Requisites

Ahmad Jamal at The Top: Poinciana Revisited ~ Ahmad Jamal | By Eddie Carter

I first saw Ahmad Jamal live in 1995 at Spivey Hall on the campus of Clayton State University in Morrow, Georgia. I’d been a fan of his since the age of ten after hearing his 1958 album, Ahmad Jamal at The Pershing: But Not For Me.  That night, the trio characterized their creative energy and gracious lyricism into a mesmerizing performance bringing the capacity crowd to its feet.

This morning’s choice from the library is a 1968 live album, Ahmad Jamal at The Top: Poinciana Revisited (Impulse!–ABC Records AS-9176). It’s one of my favorite LP’s by the renowned pianist and his bandmates are Jamil Sulieman on bass and Frank Gant on drums. My copy used in this report is the 1969 Stereo reissue and the set opens with Have You Met Miss Jones? This song by Richard Rodgers and Lorenz Hart is from the 1937 musical comedy, I’d Rather Be Right.  The audience’s applause and a short solo introduction by Ahmad segue into a lively Latin-flavored theme. Jamal gives a vigorous interpretation that’s tremendously rewarding propelled by Jamil and Frank’s lively backing.

The jazz standard Poinciana by Nat Simon and Buddy Bernier was written in 1936 and is based on a Cuban folk tune, La canción del árbol (The Song of The Tree).  The Glenn Miller Army Air Force Band made the first recording in 1943 and it was featured in two films, Dreamboat (1952) and The Bridges of Madison County (1995), performed by Ahmad Jamal. The trio gives an inspired interpretation showcasing the pianist on a lengthy reading running the gamut of his extraordinary range.

Lament, Jamal’s lone contribution begins with a cascading solo introduction by Ahmad that blossoms into a marvelous melody.  As the song’s only soloist, the pianist ascends to a peak of pure pleasure, before descending gradually back for the rousing climax.  Call Me by Tony Hatch starts Side Two and was written for Pop vocalist Petula Clark who featured it as the title tune for her 1965 album.  The ensemble transforms the easy listening song into a torrid scorcher on the melody, and Jamal gives a passionately brisk solo of radiant intensity before the reprise and abrupt stop.

The pace slows down for a beautiful version of Theme From Valley of The Dolls, composed for the 1967 film by André Previn and his wife Dory. Ahmad and Jamil begin with a gentle dialogue that grows into a tender theme. The pianist infuses tender emotion, depth, and beauty into the song’s only solo with exceptional detail leading to a subtle coda. Frank’s Tune by Frank Strozier swings easily to a medium beat on the opening and closing chorus affording Ahmad, Jamil, and Frank each solo space. The 1961 Bossa Nova standard,

How Insensitive (known in Brazil as Insensatez) was written by Antônio Carlos Jobim, and Vinícius de Moraes who penned the Portuguese lyrics, and Norman Gimbel, the English lyrics.  The ensemble begins the melody rapidly setting the mood for Ahmad who opens with an exhilarating reading. Jamil takes the next reading aggressively, and Frank closes with a swift, zealous statement preceding the group’s out-chorus and crowd’s show of appreciation. The sound quality of the album by engineer Carlos Olms captures the spirit of the trio’s performance exceptionally well for maximum enjoyment in your listening room.

At ninety-years young, Ahmad Jamal shows no signs of slowing down.  His most recent release is a 2019 French album titled Ballades. If you’re a fan of piano jazz, or in the mood for a live album possessing an elegant and infectious groove, I submit for your consideration Ahmad Jamal at The Top: Poinciana Revisited. It’s a great introduction to his music for newcomers and an impressive showcase for seasoned fans that handsomely repays the effort to seek it out for your library!

~ Ahmad Jamal at The Pershing: But Not For Me (Argo LP-628); Ballades (Jazz Village–Jazzbook Records JV3357015758); Call Me (Pye Records NEP 24237); – Source: Discogs.com

~ Have You Met Miss Jones? – Source: JazzStandards.com

~Call Me, How Insensitive, Poinciana, Theme From The Valley of The Dolls – Source: Wikipedia.org

~© 2020 by Edward Thomas Carter

Synopsis

Ahmad Jamal at the Top: Poinciana Revisited is a live album by pianist Ahmad Jamal featuring performances recorded at The Village Gate in 1968 and released on the Impulse! label.

Track List | 42:04

  1. Have You Met Miss Jones (Lorenz Hart, Richard Rodgers) – 3:47
  2. Poinciana (Buddy Bernier, Nat Simon) – 9:19
  3. Lament – 8:05
  4. Call Me (Tony Hatch) – 4:51
  5. (Theme from) Valley of the Dolls (André Previn, Dory Previn) – 4:23
  6. Frank’s Tune (Frank Strozier) – 5:50
  7. How Insensitive (Antônio Carlos Jobim, Vinícius de Moraes) – 5:52

Personnel

  • Ahmad Jamal – piano
  • Jamil Sulieman – bass
  • Frank Gant – drums

 

 

 

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Requisites

Heads Up ~ David Newman | By Eddie Carter

Up next from the library is an album by the flutist, alto, and tenor saxophonist, David Newman. Heads Up (Atlantic 81725-1) finds him leading a first-rate quintet with Kirk Lightsey on piano; Steve Nelson on vibraphone; David Williams on bass and Eddie Gladden on drums. My copy used in this report is the original 1987 Stereo release.

Ain’t Misbehavin’ by Fats Waller, Harry Brooks and Andy Razaf starts Side One at a slow ballad tempo.  The song premiered at the Harlem club Connie’s Inn and was the opening tune for the 1929 all-black musical revue, Hot Chocolates.  The show was so successful it ran on Broadway for 219 performances, and Louis Armstrong performed the first instrumental version during the intermission. Kirk opens with a tender introduction that gently grows into David’s seductive melody. Newman also delivers a beautiful work of richness and sincerity on the lead solo.  Kirk and Steve split the next few verses, each man offering a romantic sensitivity before a pretty closing chorus.

Makin’ Whoopee is by Walter Donaldson and Gus Kahn, first appearing in the 1928 Broadway musical Whoopee, the song was sung by Eddie Cantor who reprised it two years later in the 1930 film. The quintet proceeds smoothly from the introduction to the opening chorus led by Newman who also casts a distinct voice with expressive beauty on the first reading. Nelson also gives an enticing presentation on the second solo. Williams is as sweet as honey on the third statement with an exquisite tone and Lightsey makes the final statement a delightfully nostalgic performance into the coda. Newman’s Heads Up comes at you next vivaciously with David taking off first with a rocking beat compelling one to snap their fingers and tap their toes. Steve conveys a festive celebration on the second reading, then Kirk dazzles with the vigorous zest of a sanctified church service. David sums everything up with a few short comments leading to the group’s finale.

Newman opens Side Two on flute for an upbeat rendition of Delilah by Victor Young. It’s a catchy 1954 tune with the quintet producing a vibrant melody.  David’s opening solo is delivered with abundant spirit and energy. Kirk steps up next with driving ambition, then Nelson takes the final bow with driving ambition and dexterity. Lover Man by Jimmy Davis, Roger Ramirez, and Jimmy Sherman slows the pace with the leader back on tenor sax. After the ensemble’s ravishingly beautiful theme, David demonstrates his rhythmic mastery with grace and elegance. Kirk etches a delicately thoughtful presentation next, then Steve follows with an amorously tender interpretation. Newman closes with a few sultry comments before the warm-hearted ending. For Buster, David’s second original closes the album with the leader on alto-sax expressing a down-home blues flavor. Newman and Nelson are the featured soloists and each man offers an interpretation eminently fitting for the blues into David’s earthy reprise and climax.

Heads Up was engineered by Tony May whose work has appeared on many Jazz, Latin, Pop, and Soul albums. His assistant Ira McLaughlin has worked on albums for Atlantic, CBS, and Profile Records. This album was digitally recorded and has a highly effective soundstage placing the musicians in the center of your listening room. David Newman who the jazz world would come to know as “Fathead” originally worked with Ray Charles and had a prolific career recording albums of Hard-Bop, Post-Bop, Soul-Jazz, Jazz-Funk, and Jazz-Fusion for another twenty-one years after Heads Up was released. He passed away at the age of seventy-five on January 20, 2009, from pancreatic cancer. If you’re seeking an album displaying his skills as a composer and multi-instrumentalist, consider this your Heads Up!

~ Ain’t Misbehavin’, Lover Man, Makin’ Whoopee – Source: JazzStandards.com ~ © 2020 by Edward Thomas Carter Synopsis

Heads Up is an album by saxophonist David Newman recorded at the Atlantic Recording Studios in New York City on September 16~18, 1986 and released in 1987 on the Atlantic Records label.

Track List | 37:55

  1. Ain’t Misbehavin’ (Fats Waller, Andy Razaf) 7:40
  2. Makin’ Whoopee (Walter Donaldson, Gus Kahn) 8:24
  3. Heads Up (David Newman) 6:21
  4. Delilah (Clifford Brown) 7:22
  5. Lover Man (Jimmy Davis, Ram Ramirez, James Sherman) 9:52
  6. For Buster” (Newman) :41
Personnel
  • David Newman – tenor saxophone, flute
  • Steve Nelson – vibraphone
  • Kirk Lightsey – piano
  • David Williams – bass
  • Eddie Gladden – drums

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Requisites

Crazy! Baby ~ Jimmy Smith | By Eddie Carter

The Incredible Jimmy Smith steps into the spotlight for this morning’s discussion with his first release of the sixties and fifteenth of his career.  Crazy! Baby (Blue Note BLP 4030) is a 1960 trio album featuring the organist’s bandmates, Quentin Warren on guitar, and Donald Bailey on drums.  My copy used in this report is the 1966 Liberty Records Stereo reissue (BST 84030).

When Johnny Comes Marching Home, the album opener has been around since 1863 and the Civil War. I first heard the 45-rpm single of this song in 1962 and was blown away by the group’s musicianship. Quentin is up first after the ensemble’s introduction and marching theme for an opening statement that goes down smoothly and easily like chilled Chardonnay. Jimmy follows with one of his meatiest solos, nearly five-minutes of electrifying jazz preceding the out-chorus march and trio vanishing. Makin’ Whoopee by Gus Kahn and Walter Donaldson premiered in the 1928 Broadway musical, Whoopee! The trio eases into the wonderfully nostalgic theme and Smith executes a marvelous mellow interpretation with a stunning bass line using his left foot.

A Night In Tunisia by Dizzy Gillespie and Frank Paparelli was first sung as a vocal by Sarah Vaughan under the title Interlude on the 1950 album, Hot Jazz. This 1942 Bebop classic is one of Gillespie’s most recorded tunes and the trio establishes the opening chorus made famous by Dizzy.  Jimmy kicks off the lead solo with a riveting performance. Quentin closes with a funky statement matched by Donald’s rocking timekeeping propelling the trio into a thrilling coda.

Sonnymoon For Two is by tenor saxophonist Sonny Rollins and the composer introduced it on the 1957 album, A Night at The Village Vanguard. The group opens with a bluesy melody, then Warren dances and grooves on two short, but strong verses.  Jimmy comes in next for some extensive wailing on the finale before the reprise and fadeout.  Mack The Knife by Kurt Weill and Bertolt Brecht made its debut in the 1928 German play, The Threepenny Opera.  This jazz and pop evergreen is a showcase for Smith who does a superlative job illustrating the title character in a thoroughly satisfying performance.

Up next is the thoughtfully pensive ballad by Bob Haggart and Johnny Burke, What’s New?  Smith starts with a delicately wistful melody, segueing into a melancholic one-sided interpretation reflecting on the love that’s now just a memory before ending his conversation in grand fashion.  The album closes with Smith’s dedication to Blue Note co-founder Alfred Lion, Alfredo.  The trio flows vibrantly on the melody into Quentin soloing first with a leisurely, carefree swing that’ll get fingers snapping and toes tapping.  Jimmy raises the temperature on a vivaciously brisk closing presentation taking no prisoners into the ending.

Rudy Van Gelder’s recording has a pleasant soundstage across the treble, midrange and bass spectrum resulting in sweet sounds emerging from your speakers that make this LP an easy choice to recommend for your library.  If you’re a fan of jazz organ or are just discovering the music of Jimmy Smith, I submit for your consideration, Crazy! Baby.  It’s a tasty combination of Hard-Bop and Soul-Jazz that once heard, you’ll want to replay repeatedly!

~ A Night at The Village Vanguard (Blue Note BLP 1581/BST 81581); Hot Jazz (Remington RLP-1024) – Source: Discogs.com ~ A Night In Tunisia, Mack The Knife, Makin’ Whoopee, What’s New? – Source: JazzStandards.com ~ When Johnny Comes Marching Home – Source: Wikipedia.org ~ When Johnny Comes Marching Home https://www.youtube.com/watch?v=7YpKGKF7_XY ~ A Night In Tunisia – https://www.youtube.com/watch?v=S3c-564EE0o © 2020 by Edward Thomas Carter Synopsis

Crazy! Baby is an album by jazz organist Jimmy Smith with performances that were recorded on January 4, 1960 and released by Blue Note. This was the first album Smith recorded at Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey.

Tracks | 37:08

  1. When Johnny Comes Marching Home (Traditional) – 7:58
  2. Makin’ Whoopee (Walter Donaldson, Gus Kahn) – 4:57
  3. A Night in Tunisia (Dizzy Gillespie) – 5:40
  4. Sonnymoon for Two (Sonny Rollins) – 7:15
  5. Mack the Knife (Bertolt Brecht, Kurt Weill) – 4:58
  6. What’s New? (Bob Haggart, Johnny Burke) – 3:50
  7. Alfredo (Jimmy Smith) – 4:30
Personnel
  • Jimmy Smith – organ
  • Quentin Warren – guitar
  • Donald Bailey – drums
Technical
  • Alfred Lion – producer
  • Rudy Van Gelder – engineer
  • Reid Miles – design
  • Bob Ganley – photography
  • Leonard Feather – liner notes

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Requisites

JAMMIN’ IN HI-FI WITH GENE AMMONS | By Eddie Carter

Submitted for your consideration this morning is a 1957 session led by tenor saxophonist Gene Ammons that’s one of the fine jam sessions Prestige released in the late Fifties. Jammin’ In Hi-Fi With Gene Ammons (Prestige 7110) brings the saxman together with a world-class sextet of musicians who would become leaders themselves and create some of the best music known as Hard-Bop. Idrees Sulieman on trumpet; Jackie McLean on alto saxophone; Kenny Burrell on guitar; Mal Waldron on piano; Paul Chambers on bass and Art Taylor on drums.  My copy used in this report is the 1984 Mono reissue (Prestige Original Jazz Classics OJC-129 – P-7110).

The album opener is the first of two originals by pianist Mal Waldron, The Twister comes at you at medium speed, swinging from the opening notes of the septet’s melody. Gene leads off the solos cruising at a comfortable speed with plenty of imagination in each verse of the opening statement utilizing a few excerpts from Kerry Dance, Moose The Mooche, and 52nd Street Theme. Idrees follows with a bluesy reading stamped with a down-home, soulful flavor. Jackie takes the next solo enthusiastically building a series of foot-tapping excitement in each verse, then Kenny takes over making his presence felt on the next interpretation with a fine solo performance. Mal follows with a blues-rooted groove that flows smoothly. Paul solos impressively on a brief reading leading to an exchange of riffs between all three horns and Kenny into the ensemble’s closing coda.

Four by Miles Davis was written in 1954, making its first appearance on the ten-inch album, Miles Davis Quartet released that year.  The septet’s version of the jazz standard takes an unusual journey after the collective theme treatment. Sulieman, Ammons, McLean, and Burrell take two choruses each in that order, then one chorus apiece twice, followed by a half-chorus each. Walton skillfully constructs three verses for a concise interpretation that are paced leisurely but stated explicitly. Taylor exchanges with the front line before the septet returns for the ending theme.

The 1936 popular song Pennies From Heaven by Arthur Johnston and Johnny Burke opens the second side. It serves as the title song for the film that year and starts with a slow-tempo duet between Gene and Kenny that expands into a pleasant midtempo melody. Ammons displays a powerfully rich sound on the opening statement, followed by Burrell who swings easily into a relaxing reading.  McLean also weaves a sweet-toned delivery on the next solo. Sulieman delivers a soulful performance next on the muted horn, and Waldron explores some intriguing ideas on the closer preceding the tranquil climax.

The album closer is the second Waldron original, Cattin’, a funky blues that opens with a solo introduction by Paul that evolves into the septet’s opening chorus. Gene sets the tone first with a neatly paced stroll through the lead solo, then Kenny turns in a splendid performance.  Idrees delivers a statement of informal casualness on the next solo, then Jackie gets your fingers popping and toes tapping with a soulful groove. Mal responds with a light, breezy interpretation of tasteful simplicity ahead of the septet’s return for the finale.

Fantasy has done an excellent job with the remastering of Mr. Van Gelder’s original recording. The album has an excellent soundstage with no harshness during the highs, midrange, and low end with the septet coming through your speakers as if they’re in your listening room.  Jammin’ In Hi-Fi With Gene Ammons is a very pleasant, fun, and enjoyable LP that I’m sure will make a fine addition to any fan’s library who’s a fan of his, Hard-Bop or the jam session.  In 1960, and 1964 for the second and third reissues, the album’s title was changed to The Twister!

~Kerry Dance, Moose The Mooche, 52nd Street Theme – Source: album liner notes by Ira Gitler ~Four, Miles Davis Quartet (Prestige PRLP-161); The Twister (Prestige PR-7176) – Source: Discogs.com ~Pennies From Heaven – Source: Wikipedia.org Synopsis

Jammin’ In Hi~Fi with Gene Ammons is an album by saxophonist Gene Ammons recorded on April 12, 1957 and released the same year on the Prestige label.

Track Listing | 50:12
  1. The Twister (Mal Waldron) – 12:15
  2. Four (Miles Davis) – 13:02
  3. Pennies from Heaven (Johnny Burke, Arthur Johnston) – 13:02
  4. Cattin’ (Waldron) – 11:58
Personnel
  • Gene Ammons – tenor saxophone
  • Idrees Sulieman – trumpet
  • Jackie McLean – alto saxophone
  • Mal Waldron – piano
  • Kenny Burrell – guitar
  • Paul Chambers – bass
  • Art Taylor – drums

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Live In Tokyo~Barry Harris | By Eddie Carter

In April 1976, Xanadu Records recorded three live albums in Japan featuring an all-star quintet including alto saxophonist, Charles McPherson, and guitarist Jimmy Raney. The tapings resulted in Charles McPherson Live In Tokyo, Jimmy Raney Live In Tokyo, and this morning’s choice from the library that was the first performance by pianist Barry Harris. Live In Tokyo (Xanadu 130) documents concerts at two locations, Yubin Chokin Hall and Nakano Sun Plaza with the ensemble’s rhythm section featuring Sam Jones on bass and Leroy Williams on drums.  It was Harris’s second record for the label and my copy used in this report is the 1976 US Stereo release.

The set opener, A Soft Spot is a lively tune from Barry’s pen that leaves the ground and starts flying from the melody into a swinging solo of fire by the leader.  Leroy follows with a stunning interpretation that’s right on the mark leading to a spirited finale. The trio slows the pace for Round Midnight, the timeless jazz standard by Bernie Hanighen, Thelonious Monk, and Cootie Williams.  As the song’s only soloist, Harris gives a stylishly, sensuous reading that’s hauntingly moving, and stands up to other versions of Monk’s most recorded tune.

Tea For Two by Vincent Youmans and Irving Caesar was written in 1924 and introduced in the Broadway musical, No, No, Nanette, that year.  Barry gives a nearly minute solo introduction before taking off on a full-speed run through the opening melody and first reading.  Leroy engages in a vigorous exchange with Harris preceding the hard-hitting coda.

Bud Powell’s Dance of The Infidels is a midtempo swinger that closes the first side on an upbeat note and allows each member, solo space.  Powell composed the song in 1949, and first recorded it for Blue Note Records.  The trio takes a brisk approach to the tune with a splendid theme treatment.  Harris kicks off the solos with a feisty opening statement possessing a carefree zest.  Sam is up next with a short reading that hits its target like a sharpshooter.  Barry shares the final solo with Leroy who executes a passionate exchange before the closing chorus.

I’ll Remember April is a beautiful song by Gene De Paul, Patricia Johnston, and Don Raye that was composed in 1941, making its debut in the 1942 comedy, Ride ‘Em Cowboy.  The threesome brings a little sunshine to this treasured tune with an easy beat on the main theme.  Harris picks up the pace with a cheerful, effervescent first statement, then Jones swings softly on a passionately conceived presentation.  Barry and Williams make an indelible impression with a blissful resolution on the closing reading that arrives at a very gratifying conclusion.

Barry takes a moment to make a sincere and heartfelt Dedication In Japanese to the crowd.  He follows with a beautiful solo composition also devoted to the audience titled Fukai Aijoh which means Deep Love.  Harris expresses personal feelings in an elegant interpretation of tenderness and subtle finesse into a delicately gentle ending.  The final selection is the 1951 jazz standard, Un Poco Loco by Bud Powell beginning with a brisk theme treatment in unison leading to Barry’s aggressive opening solo of astonishing ferocity.  Leroy has the last word with a concise reading of compelling power before the pianist’s vivacious out-chorus preceding a thunderous ovation by the concert crowd.

This album and its two companions were produced by label founder Don Schlitten and recorded by Japanese sound engineer, Shinji Ohtsuka.  Live In Tokyo is a sonic treat with an exceptional soundstage of the piano, bass, and drums, and though the LP length is just short of forty-three minutes, the listener will feel they’ve received their money’s worth on the strength of the performances.  Now that I’ve got this album, I’ll be seeking the other two to add to my library, and if you’re a fan of piano jazz or trio jazz, I invite you to audition Live In Tokyo by pianist Barry Harris.  It’s a fun listen, and a title I’m sure you’ll enjoy in your library!

~ Dance of The Infidels (Blue Note 362-1); Charles McPherson Live In Tokyo (Xanadu 131); Jimmy Raney Live In Tokyo (Xanadu 132) – Source: Discogs.com ~ I’ll Remember April, Round Midnight, Tea For Two – Source: JazzStandards.com ~ Dance of The Infidels – Source: The Complete Bud Powell Blue Note Recordings (1949-1958) Mosaic Records MR5-116 ~Un Poco Loco – Source: Wikipedia.org © 2020 by Edward Thomas Carter

Synopsis

Live in Tokyo is a live album recorded on April 12 & 14, 1976 at Sun Plaza Hall in Tokyo, Japan by pianist Barry Harris and released on the Xanadu record label. The session was produced by Don Schlitten. Harris contributed two songs to this swinging, straight-ahead album, A Soft Spot and Fukai Aijoh in addition to his Dedication In Japanese.

Track Listing | 41:09
  1. A Soft Spot – 5:46
  2. Round Midnight (Thelonious Monk) – 5:58
  3. Tea for Two (Vincent Youmans, Irving Caesar) – 4:45
  4. Dance of the Infidels (Bud Powell) – 5:43
  5. I’ll Remember April (Gene de Paul, Patricia Johnston, Don Raye) – 8:39
  6. Dedication in Japanese – 1:15
  7. Fukai Aijoh – 4:09
  8. Un Poco Loco (Powell) – 6:14
Personnel
  • Barry Harris – piano
  • Sam Jones – bass
  • Leroy Williams – drums

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