Requisites

Dr. Jeckyle ~ Art Blakey & The Jazz Messengers | By Eddie Carter

Art Blakey’s impact on the jazz world as a bandleader and drummer offered a creative and unique perspective that helped shape the artistic style of Hard-Bop and Post-Bop for more than three decades. It was this vision that enabled The Jazz Messengers to become one of the greatest ensembles worldwide.  Up next from the library is a recent acquisition titled Dr. Jeckyle (Paddle Wheel K28P 6462). Blakey and the band are performing the second of two performances that were recorded on the final two days of 1985 at Sweet Basil in Greenwich Village. Sharing the spotlight with the drummer is Terence Blanchard on trumpet, Tim Williams on trombone, Donald Harrison on alto sax, Jean Toussiant on tenor sax, Mulgrew Miller on piano, and Lonnie Plaxico on bass. My copy used in this report is the 1987 King Record Company Japanese Stereo album.

Fuller Love (also known as In Case You Missed It) by alto saxophonist Bobby Watson opens the album with an aggressive attack by Blakey preceding the speedy melody by the ensemble. Tim begins the solos with an exciting performance. Donald swings with a robust beat on the second statement. Jean takes the reins next for a rousing reading. Mulgrew charges into the last solo with an impeccably hip contribution before the ensemble takes the song out. Dr. Jeckyle comes next with the propulsive power of Blakey’s drums in full effect on the introduction leading to the melody. Blanchard sizzles on the lead solo, then Harrison gives an equally fierce statement. Williams heats things up on the following reading, then Toussiant contributes considerable energy on the fourth scintillating statement.  Miller wraps it up with a tidal wave of compelling emotion.

81 by Ron Carter begins Side Two cooking at an easy groove during the ensemble’s opening chorus. Donald kicks off the solos laying down a lively rhythm. Tim moves into the second statement with an easy swing, followed by Jean who gives an intriguing improvisation. Mulgrew strolls into an enjoyable performance on the next reading. Lonnie takes the final spot with an exquisite solo before the close. One By One by Wayne Shorter picks up the pace one final time with the septet at an optimum level on the melody. Harrison flies right out of the gate with a speedy lead statement. Williams steps up next for a heated interpretation, then Toussiant responds with radiant intensity. Blanchard drives into the next reading ferociously, and Miller delivers a closing chorus of incandescent fury ahead of the ensemble’s finale and audience’s ovation.

Dr. Jeckyle was produced by Shigeyuki Kawashima and Horst Liepolt. It was recorded by Kazunori Sugiyama and the album was mixed at King Studio, Japan by Hatsuro Takanami and mastered by Akira Makino. This is a digital recording with a superb soundstage possessing a bright treble, vibrant midrange, and deep bass that’s fun to listen to. Though released three years before Art’s passing in 1990, Dr. Jeckyle is an exhilarating, exciting live album by Art Blakey & The Jazz Messengers that still stands up very well over three decades later and belongs in every jazz fan’s library!

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Midnight Sugar ~ Tsuyoshi Yamamoto Trio | By Eddie Carter

This morning’s choice from the library is one of my absolute favorites because each time I hear it, I’m transported back to one of my happiest memories as a young adult. If any of you lived in Cleveland, Ohio during the seventies and eighties, Audio Craft at 3915 Carnegie Avenue was the place to go if you wanted to purchase a quality entry-level, mid-level, or high-end audio system. My uncle Bob Franks was the manager there for many years and I got to help him on Monday and Thursday evenings, and each Saturday. He was instrumental in teaching me about excellent audio equipment, helping me put together my first system, and introducing me to The Tsuyoshi Yamamoto Trio.

Midnight Sugar (Three Blind Mice TBM-23) is the group’s 1974 debut for the Japanese jazz label and has long been a favorite to demonstrate high-end audio equipment at audio shows and audio salons worldwide.  It’s also become a collector’s item, a mint original LP or the 1977, 1979, and 1982 Stereo reissues can cost a few hundred dollars.  Joining the pianist are two giants in their own right, Isoo Fukui on bass and Tetsujiro Obara on drums.  My copy used for this report is the 1977 Japanese Stereo reissue (Three Blind Mice TBM-2523) and LP collectors take note.  Only the 1977, 1979 (TBM(P)-2523) and 1982 (Trio Records – Three Blind Mice PAP-2006) reissues list the group’s name as Tsuyoshi Yamamoto Trio.  All other LP reissues and the original release show the pianist’s last name first.

Midnight Sugar is a slow tempo blues beginning Side One with a brief bowed bass introduction by Isoo before Yamamoto takes over on the melody.  Tsuyoshi is the only soloist and is at his best on a lengthy interpretation that’s sublimely soulful and one of the highlights on the album, thanks to the rhythmic harmony provided by his colleagues.  I’m A Fool To Want You was written in 1951 by Frank Sinatra, Jack Wolf, and Joel Herron.  Sinatra recorded the song for Columbia Records, making it a hit.  It opens with a graceful introduction and wistful delivery of the melody.  The pace moves to midtempo for Yamamoto’s solo performance and he responds with a mesmerizing display and emotional depth preceding the closing chorus ending with fingertip delicacy.

The Nearness of You starts Side Two and was written in 1937 by Hoagy Carmichael and Ned Washington.  It became a hit for Ray Eberle who recorded it with The Glenn Miller Orchestra in 1940.  The trio dresses up this timeless evergreen with a blissful theme treatment and a sentimental swing on the song’s only interpretation by Yamamoto drawing the listener into this beautiful standard at a leisurely pace.  It Could Happen To You is by Jimmy Van Heusen and Johnny Burke, this popular song was written in 1943 and was first recorded by vocalist Jo Stafford with the Paul Weston Orchestra.  Its first film appearance was in the 1944 musical comedy And The Angels Sing.  The trio’s interaction is stunning on the dreamy melody.  Tsuyoshi’s reading is skillfully constructed with tender lyricism on one of the most beautiful ballads ever written.

The album closes with Yamamoto’s Sweet Georgia Blues, an uptempo original sharing some similarities with the 1925 jazz and pop classic, Sweet Georgia Brown by Ben Bernie, Ken Casey, and Maceo Pinkard.  It opens with a vivacious theme by the trio, then a brief comment preceding Obara giving a short workout of explosive fireworks.  Tsuyoshi wraps up the album with a few final remarks of fun leading to the lively closing chorus.

Three Blind Mice began in 1970 with the premise of showcasing emerging jazz artists.  The label produced one-hundred thirty albums over thirty years and was known for their outstanding sound.  TBM also was instrumental in the development of Japanese jazz.  Many of the stars from Japan now known around the world recorded their debut albums on the label.  The album was produced by Takeshi Fujii who ran TBM for many years and recorded by Yoshihiko Kannari, the distinguished Japanese engineer who worked for TBM at the time, and now runs his own organization, Studio Lion since 2000.

The sound on Midnight Sugar is spectacular and a perfect choice to demonstrate any mid-level or high-end audio system.  Your sweet spot is right in the studio with the musicians because of the incredible lifelike detail coming from the piano, bass, and drums.  Tsuyoshi Yamamoto has an incredible discography of music, is still performing today and all of his albums on Three Blind Mice are worth occupying a spot in your library.  If you’re looking for a jazz trio album for the library or are a fan of piano jazz specifically, I happily submit for your approval, Midnight Sugar by Tsuyoshi Yamamoto Trio.  An album that’s quite a value for the music, sound quality, and a title that’ll provide its owner many hours of listening pleasure.

~ I’m A Fool To Want You (Columbia 39425); It Could Happen To You (Capitol Records 158) ~ The Nearness of You (Bluebird B-10745) – Source: Discogs.com ~ It Could Happen To You, The Nearness of You – Source: JazzStandards.com ~ I’m A Fool To Want You, Sweet Georgia Brown, Three Blind Mice – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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To Diz With Love ~ Dizzy Gillespie | By Eddie Carter

For this morning’s choice from the library, I’ve chosen a CD-album to honor a true pioneer. John Birks Gillespie, known throughout the world by his nickname Dizzy was a renowned bandleader, composer, singer, teacher, and trumpet player. He, alongside Charlie Parker, changed the face of jazz forever by creating and becoming the inspirational voice of Bebop. At the time of this CD-album’s release in October 1992, he was celebrating his 75th Birthday. The folks at Telarc Jazz recognized this significant achievement with their first release performed earlier in the year at The Blue Note in New York City. Forty-seven shows in all were recorded by Telarc over an entire month resulting in one of the best live albums that year. To Diz With Love (Telarc Jazz CD-83307) also features the talents of Doc Cheatham, Jon Faddis (track: 3), Wynton Marsalis (tracks: 2 & 4), Claudio Roditi, Wallace Roney (tracks: 1 & 5), and Charlie Sepulveda (track: 4) on trumpet, Red Rodney (track: 2) on fluegelhorn, Junior Mance on piano, Peter Washington on bass, and Kenny Washington on drums.

The opener, Billie’s Bounce by Charlie Parker was composed in 1945 and dedicated to Gillespie’s agent, trumpet player, Billy Shaw. Shaw was also the inspiration for Gillespie’s composition, Shaw ‘Nuff, written a year later. The ensemble starts this standard with a vivacious introduction by the rhythm section that grows into a rapid run of the opening chorus led by the front line. Claudio kicks off this uptempo cooker with a high-energy drive that builds its emotional level enthusiastically. Wallace produces a very hot flame of exhilarating verses on the second solo. Dizzy takes the next statement for a sizzling uptempo ride. Then, Junior takes charge, swinging with an intense and passionate feeling on the fourth interpretation. Peter keeps the ingredients stirring on the next performance with a soulful groove, and Kenny wraps up the solos with a fierce attack on the finale preceding the closing chorus and climax.

Parker’s Confirmation, written in 1946 adds Marsalis on trumpet and Rodney on flugelhorn to join Dizzy. The rhythm section provides a medium beat for the horns to strut comfortably during the melody. Marsalis solos first with full-toned ease at a relaxing momentum. Dizzy is up next using the mute to offer an endearing whispery reading. Rodney follows with a subtle tone and cool modality that winks to “Bird”. The front line provides a few more statements, then Mance delivers a soft, dreamy solo preceding the climax. Up next is Mood Indigo by Duke Ellington, Barney Bigard, and Irving Mills featuring Cheatham and Jon Faddis. It was written in 1930 for a radio broadcast and originally titled Dreamy Blues.  The public went wild after hearing it, Mills renamed the song Mood Indigo and wrote the lyrics for it. Doc leads off the solos with a profoundly sensitive statement. Jon conveys an emotional impact on the next reading and Dizzy delivers the blues with subtle elegance. Junior expresses delight in a brief statement before the ensemble wraps it up.

Thelonious Monk’s Straight, No Chaser was written in 1951 and is given a spirited treatment with Marsalis and Sepulveda as the featured soloists. Wynton starts swiftly on the lead solo with phenomenal energy, then Charlie burns strongly on the next scintillating statement. Dizzy shows the depth of his intensity on the third interpretation, followed by Junior who says a mouthful on the next reading. Peter provides some powerful brushwork on the closing statement.

A Night In Tunisia is Gillespie’s signature and most famous tune. It was written in 1942 and opens with an invigorating theme by the ensemble collectively. Claudio is ablaze right from the start of the first interpretation. Dizzy lights an intense fire on the second solo, then Wallace responds with a torrid reading that burns fiercely. Junior embarks on an aggressive performance that’s executed beautifully. Kenny puts the final stamp on the standard with a fierce groove on the drums. The treat though, comes at the end when during the closing chorus, Dizzy brings Lew Soloff up from the audience to lead the group into the song’s conclusion.

Telarc has created a sonic masterpiece that’s a joy to listen to by engineers Jack Renner (one of the founders of the iconic label) and Michael Bishop. To Diz With Love is not just a celebration, but an exceptional musical performance by one of the undisputed masters of Bebop. It’s also the first of three final Gillespie performances recorded before his passing and is highly recommended for any jazz fan’s collection. The other two releases are To Bird With Love, and Bird Songs: The Final Recordings!

~Bird Songs: The Final Recordings (Telarc Jazz CD-83421); To Bird With Love (Telarc Jazz CD-83316) – Source: Discogs.com ~ Billie’s Bounce – source: JazzStandards.com ~ Mood Indigo – source: Wikipedia.org © 2020 by Edward Thomas Carter

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‘More’ Live ~ The Phil Woods Quartet | By Eddie Carter

Alto saxophonist Phil Woods was one of the unsung heroes of jazz, he was equally adept at Cool Jazz, and Hard-Bop with a gorgeous tone, and speed of execution that never failed to please his fans. ‘More’ Live (Adelphi Records Inc. AD 5010) is the second live session that The Phil Woods Quartet performed at The Armadillo World Headquarters in Austin, Texas during 1978 and 1979.  It hit the stores in 1981, following their 1980 album, The Phil Woods Quartet Live, Volume One, featuring Mike Melillo on acoustic piano, Steve Gilmore on acoustic bass, and Bill Goodwin on drums.  My copy used in this report is the 1981 US Stereo album.

Side One opens with Miles Davis’ Milestones.  Phil is excellent on the lead solo, backed only at first by Steve and Bill.  Mike joins them, then takes over on the second interpretation.  Steve’s bass dances brightly on the third reading and Bill has the last word in an exchange with Phil and Mike before the reprise and close.  Eiderdown by Steve Swallow kicks off with a five-minute performance by Gilmore who solos impressively.  Woods launches into the next statement with inspired exuberance and Melillo takes care of business on the closing chorus.

Horace Silver’s Strollin’ begins Side Two in a relaxed vein for the ensemble’s theme.  Mike kicks off the solos with a vivaciously spirited interpretation.  Phil moves into the spotlight next with a soulful tone and agility that builds to a compelling conclusion.  Steve shines on the closing statement with a quiet intensity ahead of the foursome taking the song out.  Mike Melillo’s See Hunt and Liddy begins with a lovely introduction by the pianist developing into the quartet’s sprightly mood on the melody.  Melillo lays down a solid groove on the opening statement that delivers the goods.  Gilmore’s bass takes a brisk trip through the next reading, and Woods turns up the heat with a vigorous, energetic closing chorus culminating with the group’s climax.  The engineers for See Hunt and Liddy are Jim Finney, Mark LeBaron, and Hank Allrich.  The men behind the dials of the remaining tracks are Cliff Carter, Fletcher Clark, and LeBaron.  The ensemble is tight, the music is terrific, the album has an exceptionally good soundstage, and I’m very impressed with the sound quality.

In addition to playing the alto sax, Phil Woods was also proficient on the clarinet.  Woods was married to Chan Parker for seventeen years, and Stepdad to her daughter, Kim.  His discography is extensive with sixty records as a leader and many others as a sideman performing with some elite jazz musicians and pop vocalists.  His final live performance was a tribute to Charlie Parker with Strings on September 4, 2015.  He passed away from emphysema twenty-five days later on September 29 at the age of eighty-three.  Now that I’ve found this one, I’ll certainly be on the lookout for its companion album.  If you’re in the mood for some Post-Bop and are a fan of any LP’s by Phil Woods, I offer for your consideration, ‘More’ Live by The Phil Woods Quartet.  An album of sumptuous jazz that’s sure to satisfy almost any jazz appetite!

~ The Phil Woods Quartet Live, Volume One (Clean Cuts CC 702) – Source: Discogs.com

~ Milestones – Source: JazzStandards.com © 2020 by Edward Thomas Carter

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The Magnificent Thad Jones | By Eddie Carter

My next entry from the library is the second of three albums released in 1956 by trumpeter, Thad Jones. The Magnificent Thad Jones (Blue Note BLP 1527) finds him in the company of Billy Mitchell on tenor sax, Barry Harris on piano, Percy Heath on bass, and Max Roach on drums. He comes from a musical family, his older brother is pianist Hank Jones and his younger brother, the dynamic drummer, Elvin Jones. Jones also taught himself to play the cornet, and French horn, becoming a professional musician at sixteen. Thad was also a member of some great big bands including Count Basie, Gil Evans, Quincy Jones, and Ernie Wilkins. Jones also led small groups as well and co-led The Jazz Orchestra with drummer Mel Lewis for twelve-years. He led The Danish Radio Big Band and the Count Basie Orchestra for a time after Basie’s death in 1984. His status as an accomplished arranger and composer has given the music world some of the most beautiful compositions ever written including what many consider his masterpiece, A Child Is Born. My copy used in this report is the 2016 Music Matters Jazz Mono audiophile reissue (MMBLP-1527).

April In Paris, written in 1932 by Vernon Duke and E.Y. Harburg begins our five-song journey.  It premiered in the Broadway musical Walk a Little Faster that year, later becoming a favorite song among jazz and pop musicians and vocalists.  Percy and Max introduce the tune softly, then the front line and piano enter for the melody with Thad dispensing a mellow tone from his horn.  Billy makes a brief comment during the opening and ending chorus.  Jones opens with a quote from the English nursery rhyme and children’s song, Pop Goes The Weasel.  His ensuing verses flow at a relaxing pace into the reprise and fadeout.

Thad’s Billie-Do is a blues characterized by the quintet’s carefree feeling from the brief introduction of the trio into the opening chorus providing a delightful treat of what’s to come. Everyone kicks back individually except Max who provides pleasant brushwork behind each soloist.  Jones begins the lead solo with a sweet-toned delivery, then Mitchell conveys a bluesy impression of playful relaxation with a down-home flavor. Harris swings easily on the third reading, then Percy illustrates his rhythmic ingenuity on an abbreviated closer before the quintet takes the song out.

If I Love Again, the 1932 ballad written by Ben Oakland and J.P. Murray ends Side One at an upbeat pace with the quintet delivering high-spirited energy on the melody. Barry opens the soloing with a jubilant performance, then Billy takes over for a vigorously brisk workout. Thad follows with a captivating reading, then Max closes with a clear, crisp attack providing some irresistible musical thrills swinging to the ensemble’s finale.

If Someone Had Told Me is a little-known ballad by Peter DeRose and Charles Tobias that I believe was written in 1952 because the two earliest vocals of the song were released that year. The first was by vocalist Dolores Gray, and the second was done by Sarah Vaughan. The version heard here is a quartet presentation and an attractive feature for Thad who is the only soloist with the trio providing an elegantly lush foundation under him. The trumpeter delivers a performance of beguiling warmth reflecting a bittersweet, poignant moment into a delicately tender finale as good as any you’ve ever heard or will hear.

Side Two closes with Thedia, a cheerfully joyful tune written for and named after Thad’s young daughter. The rhythm section makes a brief introduction for both horns to walk comfortably at an easy beat during the main theme. Billy takes the first solo, establishing a nice momentum in a meticulously conceived and well-executed performance. Barry is next in the spotlight, strolling and swinging to an intriguing beat. Perry grabs and holds the listener’s attention on the third interpretation with two brief choruses that’ll make him or her feel right at home. Thad takes a long, lengthy ride, soaring to the heights on the next statement seamlessly. Max shares the final spot with the leader in several exceptional exchanges ahead of the ensemble’s closing chorus and exit.  The sound quality on The Magnificent Thad Jones is positively stunning with an excellent soundstage and tonal balance between the highs, midrange, and bass that transports your sweet spot to the studio hearing the musicians at their best.

The MMJ reissues also include exceptional front and rear covers, high-definition gatefold photos and the pressings by RTI are on 180-gram Virgin Vinyl.  If you’re a fan of Hard-Bop or are just discovering Thad Jones, you’ll be delightfully surprised by The Magnificent Thad Jones. It’s jazz at its best and a title I’m certain you’ll enjoy for a very long time! During the fifties, Blue Note employed a sales strategy of giving distinguishing names to some of the artists on its label to spark the public’s interest in their albums and possibly boost their sales. Other examples of this are The Fabulous Fats Navarro, The Amazing Bud Powell, and The Incredible Jimmy Smith. In the cases of the artists listed above, the strategy succeeded beyond their expectations and the names stuck. Debut Records also used this method for The Fabulous Thad Jones in 1954!

~ April in Paris (Verve Records MG V-8012); The Fabulous Thad Jones (Debut Records DLP-12); If Someone Had Told Me (Decca Records 28051), (Columbia 4-39719, 39719) – Source: Discogs.com

~ April in Paris – Source: JazzStandards.com ~ If I Love Again – Source: MusicNotes.com ~ Thad Jones, Pop Goes The Weasel – Source: Wikipedia.org ©2020 by Edward Thomas Carter

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