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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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The First Set: Live At Minton’s ~ Eddie “Lockjaw” Davis & Johnny Griffin | By Eddie Carter
Up next from the library this morning is the second of four live sets at Minton’s Playhouse by The Eddie “Lockjaw” Davis~Johnny Griffin Quintet. The album released in 1964 is titled The First Set (Prestige PR 7309/PRST 7309) and the incredible trio of Junior Mance on piano; Larry Gales on bass and Ben Riley on drums anchors both saxophonists. The other three records are The Tenor Scene released in 1961, later reissued as The Breakfast Show in 1965. Live! The Midnight Show came out in 1964 and The Late Show also hit the stores in 1965. The club was founded by retired tenor saxophonist Henry Minton in 1938, becoming famous for its many jam sessions and is credited for the birth of Bebop during the forties. It’s also known for its role in the development of modern jazz during the fifties and if you’re new to this album and both saxophonists, Eddie is featured on the left speaker and Johnny is on the right. My copy used in this report is the 1971 Stereo reissue (PRT 7309).
The quintet starts the beat by giving the audience some heat on the album opener, Billie’s Bounce by Charlie Parker, a jazz classic written in 1945 that was named for the secretary of Dizzy’s agent, and trumpet player Billy Shaw. The tenor men lead the rhythm section on a sizzling theme treatment. Eddie ignites the first solo with a melodic explosion of jet-propelled verses. Junior steps in next glowing radiantly on a luminous statement, then Johnny produces a roaring fire on the closing solo. Both horns exchange a few more short riffs into the closing chorus.
The first of two Thelonious Monk originals, Epistrophy was written in 1941 with drummer Kenny Clarke and ends Side One. The quintet begins the quirky theme at midtempo, then Davis kicks off the solos with a very clever interpretation illustrating his firm-tone and remarkable phrasing. Junior makes a terrific impression on the second statement. Griff gives the third reading a bluesy beat that’s skillfully done and Larry delivers the final solo with an artistic maturity beyond his twenty-five years.
Side Two starts with the second Monk tune, Well, You Needn’t, composed in 1944 and dedicated to jazz vocalist Charlie Beamon, who when told the tune was going to be named after him replied: “Well, you need not”. The ensemble’s opening chorus has a contagious beat that’s suitable for dancing that Monk liked to do on stage during several of his songs. Eddie strolls along at a leisurely pace on the first solo, delivering a charmingly, cheerful performance. Junior gets the crowd to clap along on his superbly articulate solo next, then Johnny offers a resourcefully peppy reading. Larry concludes with a vivacious presentation with Ben providing perfect time and firm beat in support.
The finale is I’ll Remember April by Gene De Paul, Patricia Johnston, and Don Raye. This song made its debut in the 1942 Abbott and Costello comedy, Ride ‘Em Cowboy and is one of the most popular jazz standards. The quintet’s rendition is a fun tune to play and it swings from the start of the introduction. Eddie wails with an assertive tone and limitless effervescence on the lead solo. Junior cooks on the next reading with an electrifying statement, then Griff charges into the next solo with a robust workout of startling speed. Ben gives an equally high-octane performance during the closing chorus into the climax ending a lively jazz set.
The First Set like the other three albums together documents a single night’s work by The Eddie “Lockjaw” Davis-Johnny Griffin Quintet that was recorded by Rudy Van Gelder. Here, the legendary engineer makes magic with a beautifully recorded club performance with an excellent soundstage placing the listener in the audience for a “you are there” feeling. The album clocks in just under thirty-five minutes, but the artistry, music, and musicianship make The First Set-Recorded Live at Minton’s an attractive acquisition that merits a serious audition and consideration for any jazz lover’s library!
~ Live! The Midnight Show (Prestige PR 7330/PRST 7330); The Breakfast Show (PR 7407/PRST 7407); The Tenor Scene (PRLP 7191); The Late Show (PR 7357/PRST 7357) – Source: Discogs.com ~ Billie’s Bounce, I’ll Remember April, Well, You Needn’t – Source: JazzStandards.com ~ Henry Minton, Minton’s Playhouse – Source: Wikipedia.org © 2020 by Edward Thomas Carter Quick Synopsis
The First Set is a live album by saxophonists Eddie “Lockjaw” Davis and Johnny Griffin recorded at Minton’s Playhouse on January 6, 1961 and released on the Prestige label in 1964. The album was the second release from the recordings at Minton’s after The Tenor Scene. The night was produced by Esmond Edwards.
Track List
- Billie’s Bounce (Charlie Parker) – 8:43
- Epistrophy (Thelonious Monk, Kenny Clarke) – 7:17
- Well, You Needn’t (Monk) – 8:58
- I’ll Remember April (Gene de Paul, Patricia Johnston, Don Raye) – 8:05
- Eddie “Lockjaw” Davis, Johnny Griffin – tenor saxophone
- Junior Mance – piano
- Larry Gales – bass
- Ben Riley – drums
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