Requisites

Great Encounters ~ Dexter Gordon | By Eddie Carter

Dexter Gordon steps into the spotlight for this report with two sessions making up the album, Great Encounters (Columbia JC 35978). Side One consists of two tracks recorded live at Carnegie Hall on September 23, 1978. The three tracks on Side Two were recorded at CBS Recording Studios on May 1, 1978, and January 26, 1979. The personnel appearing with Dexter on this record are Woody Shaw on trumpet, Curtis Fuller on trombone, and Eddie Jefferson on vocals (tracks: B1, B3), Johnny Griffin on tenor sax (tracks: A1, B1), George Cables on piano, Rufus Reid on bass, and Eddie Gladden on drums.  My copy used in this report is the 1979 US Stereo album.

Blues Up and Down was written in 1950 by Gene Ammons and Sonny Stitt.  This tune is the epitome of the terms, “blowing session”, or “cutting session”, and was first heard on Battle of The Saxes. Both saxophonists begin the melody at a blistering speed. Dexter gives a lengthy performance rivaling the speed of Indy 500 race cars. Johnny responds with an amazing quickness on the next reading.  Dex and Griff continue sparring with each other vigorously until the climax.  Cake, a Gordon original, was written in 1962, premiering on his album Go, as Cheese Cake. The trio makes an efficient introduction, then both horns work together on the melody. Gordon goes first with a heated reading. Griffin delivers the second solo with the impact of a brick through a plate-glass window and Gladden has a brief conversation with both saxes into the close.  Both songs also appear on the CD album, Live at Carnegie Hall (1998).

The mood changes to start Side Two with a rollicking rendition of Gordon and Jefferson’s original Diggin’ In. The front line gets the party started with a lively introduction, then Jefferson stokes the engines with an impressive vocal melody and an exchange with Dexter on the lead solo. The saxophonist takes over for a jubilant reading that swings like mad. Woody comes in next to fuel the rhythm section with fire from his horn. Curtis gets the last word with an enthusiastic presentation. Ruby My Dear was written by Thelonious Monk in 1947 and appeared on Genius of Modern Music (1952). Lyrics were added by Sally Swisher for Carmen McRae who sang it on her tribute album, Carmen Sings Monk (1990). Gordon’s opening statement is picturesque, lovely, and elegantly presented. Cables expresses a haunting dreaminess on the second reading ahead of a gentle climax.

It’s Only a Paper Moon was written in 1933 by Harold Arlen, E.Y. Harburg, and Billy Rose.  The song starts on a joyous introduction by the trio segueing into the lively opening chorus by Dexter. Eddie creates pure pleasure in a vigorous vocal interpretation. Dex is inspired on the following statement, then Woody has a brief uptempo improvisation that’s especially gratifying. George communicates his excitement next on a short statement and Curtis hits a perfect stride with a concise comment before the ending. The choice of using Jefferson for this album happened when Dexter met up with him at The Tin Palace after performing at The Village Vanguard. My only regret is that he couldn’t be used for the entire album instead of just two tracks. Eddie was an innovator of Vocalese, his treatments of classic songs and ballads were fresh and exciting, possessing a tremendous fire and imagination.

Six months after this recording session, Eddie Jefferson was shot and killed after leaving Baker’s Keyboard Lounge in Detroit, Michigan on May 8, 1979, by a disgruntled dancer he fired. The engineers behind the dials on Great Encounters are Tom Arrison (tracks: A1, A2), Don Puluse (track: B1), and Jerry Smith (tracks: B2, B3).  The live and studio tracks are wonderfully recorded with a stunning soundstage that places the listener in the concert venue and the studio.  If you’re a fan of Dexter Gordon, Great Encounters is an underrated album of wonderful performances that I recommend for your library, and it might just become one of your favorites!

~ Vocalese – a musical composition consisting of the singing of melody with vowel sounds or nonsense syllables rather than text, as for special effect in classical compositions, in polyphonic jazz singing by special groups, or in virtuoso vocal exercises. Source: Dictionary.com

~ Battle of The Saxes (Prestige PRLP 107), Carmen Sings Monk (Novus 3086-1-N), Extensions (Atlantic SD 19258), Genius of Modern Music (Blue Note BLP 5002), Go (Blue Note BLP 4112/BST 84112), Live at Carnegie Hall (Columbia Legacy CK 65312) – Source: Discogs.com ~ Eddie Jefferson, It’s Only a Paper Moon, Ruby My Dear – Source: Wikipedia.org ~ © 2021 by Edward Thomas Carter

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Open House~Jimmy Smith | By Eddie Carter

During his time at Blue Note, any album by Jimmy Smith was considered something special to have in one’s library. Jimmy knew his instrument and his contributions to help popularize the Hammond B3 organ in Hard-Bop and Soul-Jazz are a notable achievement. Open House (Blue Note BLP 4269/BST 84269) was recorded in 1960 but remained shelved until 1968. The gentlemen joining Jimmy for this informal session are Blue Mitchell (tracks: A1, B1) on trumpet, Jackie McLean (tracks: A1, B1, B2) on alto sax, Ike Quebec (tracks: A1, A2, B1) on tenor sax, Quentin Warren on guitar, and Donald Bailey on drums. This lineup also appears on the companion album, Plain Talk, and my copy used in this report is the 1970 US Stereo reissue.

Side One starts with a visit inside Jimmy’s Open House. The ensemble builds the melody gradually with Jimmy alternating sections with the front line. Blue opens the lead solo with a relaxing informality, then Jackie takes over in low gear on the second reading, building steadily to a satisfying groove. Ike comes in next for a delightful interpretation and Jimmy wails on the closing statement preceding the ending theme and fadeout. Old Folks by Willard Robison and Dedette Lee Hill is one of the prettiest jazz standards ever recorded. It was composed in 1938 and Quebec gets the honors as the only horn, backed by the trio. Ike’s deeply thoughtful stating the pensive theme and also gives a tender first statement. Jimmy closes with a reflective comment before Quebec returns to take the song out with a tender ending.

The sextet begins Side Two with a visit to Jimmy’s Sista Rebecca. After a brief collective theme by the ensemble, Ike moves into a steady medium tempo on the opening chorus with the trio comfortably backing him. Blue follows, sailing smoothly with a sassy groove that’s sure to get the listener to snap their fingers and tap their toes. Jackie’s alto flows nicely on the third reading and Jimmy adds the final touch with some down-home country cooking leading to the theme’s reprise and fadeout. A pretty introduction and melody by McLean begins the 1928 song, Embraceable You by George and Ira Gershwin. The altoist creates a romantic atmosphere with a dreamy lead solo, then Jimmy briefly conveys a loving sentiment into an elegant ending.

Open House was produced by Alfred Lion and engineered by Rudy Van Gelder.  The good news is the musicians are excellent, the music features great solos from the principals and solid support from Warren and Bailey. The issue I have with the record is the microphone placement for Jimmy’s organ has a tone of harshness as he’s playing on two of the tunes (tracks: A1, B1). I think that’s the reason the album wasn’t released after the session was recorded. That issue aside, if you’re a fan of Jimmy Smith, Soul-Jazz, or enjoy jazz organ, I invite you to audition Open House for a spot in your library. It’s one of the albums deserving greater recognition and with a stellar supporting cast of Blue Mitchell, Jackie McLean, and Ike Quebec is worth the price of admission! ~ Plain Talk (Blue Note BST 84296) – Source: Discogs.com ~ Embraceable You, Old Folks – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Julie Is Her Name ~ Julie London | By Eddie Carter

This morning’s choice from the library is the debut album by Julie London.  She was a talented actress who starred in several forties and fifties Hollywood films, a sexy pinup model and nightclub singer with a stunning figure to match her luxurious voice.  Julie Is Her Name (Liberty LRP 3006/LST 7027), is a half-hour journey of intimate music that’s perfect to enjoy while unwinding after a long day or to help spark a romantic evening ahead.  Accompanying Julie on vocals are Barney Kessel on guitar and Ray Leatherwood on bass.  My copy used in this report is the 1955 US Mono reissue made at Capitol Records Pressing Plant in Scranton, Pennsylvania.  The second pressing turquoise labels are distinguished from the Deep Groove original by a small circle around the center hole on each side.

Side One starts with her biggest hit, Cry Me A River by Arthur Hamilton, a high school classmate.  Julie sings the lyrics with elegance and warmth as she turns the tables on a lover who hurt her and now finds himself the recipient of a broken heart.  Barney and Ray complement her with their subtle supplement into a gentle fadeout.  I Should Care by Sammy Cahn, Alex Stordahl, and Paul Weston was written in 1944, appearing in Thrill of a Romance, a year later.  The trio approaches the romantic theme efficiently.  Julie caresses the lyrics softly and tenderly, and Kessel has a lush interlude in between that’s seductively silky.  Barney and Ray lead the way into I’m In The Mood For Love by Dorothy Fields and Jimmy Hugh.  Julie reflects the song’s tenderness with deep sensitivity ahead of a gorgeous ending.

I’m Glad There Is You by Jimmy Dorsey and Paul Madiera is tailor-made for Julie’s provocative delivery of the lyrics.  Kessel and Leatherwood are splendidly entertaining in support before the trio’s lush climax.  Can’t Help Lovin’ That Man was first heard in the 1927 musical, Show Boat as Can’t Help Lovin’ Dat Man.  It’s one of Oscar Hammerstein II and Jerome Kern’s most famous songs.  The ensemble presents an exquisite example and Julie shows respect to the lyrics with a bluesy vocal interpretation that flows smoothly.  Cole Porter’s I Love You was introduced in the 1944 musical, Mexican Hayride.  The trio begins deceptively at a slow tempo before the pace moves upward and Julie turns loose a little gaiety on a swinging statement.

The second side gets underway with Say It Isn’t So by Irving Berlin from 1932.  Julie’s indelible opening chorus characterizes a sincere plea to the man she loves to reassure her that the rumor he no longer loves her and is planning to leave isn’t true.  Her haunting words are delicately expressed with Barney and Ray providing the gentle groundwork preceding a calm climax.  Up next is It Never Entered My Mind, a show tune that premiered in the 1940 musical, Higher and Higher.  This well-recorded standard from the pen of Richard Rodgers and Lorenz Hart speaks of loneliness, regret, and remorse.  Julie and Kessel make it an intimately personal duet that’s deeply poignant with an emotional emphasis on love and sorrow anyone can identify with.

Julie and her bandmates take a slow tempo trip to Easy Street next.  This jazz standard was written by Alan Rankin Jones in 1940 and transports us to a place where life is good, and people are comfortable, content, and happy.  Her lyrics are equally carefree and dreamy.  Barney and Ray augment the vocalist with a soft supplement and Barney gets a brief solo ahead of the close.  George & Ira Gershwin introduced S’ Wonderful in the 1927 musical, Funny Face.  It later became a popular jazz standard with many notable recordings. Kessel starts the song vigorously with an enthusiastic introduction segueing into a dazzlingly agile melody by Julie who then slows down to wrap up the song reinforced by Kessel and Leatherwood’s backing.

No Moon At All by David Mann and Redd Evans is a jazz standard that was composed in 1947.  It’s a romantic tune, and Julie beckons her lover like a siren with seductively sultry lyrics on the melody.  Barney and Ray accompany her as she plans a night of romance beginning with one kiss.  Laura by David Raskin and Johnny Mercer needs no introduction.  It’s a timeless 1944 standard that became a hit after the Film-Noir drama of the same name.  Julie sings the first chorus of the haunting melody without any accompaniment.  Kessel and Leatherwood add their serene support as her voluptuous vocals are profoundly moving into a gentle coda.  The finale, Gone With The Wind by Allie Wrubel and Herb Magidson is a passionately tender showcase by Julie and the duo who back her delicately into a graceful fadeout.

The Mono copy of Julie Is Her Name was produced by Bobby Troup (who would become her second husband) and engineered by John Neal.  John Kraus who also engineered albums on Atlantic, Capitol, Contemporary, Dot, Jazz West, and London worked on the Stereo reissue.  I was pleasantly surprised with the sound quality for a record nearly sixty-six years old, it’s quite good.  Julie’s vocals are seductive, and Barney Kessel and Ray Leatherwood respond with sheer beauty behind her.  The Capitol Records reissues have a misprint, the tracks are reversed on both sides.  The Side Two songs are on the Side One label and the Side One songs, on Side Two.  How this error was overlooked, I’ll never know, especially since Capitol uses the original Liberty pressing back cover, but that seems to be the only issue with my copy.

Torch singing became Julie’s specialty over her fourteen-year recording career, and she made thirty-one albums at Liberty, earning her the nickname, The Liberty Girl.  She also found success on television, becoming most famous for her portrayal of Dixie McCall on the series, Emergency for six years.  A chain smoker since she was sixteen, Julie suffered a stroke in 1995 and developed lung cancer a few years later.  She passed away from cardiac arrest at age seventy-four on October 18, 2000.  If you’re seeking some easy-listening, jazz vocals for your library, make a note to pick up Julie Is Her Name by Julie London on your next vinyl hunt.  It marks the beginning of a terrific jazz vocalist and is a lovely way to spend the evening with that special someone!

~Can’t Help Lovin’ That Man, Gone With The Wind, I Love You, I Should Care, I’m Glad There Is You, I’m In The Mood For Love, It Never Entered My Mind, Laura, ‘S Wonderful, Say It Isn’t So – Source: JazzStandards.com ~Cry Me A River, Easy Street, No Moon at All – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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This Is Buck Hill ~ Buck Hill Quartet | By Eddie Carter

My first choice from the library for April is by one of the hidden stars of jazz. His name was Roger Wendell Hill, but everyone would know him by his nickname Buck. Hill began his professional career as a musician in 1943 while working as a Washington D.C. mailman. Buck first worked with Charlie Byrd in the late fifties, later appearing on albums by Shirley Horn, Alan Houser, and Shirley Scott. He also performed with Miles Davis, Dizzy Gillespie, Max Roach, and Sonny Stitt but didn’t record as a leader until the late seventies. Buck also played the clarinet and soprano sax, but the tenor sax was his primary instrument. This Is Buck Hill (SteepleChase Records SCS 1095) is a 1978 release offering all the excitement and energy of an after-hours jam session. He’s working with an outstanding rhythm section, Kenny Barron on piano, Buster Williams on bass, and Billy Hart on drums. My copy used in this report is the 1978 US Stereo album.

Side One starts with Tokudo, an original by Buster Williams that the bassist would record again a year later on his album, Heartbeat. This tune begins at a brisk tempo for the melody, and everyone is afforded a solo opportunity. Buck delivers the goods with aggressive momentum on the first presentation. Kenny shifts into high gear on the next reading. Buster dips into a soulful groove on the third statement, and Billy gives a dazzling performance before the out-chorus. Yesterdays by Jerome Kern and Otto Harbach is one of the most recorded jazz and pop compositions since its creation in 1933. The group swings at a medium tempo on the main theme. Hill gradually builds the excitement on the first statement to a sensational climax. Barron offers a beautiful sentiment in the next reading. Williams swings to a groovy beat preceding a luscious ending.

A blistering introduction by Billy begins Oleo by Sonny Rollins. The foursome gets things underway with a very quick melody. Buck takes off like the Road Runner for a high-octane fast ride including three unaccompanied verses of white heat. Kenny powers the next interpretation with energetic exertion, then Billy has a final furious exchange with Buck culminating into a brilliant climax.

Side Two begins with the first of three selections by the leader. I’m Aquarius is a beautiful ballad that originally appeared in a suite on trumpet player Alan Houser’s 1973 album, No Samba.  It opens elegantly with a cascading flow of tenderness from Barron segueing gently into the melody with Hill directing the ensemble softly. The tenor remains tastefully restrained on the opening statement.  Kenny closes with a delicate sensitivity leading to a sultry coda.

S.M.Y. is a lively original possessing an irresistible beat exuding happiness from the first notes of the opening chorus. The saxophonist starts the ball rolling with some vigorous blowing. Kenny digs in for some good rocking jazz next, then Buck supplies an abundant supply of high-voltage current into the theme’s reprise. The album closes with Two Chord Molly, an uptempo tune allowing everyone except Hart to contribute lengthy readings. The trio lays down a swinging line on the introduction with Hill providing vast amounts of energy to the festive melody. Barron delivers an enthusiastically rigorous lead solo. Buster gets down to business next with an intense workout. Buck accelerates on the closer producing electrically charged notes. During Hill’s statement, you can hear someone commenting (I’m sure positively) on his performance.

The man behind the controls is Elvin Campbell, whose work can be heard on many jazz albums. This record is well recorded, and the highs, midrange, and bottom end are all very detailed with an excellent soundstage and crystal-clear clarity. Buck recorded three more albums for SteepleChase, Scope (1979), Easy To Love (1982), and Impressions (1983). Hill passed away at age ninety on March 20, 2017. You’d never suspect this was the quartet’s first recording together because the music is excellent, and their interaction is seamless. Buck also meets the challenge of writing good compositions with strong performances inspired by Kenny Barron, Buster Williams, and Billy Hart. On your next vinyl hunt, I’ll hope you’ll consider This Is Buck Hill for a spot in your library. He was a veteran jazzman who certainly deserves a place alongside the greatest to ever blow the tenor saxophone! ~ Easy To Love (SteepleChase SCS-1160), Heartbeat (Muse Records MR 5171), Impressions (SteepleChase SCS 1173), No Samba (Straight Ahead ARS 001), Scope (SteepleChase SCS 1123) – Source: Discogs.com ~ Oleo, Yesterdays – Source: JazzStandards.com ~ Alan Houser, No Samba – Source: Album liner notes by J.R. Taylor ~ Roger Wendell Hill, Tokudo, Heartbeat, Scope, Easy To Love, Impressions, Elvin Campbell – Source: AllMusic.com, Wikipedia.org © 2021 by Edward Thomas Carter

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Neo/Nistico ~ Sal Nistico | By Eddie Carter

This morning’s choice from the library is another recent acquisition that introduced me to tenor saxophonist, Sal Nistico. Salvatore was born on April 2, 1938, in Syracuse, New York, and began playing the alto sax, before switching to tenor in 1956. He also played baritone sax for a few years. Sal was a member of Count Basie’s and Woody Herman’s bands and also played with Nat Adderley, Chet Baker, Don Ellis, Curtis Fuller, Dusko Goykovich, Johnny Griffin, The Jazz Brothers Band, Buddy Rich, and Stan Tracey to name a few. Neo/Nistico (Bee Hive Records BH 7006) finds him leading a world-class sextet, Ted Curson on flugelhorn (tracks: A1, B3), trumpet (tracks: B1, B2), Nick Brignola (tracks: A1, B2) on baritone sax, Ronnie Matthews on piano, Sam Jones on bass, and Roy Haynes on drums. My copy used in this report is the original 1978 Mono release.

Side One takes off with Anthropology by Dizzy Gillespie and Charlie Parker set at a blistering pace with both saxes backed by Roy presenting the melody. Nick applies searing heat to the opening statement, then Ted gives a high-energy reading that ascends to an exciting climax. Sal sizzles like a firecracker about to explode on the third solo, and Ronnie stirs it all together in an exhilarating statement preceding the front-line’s exchange and ensemble’s abrupt close. The beat slows down for You Don’t Know What Love Is by Gene de Paul and Don Raye. The quartet opens with a sensuous theme. Nistico begins the first reading with a delicately elegant conversation. Matthews begins the second statement with a soothing, almost seductive quality that’s beautifully tender. Nistico swings briefly on a robust return culminating in a gorgeous ending.

The quartet continues with a brisk workout of Be My Love by Nicholas Brodsky and Sammy Cahn. It was written in 1949 for Mario Lanza who sang it in the 1950 film, The Toast of New Orleans. The trio makes a feisty introduction to Sal’s lively theme and enthusiastic lead solo. Ronnie follows with a jubilant reading, then Sam cuts into the next statement like a hot knife through butter.  Roy engages in a satisfying exchange with Sal that doesn’t stop swinging until the upbeat ending.  Blues For K.D. is a Nistico original written to honor trumpeter Kenny Dorham that charges out of the gate on a vigorous melody. The leader is up first and delivers a torrid solo, then Curson ignites a mighty fire with his trumpet.  Matthews keeps the flame burning next, and Haynes does some heavy cooking on the closer amid an interchange of ideas with all three soloists.

Sal’s Bambu is a festive tune he composed while playing around on the piano in Europe. It’s a danceable mix of Afro-Calypso and Latin that’s highly rhythmic, infectious, and fun. The solo order is Brignola, Curson, Matthews, Haynes, and all four soloists invite us to party with them until an abrupt halt. Fee-Fi-Fo-Fum by Wayne Shorter was first recorded by its composer on Speak No Evil (1966). The quintet starts with a stroll on the opening chorus at a leisurely tempo. Nistico starts the first solo conveying a light mood that’s joyously carefree and happy.  Curson begins the next reading with an easy-going attitude, building steadily into an enjoyable groove. Matthews adds a great finishing touch with a briskly efficient finale cooking over a mild flame from Jones and Haynes ahead of the quintet’s closing chorus.

Neo/Nistico was produced by Joe Neumann, founder of Bee Hive Records, and engineered by Fred Norsworthy. I was very impressed with the record’s sound quality. It has an excellent soundstage with crystal-clear highs, a sharp midrange, and solid bass. Sal’s career as a musician lasted nearly three decades, and he spent a lot of time performing in Europe. He passed away on March 3, 1991, at age fifty-three. If you’re a fan of the tenor sax, Post-Bop, or are just discovering him as I have, I offer for your consideration, Neo/Nistico by Sal Nistico, an album of six performances that sparkle and swing from start to finish.  I’m very happy I found it and have it in my library.  After one audition, I’m sure you’ll feel the same!

~ Speak No Evil (Blue Note BLP 4194/BST 84194) – Source: Discogs.com ~ Anthropology, You Don’t Know What Love Is, Be My Love – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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