is a 1985 release by pianist McCoy Tyner and alto saxophonist Jackie McLean (tracks: A1 to A3, B1) that rekindles a sixties Hard-Bop or Post-Bop date and is one of the best kept secrets in both musician’s discographies. The supporting cast is a stellar one, Jon Faddis (tracks: A1, B1) on trumpet, Ron Carter (tracks: A1, B1, B2) on acoustic bass, Marcus Miller (tracks: A2, A3, B3) on electric bass, Al Foster on drums, and Steve Thornton (tracks: A2, A3, B3) on percussion. My copy used in this report is the 1985 US Stereo Full Digital Recording.

Side One opens with the first of five tunes from Tyner’s pen, Spur of The Moment begins with a lively opening chorus in unison. Jon opens the opening solo with tremendous fire and spirit, followed by Jackie who produces some commanding choruses on the second performance. McCoy cooks confidently on the finale with inexhaustible energy into the climax. You Taught My Heart To Sing is a beautiful ballad that’s a showcase for McLean who gives the melody and first solo a warm and moving treatment. Tyner is up next with a delicately gentle reading shadowed by Miller, Foster, and Thornton who anchor both soloists with gorgeous groundwork preceding McLean’s return for the reprise and Tyner’s quiet ending.

It’s About Time begins with a tropical flavor in its blood on a delightfully, feisty midtempo theme led by Jackie who also leads the solos this time with an effective groove, then McCoy follows with a perfectly crafted closing statement. Marcus and Steve provide the spicy compliment that keeps our fingers popping and toes tapping into the group’s soft fadeout. Side Two opens with Hip Toe, a mid~tempo swinger that starts with the front-line and Tyner cruising comfortably into the infectious opening chorus. McLean is up first and comes out swinging on a peppy reading. Faddis answers him with a sharp, zesty statement that builds to a satisfying conclusion. Tyner provides the exclamation point on an extremely happy closing solo before the theme’s return and disappearance.

No Flowers Please by Ron Carter is a trio performance of tranquil beauty that the bassist introduces thoughtfully. McCoy takes the first solo and paints an intimate portrait. Ron closes with a polite, considerate reading executed with fingertip delicacy leading to a tender climax. Travelin’ invites us to take a mid~tempo trip without leaving the comfort of our sweet spot. Miller is the highlight here and demonstrates some stellar bass playing on the opening solo after Tyner’s opening chorus propelled by the rhythm section and Thornton’s percussion. Tyner makes a very personal statement on the closing reading with a grand delivery that brings us safely home after this six-song journey into a gentle culmination.

It’s About Time was produced by Jeffrey Weber and was digitally recorded by Ron Saint German. The sound quality is superb with an outstanding soundstage and excellent stereo separation matching the exceptional interaction between the musicians. The music also flows smoothly and is reminiscent of a classic Blue Note recording of the late fifties or early sixties. If you’re a fan of McCoy Tyner and Jackie McLean, I invite you to audition It’s About Time at your earliest opportunity. It’s an album of wonderful jazz music deserving further investigation for a spot in your library!

© 2021 by Edward Thomas Carter

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