Requisites

Red Garland at The Prelude | By Eddie Carter

This morning’s discussion is by one of my favorite pianists. Red Garland at The Prelude (Prestige PRLP 7170) is the first of three live albums, plus a fourth containing two live tracks documenting a single night’s performance by The Red Garland Trio. The other LPs are Lil’ Darlin’ (1959), Red Garland Live! (1965), and Satin Doll (1971). Red is supported on this date by Jimmy Rowser on bass, and Charles “Specs” Wright on drums. My copy used in this report is the 1978 Prestige Jazz Masterpieces Series Japanese Mono reissue (Prestige SMJ-6581). The album gets underway with Satin Doll by Duke Ellington, Johnny Mercer, and Billy Strayhorn. The trio opens with an irresistible toe-tapping beat on the melody. Red is up first and picks up the pace with a lively opening solo, then engages in a cheery conversation with “Specs” ahead of the group’s vibrant ending.

The crowd has only a moment to catch its breath before the ensemble jumps into a vigorous rendition of Perdido by Juan Tizol, Ervin Drake, and Hans Lengsfelder. In Spanish, the title means lost, but Juan’s tune is named for the New Orleans street. Garland takes charge from the opening chorus and chews up even more terrain on the first solo. Wright has a short statement and reappears during the climax. The group turns to a popular song from the 1942 film Iceland next, There Will Never Be Another You by Harry Warren and Mack Gordon. The trio takes us to a happy place on the melody and everyone gets a solo opportunity. The pianist takes off first, providing scintillating energy on the opening statement. Jimmy comes in next and walks his bass with authority, and “Specs” has the final word in an effervescent exchange with Red preceding the trio’s exit.

popular standard, Bye Bye Blackbird by Ray Henderson and Mort Dixon brings the first side to a close with a marvelous rendition by the trio. Garland was a member of the Miles Davis Quintet when he recorded it on Round About Midnight (1956). The trio is magical on the melody, and Red begins with a thrilling interpretation inspired by the rhythm section’s backing. Rowser follows with a short statement that’s joyous and carefree before Red returns to take the song out. Side Two starts at a speedy pace with Let Me See by Count Basie, Harry “Sweets” Edison, and Jon Hendricks. Red flies out of the gate rapidly on the song’s theme, then continues swinging hard on an energized opening solo. Jimmy soars into the next presentation swiftly, and “Specs” shares a second heated discussion with Red leading to the threesome’s quick finish.

Prelude Blues is the pianist’s contribution to the set and slows things down for him to have the solo spotlight to himself. Garland delivers a reading as succulent as soul food with Rowser and Wright adding the tasty ingredients to make this delicious meal complete. Just Squeeze Me by Duke Ellington and Lee Gaines brings the beat back to midtempo and the group swings easily on the melody. Red gets the most solo space and does the tune justice with a statement of sheer delight. Jimmy is heard briefly during the closing chorus. This set ends with a vivacious rendition of Count Basie’s theme, One O’Clock Jump. Red and “Specs” bring the song to life with a short introduction, then the pianist attacks the only solo with an intense groove while Rowser and Wright maintain the aggressive beat until the climax and the trio’s short signoff.

Red Garland at The Prelude was originally recorded by Rudy Van Gelder, and Victor Musical Industries has done a superb job mastering the original tapes. The album has a marvelous soundstage with a great definition from each instrument that transports your listening room to the club as the trio is on stage. Now that I have this record in my library, I’ll be on the hunt for the other three to complete the entire night’s performance. If you’re a fan of Red Garland, I invite you to audition Red Garland at The Prelude for a spot in your library. If you love jazz, this is an album you should treat yourself to!

~ Lil’ Darlin’ (Status Records ST 8314), Red Garland Live! (Prestige New Jazz NJLP 8326), Round About Midnight (Columbia CL 949/CS 8649), Satin Doll (Prestige P-7859) – Source: Discogs.com

~ Bye Bye Blackbird, Just Squeeze Me, One O’Clock Jump, Perdido, Satin Doll, There’ll Never Be Another You – Source: JazzStandards.com © 2022 by Edward Thomas Carter

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The Chase ~ Gene Ammons & Dexter Gordon | By Eddie Carter

Throughout the chronicles of jazz, there have been many great tenor sax duos who have recorded some legendary battle albums that are among some of the greatest records ever made. Gene Ammons and Sonny Stitt, Arnett Cobb and Buddy Tate, Al Cohn and Zoot Sims, Dexter Gordon and Wardell Gray, Coleman Hawkins and Don Byas, Illinois Jacquet and Lester Young to name a few. This morning’s choice from the library is an exciting live date by Gene Ammons (A1, B1, B2) and Dexter Gordon (A1, A2, B1). The Chase (Prestige PRST 10010) was recorded live at the North Park Hotel before an enthusiastic audience on the afternoon and evening of July 26, 1970, during Gordon’s cross-country tour. The quintet is anchored by Jodie Christian (A1, B1), John Young (A2, B2) on piano, Rufus Reid (A1, B1), Cleveland Eaton (A2, B2) on bass, Wilbur Campbell (A1, B1), Steve McCall (A2, B2) on drums, and Vi Redd (B1) on vocals. My copy used in this report is the original 1971 Stereo album.

Side One opens with the title tune, The Chase is Dexter Gordon’s uptempo tribute to the great tenor duels beginning with a high-spirited, energetic theme. Dexter has the lead solo and produces an exceptionally high level of creativity including his famous big top circus quotes. Gene delivers an aggressive workout on the next reading, then Jodie swings strongly on a brief statement. Wilbur gets the final word in a vigorous conversation with both horns into the lively finale. Polka Dots and Moonbeams by Jimmy Van Heusen and Johnny Burke is a quartet tune with Young, Eaton, McCall, and Dexter as the solitary horn. The quartet starts with a slow-paced, sensuous melody by Gordon, who picks up the pace slightly on the subtly stated first solo. Young follows with a luxuriously, lovely statement, then Dexter delivers a few more rhythmically relaxing verses into the elegant ending and appreciative approval of the audience.

Lonesome Lover Blues is a mid tempo reworking of Blowing The Blues Away by Billy Eckstine and George Valentine. Both Gene and Dexter decided to do a new vocal version utilizing the talents of Vi Redd who was in the audience during their set. Vi gives the crowd and listener an imaginative improvised vocal with Christian, Reid, and Campbell returning to the stage. Gordon and Ammons exchange a few choruses before Dexter takes an extended interpretation. Gene gets busy on the next performance and Jodie lays down a soulful groove preceding both horns returning for the finale. The Happy Blues by Art Farmer debuted on Hi Fidelity Jam Session (1956), and Gene is the lone horn backed by Young, Eaton, and McCall. John opens with a swinging solo segueing into Gene’s invigorating opening chorus and first statement. Cleveland takes a short reading before the quartet’s vivacious finale and the crowd’s ovation.

The Chase was produced by Joe Segal, founder of The Jazz Showcase and one of the best places to hear jazz in Chicago. The man behind the dials is Leon Kelert who has worked on blues and jazz albums for Blackbird, Delmark Records, and G.H.B. Records. The sound quality on the album is quite good with the instruments providing an impressive treble, midrange, and bass soundstage that transports the listener to the audience as each performance is happening. Dexter Gordon is at his peak, and Gene Ammons is in exquisite form throughout. The stellar musicianship of their bandmates makes The Chase a splendid choice to add to your jazz library and well worth the listening time, once you do!

~ Hi Fidelity Jam Session (Prestige PRLP 7039/PRST 7654) – Source: Discogs.com ~ Polka Dots and Moonbeams – Source: JazzStandards.com © 2022 by Edward Thomas Carter

*The remastered cd added two bonus tracks not on the original album ~ Wee Dot & Ballad Medley

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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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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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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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