Requisites

Blowing In From Chicago ~ Cliff Jordan & John Gilmore | By Eddie Carter

As a youngster discovering this music, I was always captivated by jazz’s unique and spontaneous nature, particularly the ‘blowing session’ or ‘jam session.’ These impromptu performances, where musicians control the flow of musical ideas from moment to moment, are a testament to the music’s excitement and unpredictability. Whether in a live setting at a club, concert, or jazz festival or captured in a studio session, jazz’s enthusiasm, vitality, and freedom are always present.

This morning’s choice from my library is an excellent LP from 1957 by two tenor saxophonists who made significant impressions in jazz, Clifford Jordan and John Gilmore. Their only album as co-leaders is titled Blowing In From Chicago (Blue Note BLP 1549), which signifies their roots in the vibrant jazz scene of Chicago. The quintet has an excellent rhythm section consisting of Horace Silver on piano, Curly Russell on bass, and Art Blakey on drums. My copy is the 1983 Pathé Marconi-EMI French Mono reissue, sharing the original catalog number. Before I proceed, let me state that this is not a DMM (Digital Metal Mastering) pressing.

The album opener, Status Quo, is a lively tune by John Neely, with both horns leading the charge through the uptempo melody. John rips into the opening solo, aggressively slicing through each verse like a sharp blade. Clifford joins him next in a short exchange, then takes off with a supercharged reading. Horace shifts into high gear on the third statement with a blazing swiftness that’s equally inspired and scintillating. Art engages in a brief conversation with both horns, then brings the solos to a close with an electric performance illustrating his incomparable artistry before the ensemble returns to the theme and quick stop. The first of two originals by Jordan follows.

Bo-Till slows the tempo to a laid-back pace with a Latin flavor. After a short introduction by the trio, the quintet states the theme collectively, stepping aside for Jordan, who makes a profound impression with a beautifully conceived statement displaying a great tone throughout. Silver gets into the groove next with an incredible, smooth reading, one of his best on the album. Gilmore delivers the closing choruses of the song proficiently with meticulous execution. Blakey constructs a concise comment during the ensemble’s end theme and close.

Blue Lights by Gigi Gryce is a catchy tune that opens with the quintet laying down a gorgeous medium beat on the theme and gives everyone a solo opportunity. John steps into the spotlight with a spirited performance. Horace follows with notes of undeniable pleasure in one of his most robust solos. Clifford weaves his way through the next musical improvisation with astounding skill. Curly puts together a condensed reading that walks for one chorus with solid bass lines. Art breezes into a straightforward interpretation that culminates into a splendid summation of the first side.

The second side gets underway with Charlie Parker’s Billie’s Bounce, which gives everyone except Russell a lengthy solo canvas on which to work. Blakey begins with a high-voltage introduction that sets the pace for the following fiery quintet theme. Clifford packs a mighty punch on the opening statement with a fire-breathing showcase, preceding John, who exhibits a robust attack on the subsequent interpretation with extremely hot choruses. Horace takes over next for a scintillating performance, taking his piano on a sizzling uptempo ride. Both horns exchange a few riffs with Art before the drummer gives an unaccompanied propulsive exhibition into the ending theme.

Clifford’s second original is a blues titled Evil Eye, which eases the throttle back from the previous burner to a medium pace with a collective melody by the quintet. Jordan opens the solos with a series of choruses that are smooth and well-structured. In the following presentation, Gilmore shows that he can also interpret blues with plenty of soul, which develops nicely. Silver delivers a lightly swinging performance that expresses pleasure as he moves masterfully through each chorus. Both horns return to share a few more thoughts. Blakey makes a short statement preceding the theme’s reprise and finish.

The album’s final track is Everywhere, a mid-tempo original by Horace Silver, which I believe made its debut on this album. It opens with a simple opening melody by the ensemble in unison, and the solo order is Gilmore, Jordan, Silver, and Blakey. John takes the stage first with a bewitchingly delightful opening statement. Clifford makes his case with a captivating contribution that moves sprightly alongside the rhythm section’s groundwork drive. Horace takes over next, communicating his points well with a pronounced beat. Art puts the joyous exclamation point on the song and album with a compelling statement that leads the group back to the ending theme and close.

Clifford Jordan recorded three albums for Blue Note; the other two LPs are Cliff Jordan and Cliff Craft. He played and recorded with many elite jazz musicians, including Charles Mingus and Max Roach. Clifford also enjoyed success recording as a leader and sideman, and in my opinion, his discography is well worth investigating. He remained in demand over the next three decades and toured worldwide. His final album was a 1992 live recording at Condon’s in New York City for Milestone, where he performed with his big band, Down Through The Years. He lost his battle against lung cancer on March 27, 1993, at age sixty-one.

Blowing In From Chicago was the first of three appearances on Blue Note by John Gilmore. The other two were as a sideman on two of Andrew Hill’s LPs, Andrew and Compulsion. He began playing the clarinet at fourteen, then pursued a musical career after a four-year stint in the United States Air Force, where he took up and played the tenor saxophone. He began a forty-year term with Sun Ra in 1953 and recorded for various labels with his group, Sun Ra Arkestra. During this time, Gilmore also toured with The Jazz Messengers and recorded with Paul Bley, Andrew Hill, Pete LaRoca, McCoy Tyner, and Dizzy Reece. After Sun Ra’s death on May 30, 1993, Gilmore led the Arkestra for two years before his death from emphysema on August 20, 1995, at age sixty-three.

As for the music on Blowing In From Chicago, it’s fantastic, as are the solos on each track, and the sound quality of this reissue is exemplary. The instruments deliver an excellent soundstage throughout the treble, midrange, and bass that places your sweet spot in the studio with the musicians. It’s a cut above the average debut album and a title I recommend as a terrific addition to any jazzophile’s library, particularly if you’re a hard-bop fan or love a good “blowing session” or “jam session.”

~ Andrew (Blue Note BLP 4203/BST 84203), Cliff Jordan (Blue Note BLP 1565), Cliff Craft (Blue Note BLP 1582/BST 81582), Compulsion (Blue Note BLP 4217/BST 84217), Down Through The Years (Milestone MCD-9197-2) – Source: Discogs.com

~ Billie’s Bounce – Source: JazzStandards.com

~ John Gilmore, Andrew Hill, Clifford Jordan – Source: Wikipedia.org

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Requisites

In Action ~ J.R. Monterose and The Joe Abodeely Trio | By Eddie Carter

My next record from the library up for discussion is a little-known but highly sought-after 1964 studio album by tenor saxophonist J.R. Monterose and The Joe Abodeely Trio. In Action (Studio 4 SS 100) was recorded during a ten-month engagement at Iowa’s only jazz club at the time, The Tender Trap, which Abodeely owned. This album, with its historical significance in Monterose’s discography, is a unique release. There were only two hundred fifty original LPs made; fans could only purchase them at the cloakroom of the Cedar Rapids Jazz Club, and an original Mint pressing would cost a collector four figures or more. He was born Frank Anthony Peter Vincent Monterose, Jr. and the initials J.R. come from Jr.

Monterose began playing the clarinet at age thirteen, then took up the tenor sax two years later after hearing tenor man Tex Beneke, who was a member of the Glenn Miller Orchestra. The trio consists of Dale Oehler on the piano, Gary Allen on bass, and Joe Abodeely on drums. My copy is the 1983 U.S. Mono reissue (V.S.O.P. Records V.S.O.P. #1), a small record label known for its high-quality reissues of jazz LPs from the fifties and sixties. Waltz For Claire is a very pretty tune by J.R., starting with a cheerful theme. He continues with a blissful opening statement by the saxophonist, who communicates his feelings about the young lady with a charming performance. Dale takes the listener on a relaxing joyride in the closing solo ahead of the theme’s restatement and close.

I Should Care by Alex Stordahl, Paul Weston and Sammy Cahn premiered in the 1945 film Thrill of a Romance. The quartet begins with Monterose’s sensual sound of his tenor sax, delivering a delicate melody and then handling each note of the opening statement with tender, loving care. Oehler follows with a passionate performance packed with plenty of feeling before J.R. repeats the theme. That You Are, Monterose’s next tune, is a creative reimagining of All The Things You Are, a popular jazz standard. Monterose builds on the changes of the original with an upbeat, bright, bouncy theme. J.R. puts his thoughts into expressive verses first. Dave provides the exclamation point in an energetic solo, leading to the ending theme and fadeout.

The tempo moves upward to kick off the second side with Red Devil by Monterose, beginning at a brisk beat for the quartet’s theme. The saxophonist leads off with a flawless opening solo, and then Oehler dazzles on the finale with an imaginative flair. Lover Man by Jimmy Davis, Roger Ramirez, and James Sherman begins with a pensive melody by the foursome, segueing to J.R.s intimately warm interpretation. Dave responds with a delicately elegant and beautiful presentation. Monterose closes with a few final comments of exquisite softness anchored by Gary and Joe’s subtle supplement ahead of the tender close.

The final track is Monterose’s Herky Hawks, an uptempo tune that deceptively starts with a two-instrument conversation between the saxophonist and pianist at a slow tempo. This musical dialogue sets the stage for the rest of the piece. The discussion gradually builds in intensity, leading to a swift-moving speedy theme. This tune is a scorcher from the start, and the saxophonist turns the heat way up in the first of two solos. Dave attacks the next reading with aggressive fierceness, and then J.R. ends the album with a blistering final performance preceding the climax.

The recording engineers on this reissue are Dimitri Sotirakis and Myron Schiebel. Although there’s no information on either engineer, their work speaks volumes. They’ve done an excellent job with the sound quality of this album, bringing out the richness and depth of the music. The excellent sonics throughout the treble, midrange and bass complement the inspired performances by J.R. Monterose and The Joe Abodeely Trio, making In Action an underrated release deserving a spot in your jazz library!

~ Lover Man – Source: JazzStandards.com

~ I Should Care – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Requisites

The Final Tour: Copenhagen, March 24, 1960 ~ Miles Davis and John Coltrane | By Eddie Carter

In this morning’s discussion, I’m presenting an album by Miles Davis and John Coltrane from the library for your consideration. The Miles Davis Quintet performed at the distinguished Denmark venue, Tivolis Koncertsal, for the first time as part of The Spring 1960 Jazz at The Philharmonic European Tour. However, changes were on the way, as the album’s title suggests, The Final Tour: Copenhagen, March 24, 1960 (Columbia Legacy 88985498741). It would mark the end of an era as tenor saxophonist John Coltrane was looking to leave and start his group. The rhythm section, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums, would also leave to become The Wynton Kelly Trio.

Despite the underlying questions facing the trumpeter, the quintet’s three performances for the capacity audience that evening were brilliant and a highlight of the tour. To kick things off, Norman Granz, the master of ceremonies, introduced each man individually, with the crowd’s largest ovations reserved for Paul, John, and Miles. My copy is the 2018 European Mono Limited Edition reissue. With a few snaps of the leader’s fingers, the trio kicks off So What by Miles Davis with a short introduction segueing into Miles’ and John’s infectious melody, a captivating tune that immediately draws you in. Davis ignites the first solo with intense heat. John comes in next to dispense a bit of rhythmic fury, and then Wynton infuses the finale with jubilant enthusiasm ahead of the closing chorus and climax.

The pace slows to mid-tempo as the ensemble begins On Green Dolphin Street by Bronislaw Kaper and Ned Washington from the 1947 film Green Dolphin Street. The first part of this standard opens with the theme unfolding at a leisurely pace and Miles, on the muted horn, leading the way into a delightful opening statement. John soars cheerfully into a captivating, well-behaved performance. Part Two of On Green Dolphin Street starts on the second side, with Wynton cruising at a comfortable speed behind both horns in the following interpretation, as smooth as silk. Paul takes his first opportunity to solo with a brisk footnote on the closing statement that swings masterfully into the theme’s return and finale.

All Blues by Miles Davis affords the leader, John, and Wynton ample solo space. Paul gets things off to a good start with a concise introduction, leading to Miles’s carefree theme back on the muted horn. He removes it to begin the opening statement. John follows him with a relaxing interpretation that is as enjoyable as a day at the beach. Wynton sustains the easygoing pace with a gorgeous performance into the ending theme and soft summation. The closer is an incomplete take of Miles’ The Theme, a deliberate choice that signals the end of the set and album, lasting only thirty seconds until it fades to nothingness. The mastering of The Final Tour: Copenhagen, March 24, 1960, by Mark Wilder is a demonstration class and a great way to show off a mid-level or high-end audio system.

The vinyl is exceptionally quiet until the music starts, and the instruments have outstanding detail. This reveals an incredible soundstage with superbly presented music, thanks to jazz producer George Wein, Danish Radio and the Danish Programming Company, who originally recorded the shows for broadcast. This is my first LP from the We Are Vinyl series from Columbia-Legacy, and judging by its superb sound quality, it won’t be the last. If you’re a fan of either of these giants and are looking for a live jazz album where each musician is at the peak of their creativity. In that case, I enthusiastically invite you to check out The Final Tour: Copenhagen, March 24, 1960, by Miles Davis and John Coltrane. It’s an LP that merits serious consideration for any jazz fan’s library, and I am sure you’ll enjoy it!

~ On Green Dolphin Street – Source: JazzStandards.com

© 2024 by Edward Thomas Carter

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Requisites

Sound Pieces ~ Oliver Nelson | By Eddie Carter

My next record from the library is by Oliver Nelson, one of jazz’s finest arrangers, composers, and multi-instrumentalists, which is too good to leave sitting on the shelf. Few performances on LP ever reached the heights of his 1961 release, The Blues and The Abstract Truth, producing his biggest hit, Stolen Moments. Sound Pieces (Impulse A-9129/AS-9129) is one that did, and in the process, became one of the best albums in Nelson’s discography. What sets Sound Pieces apart is its unique combination of a large ensemble for three works of orchestral jazz on Side One and a quartet in a more intimate setting on Side Two. My copy is the original 1966 US Stereo release.

The personnel on this date are an all-star ensemble. John Audino (tracks: A1 to A3), Bobby Bryant (A1), Conte Candoli, Oliver Mitchell (A1 to A3), Al Porcino (A2, A3) on trumpet; Bill Byers (A2, A3), Dick Noel (A1), Ernie Tack (A1 to A3) on trombone; Red Callender (A2, A3) on tuba; Bill Hinshaw, Richard Perissi (A1 to A3) on French horn; Gabriel Baltazar Jr. and Bill Green (A1 to A3) on alto sax; Plas Johnson, Bill Perkins (A1 to A3) on tenor sax; Jack Nimitz (A1 to A3) on baritone sax; Oliver Nelson (A1 to B3) on soprano sax; Gabriel Baltazar Jr., Bill Perkins (A2, A3) on clarinet; Steve Kuhn (B1 to B3), Mike Melvoin (A2, A3) on piano; Ray Brown (A2, A3), Ron Carter (B1 to B3) on bass; Shelly Manne (A2, A3), Grady Tate (B1 to B3) on drums.

Sound Piece For Jazz Orchestra is an unforgettable story of music told in two main themes: the first one is a calm state of tranquility. The second is a searing portrayal originally written for The Stuttgart Radio Dance Band in 1963. The song opens with the bass clarinets sounding a commanding call and an exceptional utilization of brass and winds to announce the majestic chorus with strong statements. Originally written for alto saxophone, Oliver is featured on soprano sax and is the song’s only soloist in both sections. When the pace slows down to a softer tempo, he delivers a thoughtfully sensitive interpretation, caressing each phrase with the clarinets and horns discreetly in the background, culminating in a tender finale. The rhythm section shifts the song back to uptempo for the orchestra to restate the melody, stepping aside for Nelson, who gives an intense workout on the closer before the stunning finale.

Flute Salad is an original by Oliver Nelson that, as the title suggests, places the flutes in front, leading the orchestra in the animated opening and ending melodies. Conte Candoli is the featured soloist, and his muted horn delivers an air of assurance that flows sonorously with the brass section in support. The Lady From Girl Talk by Oliver was written for Actress Virginia Graham, who hosted Girl Talk, a syndicated program using this tune as her theme. The trombones announce the introduction before evolving into the orchestra’s full-bodied melody. Mike Melvoin begins a taut opening solo of rhythmic joy, illustrating his nimble hands at work. Oliver follows, his soprano moving gracefully with soulful precision on the closer for a compelling reading that is especially impressive.

The Shadow of Your Smile by Johnny Mandel and Paul Francis Webster is also known as Love Theme From The Sandpiper. Steve, Ron, and Grady join Oliver in presenting a Bossa Nova version, opening with the introduction as if the quartet is playing the standard at a slow tempo. The mood moves upward to a medium beat for the melody with an energetic swing led by Nelson. Steve charges the opening statement with mild energy and agile phrases, exhibiting the cohesive harmony between himself, Carter, and Tate. Oliver closes with an affectionate performance of deep emotion, rich harmony, and warm phrasing that, to these ears, captures the essence of expressing the love the lyrics depict.

Patterns is an uptempo original that first appeared in Oliver’s 1966 Book, Patterns For Improvisation (Jamey Abersold), a collection of improvisational jazz patterns in various meters and feels that spells out some of the basic building blocks of the jazz language. It is the most adventurous and interesting tune on the album, beginning with a thematic statement that the quartet takes as far as it will go. The opening solo by Nelson is well-developed. Kuhn heightens the mood by supplying a scintillating closing presentation, held firmly by the always energetic foundation of Carter and Tate into the quartet’s reprise and climax.

The final track is Oliver’s Elegy For a Duck, which he recorded earlier in the year on Peter and The Wolf with organist Jimmy Smith. Based on the original work by Russian composer, conductor and pianist Sergei Prokofiev, Ron and Grady establish the introduction with a bouncy beat that is maintained throughout the entire song. Oliver and Steve join them for a bit of relaxed spontaneity on the theme. Then, the saxophonist settles in for a beautifully articulated opening statement that is brisk and merry. Kuhn closes with a refreshing performance of intriguing ideas, subtle moods, and impressions on each chorus, which is a deft musical portrayal.

The East Coast orchestra tunes were recorded by Bob Simpson of RCA Studios in New York, and the man behind the dials in the West Coast quartet sessions was Jim Lockert of Western Recorders. I was extremely impressed with each man’s work on Sound Pieces, and the sound quality is spectacular on both sides of the album. It is especially impressive during the orchestra tracks; Lockert accurately captures the brass, reeds, and drums and is as close to the real thing as I have heard. The highs are clear, the character of each instrument at midrange is crisp and natural, and there’s ample response in the bass region.

Oliver Nelson recorded six small group albums for Prestige, playing the alto and tenor sax, and nine more albums for Impulse, affirming his inspired leadership. He scored background music for films and television shows after moving to the West Coast in 1967. Oliver also recorded several excellent orchestra albums, including Afro-American Sketches in 1962 and Full Nelson in 1963, which are two of his finest LPs alongside The Blues and The Abstract Truth. He also arranged and produced records for some of the elite pop stars during the latter half of the sixties. It is no wonder why the Jazz and Pop communities mourned him deeply after his death from a heart attack at the age of forty-three on October 28, 1975!

I was fourteen when I first heard this album; it made quite an impression on me then, and I still find something new in the music each time I listen to it now. Impulse LPs also set a high standard for their releases with laminated gatefold covers, a distinctive spine color, incredible photography, knowledgeable liner notes, and great music. Sound Pieces is a tour-de-force of brilliant arrangements, incredible artistry, superb writing, and unparalleled listening pleasure by Oliver Nelson. A remarkable talent who, whether on record or in concert, always gave jazz fans exciting performances and albums that are still considered a must-have for any library!

~ Patterns For Improvisation – Source: Amazon.com

~ Afro-American Sketches (Prestige PRLP 7225/PRST 7225); Full Nelson (Verve Records V-8508/V6-8508); Peter and The Wolf (Verve Records V-8652/V6-8652); The Blues and The Abstract Truth (Impulse! A-5/AS-5); Bob Simpson, RCA Studios, Jim Lockert, Western Recorders – Source: Discogs.com

~ Sound Piece For Jazz Orchestra, The Stuttgart Radio Dance Band, Flute Salad, The Lady From Girl Talk, Patterns, Elegy For a Duck – Source: Album liner notes by Nat Hentoff

~ Girl Talk, Virginia Graham – Source: IMDB.com

~ Sergei Prokofiev – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Requisites

Funky ~ Gene Ammons All-Stars | By Eddie Carter

Next from the library is a significant 1957 jam session led by tenor saxophonist Gene Ammons with a first-class supporting cast titled Funky (Prestige PRLP 7083). His bandmates on this date are Art Farmer on trumpet, Jackie McLean on alto sax, Mal Waldron on piano, Kenny Burrell on guitar, Doug Watkins on bass, and Art Taylor on drums. My copy is the 1986 U.S. Original Jazz Classics Mono reissue (Prestige OJC-244).

Kenny Burrell’s Funky starts Side One with Doug’s bass intro, developing into the ensemble’s relaxing opening chorus. Gene solos first, making effective use of his mellow tone in a flawless opening statement. Kenny eases into a delightful reading next, complementing the rhythm section perfectly. Jackie cruises methodically into a casually carefree performance by Art, bristling with good feelings. Mal comes in next with a swinging presentation, and then Doug closes with a laid-back comment ahead of the ensemble’s closing chorus.

Pint Size, the first of two tunes by tenor saxophonist Jimmy Mundy, concludes the first side leisurely with the septet’s tight harmony in unison with the melody. Ammons lays down a compelling opening solo, emitting an infectious excitement as it unfolds. Farmer sustains the contagious rhythm next by inviting us to snap our fingers, tap our toes or get up and dance. McLean provides equal amounts of passion and flair in the third reading. Burrell does a masterful job executing a series of skillful phrases, and Waldron approaches the finish line with a sparkling performance culminating in the climax.

Stella By Starlight by Victor Young and Ned Washington first appeared in the 1944 supernatural horror film The Uninvited and opens Side Two. The ensemble opens deceptively at a slow ballad tempo with a warm, sinuous intro by Wal and Gene’s gentle theme. The pace picks up dramatically for each solo, beginning with the leader delivering his message confidently. Art takes center stage next for some enthusiastic solo work, and then Jackie swings with a happy approach, showing remarkable skill. Kenny echoes the merriment of his colleagues with an enthusiastic performance. Mal ends with a quaint interpretation prior to the leader’s return to the slow tempo for the close.

Jimmy Mundy’s King Size sets up things with a solo introduction by Ammons that segues into the group’s lively melody. Gene swings with immense energy in an exquisite opening solo, with Farmer shadowing him for one chorus. The trumpeter answers him with some down-home cooking for an incredibly flavorful dish. McLean soars skyward with avid enthusiasm in the next reading. Burrell’s guitar surges with scintillating radiance; then, Waldron takes the spotlight last for an adrenaline-fueled solo powered by the rhythm section’s dazzling groundwork. The principal soloists share a few final observations in the front line’s closing chorus, featuring a brief solo by Watkins into the song’s finale.

Bob Weinstock supervised the original session of Funky, and the remastering of Rudy Van Gelder’s original mono tapes by Fantasy is superb, with an excellent soundstage of all the instruments emerging through the speakers vividly! Gene Ammons played and recorded with some of the greatest names in jazz. He got his nickname “Jug” from Billy Eckstine, whose band he was a member of in 1944, and he later played in Woody Herman’s Second Herd. Gene Ammons’s jazz career was interrupted twice because of two prison sentences (1958-1960) and (1962-1969) for narcotics possession.

He lost his battle against cancer on August 6, 1974, at the age of forty-nine. Gene Ammons and his bandmates are in breathtaking form and tone throughout this album, and the music heard flows as naturally as water downhill into a stream. If you are a fan of his or are just discovering his music, I hope you will consider Funky by Gene Ammons for a spot in your library on your next record-shopping trip. It is a well-rounded program of bop and soul jazz from Prestige, the label known for outstanding jam session LPs during the fifties and sixties!