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 SynopsisHeads 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
- Ain’t Misbehavin’ (Fats Waller, Andy Razaf) 7:40
- Makin’ Whoopee (Walter Donaldson, Gus Kahn) 8:24
- Heads Up (David Newman) 6:21
- Delilah (Clifford Brown) 7:22
- Lover Man (Jimmy Davis, Ram Ramirez, James Sherman) 9:52
- For Buster” (Newman) :41
- David Newman – tenor saxophone, flute
- Steve Nelson – vibraphone
- Kirk Lightsey – piano
- David Williams – bass
- Eddie Gladden – drums
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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
- When Johnny Comes Marching Home (Traditional) – 7:58
- Makin’ Whoopee (Walter Donaldson, Gus Kahn) – 4:57
- A Night in Tunisia (Dizzy Gillespie) – 5:40
- Sonnymoon for Two (Sonny Rollins) – 7:15
- Mack the Knife (Bertolt Brecht, Kurt Weill) – 4:58
- What’s New? (Bob Haggart, Johnny Burke) – 3:50
- Alfredo (Jimmy Smith) – 4:30
- Jimmy Smith – organ
- Quentin Warren – guitar
- Donald Bailey – drums
- Alfred Lion – producer
- Rudy Van Gelder – engineer
- Reid Miles – design
- Bob Ganley – photography
- Leonard Feather – liner notes
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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 SynopsisJammin’ 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- The Twister (Mal Waldron) – 12:15
- Four (Miles Davis) – 13:02
- Pennies from Heaven (Johnny Burke, Arthur Johnston) – 13:02
- Cattin’ (Waldron) – 11:58
- 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 CarterIn 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 CarterSynopsis
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- A Soft Spot – 5:46
- Round Midnight (Thelonious Monk) – 5:58
- Tea for Two (Vincent Youmans, Irving Caesar) – 4:45
- Dance of the Infidels (Bud Powell) – 5:43
- I’ll Remember April (Gene de Paul, Patricia Johnston, Don Raye) – 8:39
- Dedication in Japanese – 1:15
- Fukai Aijoh – 4:09
- Un Poco Loco (Powell) – 6:14
- Barry Harris – piano
- Sam Jones – bass
- Leroy Williams – drums
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New Thing At Newport: John Coltrane~Archie Shepp | By Eddie Carter
And now for something completely different! In 1960, Creed Taylor, a producer for ABC-Paramount Records launched Impulse Records, the company’s label exclusively devoted to jazz. This morning’s subject of discussion from the library is a 1965 live date at The Newport Jazz Festival taken from two performances by The John Coltrane Quartet and The Archie Shepp Quartet. The album is New Thing at Newport (Impulse! A-94), it was released in 1966 and my copy used for this report is the 1968 Stereo reissue (AS-94). Coltrane makes his only appearance on the record backed by McCoy Tyner on piano; Jimmy Garrison on double bass; and Elvin Jones on drums. Archie Shepp composed and performs the remaining four songs supported by Bobby Hutcherson on vibraphone; Barre Phillips on double bass; and Joe Chambers on drums.
Side One starts with an Introduction of Coltrane’s group by Father Norman O’Connor, a Roman Catholic priest who was a huge jazz fan, a longtime radio host at WGBH in Boston, a weekly columnist for The Boston Globe and host of a syndicated jazz program. The Jazz Priest, as he was known, also served as master of ceremonies of various concerts and festivals and contributed to other magazines including Down Beat and Metronome.
The quartet launches into an enthusiastic version of the saxophonist’s One Down, One Up. Trane kicks off the song with a zestful introduction and opening chorus. McCoy starts the soloing offering a feast of dazzling virtuosity, then John turns up the temperature with a thrilling reading making the most difficult passages between Bop and Free Jazz improvisation seem deceptively easy.
The Archie Shepp Quartet takes over for the first side finale, Rufus Swung His Face at Last to The Wind, Then His Neck Snapped. This song portrays a lynching and made its initial appearance on his 1964 debut, Four For Trane. The ensemble begins with a duet dialogue between the saxophonist and Hutcherson on the introduction. Phillips and Chambers come in next for the collective theme. Archie is up first with a lead solo ablaze with a raucous beat. Bobby provides vigorous exhilaration on the second statement, then Paul takes a free-wheeling rollercoaster ride on the closer preceding the reprise and abrupt coda.
Side Two opens with Hutcherson leading the rhythm section on a dreamy introduction to Le Matin Des Noire. Shepp builds the emotion gradually into the opening statement with a laid-back attitude. Phillips and Hutcherson give two concise readings before the song’s fadeout and crowd’s ovation. Scag is delivered with unflinching realism about the dangers of heroin and where the addiction ultimately leads, the gutter, prison, or the grave. The two-beat delivery by Bobby, Barre, and Joe is reminiscent of the tick-tock mechanism inside a clock. Archie recites a grim message to the audience and listener rather than playing the notes as the clock continues to beat ever louder, culminating into a crash of the cymbals that marks the end. Shepp’s Call Me By My Rightful Name closes the album with a medium beat on the introduction and melody that’s maintained as the song unfolds. The saxophonist makes a fine impression on a bittersweet, sensitive interpretation that receives a nice ovation from the Newport crowd at the climax.
New Thing at Newport documents one of the final live performances of The John Coltrane Quartet featuring Tyner, Garrison, and Jones. Trane would change direction and personnel within a year moving further into Free Jazz and towards a more spiritual sound in his music. Shepp also continued to evolve from Post-Bop towards Free Jazz, but in the years to come also recorded works of Contemporary Jazz, Modal Jazz, and Soul-Jazz. The recording by Buddy Graham and Frank Bruno delivers a lively soundstage throughout the highs, midrange, and low-end.
My only issue with this album is the same problem I had with Miles and Monk at Newport from 1963. Both LP’s should have been released as two-record sets spotlighting each band on one record because the listener only gets one song from Coltrane verses four tunes from Shepp. If you’re not a fan of Avant-Garde or Free Jazz, New Thing at Newport is an acquired taste that may not be the album for you. However, if you’re in the mood for music to challenge your emotions and intellect along the lines of The Shape of Jazz To Come by Ornette Coleman, Out To Lunch, and Outward Bound by Eric Dolphy or Point of Departure by Andrew Hill. I invite you to audition New Thing at Newport by John Coltrane and Archie Shepp. An album that’s still pretty amazing nearly fifty-five years after its release and one you’ll want to make room for in your library!
~ Miles and Monk at Newport (Columbia CL 2178/CS8978); Out To Lunch (Blue Note BLP 4163/BST 84163); Outward Bound (New Jazz NRLP-8236, Prestige PRLP 7311/PRST 7311); Point of Departure (Blue Note BLP 4167/BST 84167); The Shape of Jazz To Come (Atlantic 1317/SD 1317) – Source: Discogs.com
~ Father Norman O’Connor – Source: Wikipedia.org ~ © 2020 by Edward Thomas CarterNew Thing at Newport is a 1965 live album recorded July 2, 1965, at the Newport Jazz Festival featuring two separate sets from that year by tenor saxophonists John Coltrane and Archie Shepp.
Track List | 34:56 Side One- Spoken introduction to John Coltrane’s set by Father Norman O’Connor ~ 1:08
- One Down One Up ~ 12:28 (from Coltrane’s set)
- Rufus (Swung His Face at Last to the Wind, Then His Neck Snapped) ~ 4:58 (from Shepp’s set)
- Le Matin des Noire [sic] ~ 7:39
- Scag ~ 3:04
- Call Me by My Rightful Name ~ 6:19
- John Coltrane – tenor saxophone
- McCoy Tyner – piano
- Jimmy Garrison – double bass
- Elvin Jones – drums
- Archie Shepp – tenor saxophone, (recitation on “Scag”)
- Bobby Hutcherson – vibraphone
- Barre Phillips – double bass
- Joe Chambers – drums
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