Requisites

The Griffith Park Collection ~ Stanley Clarke, Chick Corea, Joe Henderson, Freddie Hubbard, Lenny White | By Eddie Carter

This morning’s record from the library unveils a unique jazz collaboration. The Griffith Park Collection (Elektra Musician E1-60025) is the second of two studio albums recorded over four days with an all-star ensemble: Freddie Hubbard on flugelhorn (tracks: A3, B3) and trumpet (A1, A2, B1), Joe Henderson on tenor sax (A1 to A3, B1, B3), Chick Corea on piano, Stanley Clarke on upright bass, and Lenny White on drums. Their first record was Echoes of An Era, an album of jazz standards with Chaka Khan. This was a rare reunion for Corea, Clarke, and White, who had not played together since they were members of Return to Forever. My copy is the 1982 U.S. Stereo release.

The opener is L’s Bop by Lenny White. The quintet’s lively theme takes off at a brisk pace, leading to Joe’s swinging opening solo. Freddie maintains the vigorous intensity in the second reading; then Chick skillfully navigates the third statement into a short exchange with Lenny until the theme’s reprise and fade out. The pace slows down slightly for Why Wait by Stanley Clarke, a medium-tempo blues that opens with the ensemble’s theme. Joe gets this grooving affair going in the first solo. Freddie answers him with an exceptional performance; then Chick provides the exclamation point preceding the group’s return for the closing chorus and exit.

October Ballade by Chick Corea begins with the pianist’s soothing introduction ahead of Freddie’s tender melody. Joe has the first solo and builds each chorus gently with deep emotion until Chick takes over for a brief, lovely interpretation. The quintet wraps up things with a poignantly touching reprise and finale. Side Two gets underway with Happy Times by Freddie Hubbard, a cheerful tune that the group takes to heart in the theme. Joe greets the opening statement joyfully, and then Freddie comes in for a bright and bubbly solo. Chick adds to the festive atmosphere in the second interpretation. Lenny delivers a finale that is quite enjoyable before the close.

Remember, by Steve Swallow is a beautiful waltz that opens with the trio’s thoughtfully polite introduction and theme. Chick carefully cultivates the lead solo with delicate notes. Stanley’s reply is an affectionately warm interpretation as Lenny’s drums softly compliment him until the ensemble’s theme restatement. Guernica by Lenny White is a musical portrait of Pablo Picasso’s Spanish Civil War painting. It is a haunting song and the album’s most adventurous tune with a melancholy theme. Joe begins the opening solo with an airy, nostalgic tone. Freddie emerges next with a breathtaking reading; then Chick delivers an enthusiastic statement preceding the group’s return for the climax.

Lenny White produced The Griffith Park Collection and Bernie Kirsh was the recording engineer. The album’s sound quality is good, with a softer soundstage in the highs, midrange, and bass. At just under forty minutes, it is a hidden gem that flows with a beat and does not disappoint. If you are in the mood for an excellent album with remarkable chemistry and exceptional performances. In that case, I invite you to check out The Griffith Park Collection by Stanley Clarke, Chick Corea, Joe Henderson, Freddie Hubbard, and Lenny White on your next record shopping trip. It is a wonderful album that I highly recommend for your library, and I am sure it will reward your purchase for years to come!

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Requisites

A DAY IN THE LIFE | WES MONTGOMERY

One of my favorite jazz albums that I first heard during my freshman year in college was the 1967 album A Day In The Life by Wes Montgomery. It was recorded on June 6 & 26, 1967 at the Van Gelder Studio in Englewood Cliffs, New Jersey and released on the A&M/CTI label later that year in September.

The 34:21 minute album is filled with covers of rock and pop songs selected by the guitarist who opens Side One with the title track, A Day In The Life by John Lennon and Paul McCartney, originally released on their Sgt. Pepper’s Lonely Hearts Club Band. It’s a great opener that builds from a quiet start into a cavalcade of strings by its end. Watch What Happens is from the 1964 musical romantic drama film The Umbrellas of Cherbourg written and directed by Jacques Demy, with music by Michel Legrand.

The Calvin Lewis and Andrew Wright #1 tune When a Man Loves a Woman is the third addition to the side and first recorded by Percy Sledge in 1966. California Nights is a song written by Marvin Hamlisch and Howard Liebling and recorded by Lesley Gore in 1967. The final song is Angel and is the only composition contributed by Montgomery.

Side Two is opened by another Lennon/McCartney song, Eleanor Rigby. One premise is that the inspiration for the title is the actress Eleanor Bron who starred in the Beatles movie Help!. Rigby came from the name of a store in Bristol, Rigby & Evens Ltd. Next up is Willow Weep For Me, that once again accounts the inspiration for the song is that Ann Ronnell, while at Radcliffe College, had been struck by the loveliness of the willow trees on campus, and this observation became the subject of an intricate song.

Windy, another No. 1 tune recorded by The Association, and was composed by Ruthann Friedman. Trust In Me was composed by Milton Ager, Jean Shwartz and Ned Wever and was made popular in 1937 by Mildred Bailey. Closing out the session is The Joker, a song by Leslie Bricusse and Anthony Newley, and is taken from the 1964 musical The Roar of the Greasepaint – The Smell of the Crowd. It’s a lament of a person, seen by the outside world as a jester and a comedian especially when they fail.

The recording session was produced by Creed Taylor, was arranged and conducted by Don Sebesky, the engineer was Rudy Van Gelder and the principal photography was performed by Pete Turner.

The guitarist did little more than play the melody using his distinctive octaves. A Day in the Life  is a collaboration of guitar and strings. For these ears it was a  pleasurable listening experience.

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CONCEPTION: THE GIFT OF LOVE | BOBBY HUTCHERSON

Conception: The Gift of Love is a post bop album by vibraphonist Bobby Hutcherson. The album was  recorded over a two day period on March 15 & 16, 1979 at A&R Recording Studios in New York City and at the Van Gelder Studio in Englewood Cliffs, New Jersey. The 37 minute, 52 second album was produced and arranged by Cedar Walton and released on the Columbia Records label.

Vibraphonist Bobby Hutcherson’s quintet includes pianist George Cables, bassist James Leary, drummer Eddie Marshall and percussionists Bill Summers and Kenneth Nash. He brings a stellar horn section to the session with flutist Hubert Laws, trumpeters Jon Faddis, Danny Moore, Anthony Tooley, Joseph B. Wilder, tenor trombonists Robert Alexander, John Gale, Urbie Green, bassoon and bass clarinetist Romeo Pinque, alto saxophone Lenny Hambro, and tenor saxophonists Daniel Trimboli and Frank Wess.

The seven originals were composed by the band members. Side One opens with the leader’s composition No Siree Bob (7:00), followed by Clockwise by Cedar Walton (6:39), and closes with James Leary’s Remember to Smile (5:38). Side Two commences with Dark Side, Light Side by George Cables (4:06), then another Leary composition Hold My Hand (3:58), Eddie Marshall’s Dreamin’ (6:07) and closes with a second Cable composition titled Quiet Fire (4:24).

Though some critics have claimed this album to be one of his lesser releases with nothing memorable occuring, there are some who state it is a masterpiece of lyrical, straight ahead jazz that is melodically beautiful. I found it to be an enjoyable escape and leave it to you to discover for yourself.

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Requisites

My Favorite Things ~ John Coltrane

My Favorite Things was the seventh studio album by jazz musician John Coltrane, recorded on October 21, 24, 26, 1960. Released in 1961 on Atlantic Records, it was the first album to feature him playing soprano saxophone, a gift from Miles Davis while they were on tour in Europe. An edited version of the title track became a hit single that gained popularity in 1961 via radio airplay, thus helping the record become a major commercial success. In 1998, the album received the Grammy Hall of Fame award. Fifty-eight years after its release, in 2018 the album attained gold record status, having sold 500,000 copies.

The title track is a modal rendition of the Rodgers and Hammerstein song My Favorite Things from The Sound of Music. The melody is heard numerous times throughout, but instead of playing solos over the written chord changes, both Tyner and Coltrane take extended solos over vamps of the two tonic chords, E minor and E major played in waltz time. This use of modal jazz is evident throughout the album.

The album consists of four songs with Cole Porter’s Ev’rytime We Say Goodbye following the title track on Side 1, then two from the brothers Gershwin, George and Ira, with Summertime and But Not For Me on Side 2. The length of the album is a mere 40:25 but is well worth the listen and a valued addition to any music library that one desires to build.

In the documentary The World According to John Coltrane, narrator Ed Wheeler remarks on the impact that this song’s popularity had on Coltrane’s career: The recording was a hit and became Coltrane’s most requested tune, and a bridge to his broad public acceptance.

The band features John Coltrane playing soprano saxophone on Side 1 and tenor on Side 2, McCoy Tyner on piano, Steve Davis on the double bass, and rounding out the quartet is drummer Elvin Jones.

The production team was Nesuhi Ertegün ~ producer, Tom Dowd, Phil Iehle ~ engineers, Lee Friedlander ~ photography, Loring Eutemey ~ cover design and Bill Coss wrote the liner notes.

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Requisites

Home Cookin’ ~ Jimmy Smith | By Eddie Carter

I’d had a really long week and wanted to hear some organ jazz when I came across a title I always enjoyed but hadn’t listened to in a while. Jimmy Smith provides the recipe for seven courses of hard bop and soul-jazz with a side of the blues in Home Cookin’ (Blue Note BLP 4050/BST 84050). It’s a delicious quartet meal of pure organ bliss taken from three different sessions that hit the stores in 1961. Jimmy is joined by Percy France (tracks: A1, A4, B1, B2) on tenor sax, Kenny Burrell on guitar, and Donald Bailey on drums. My copy is the 1992 Toshiba EMI Japanese Stereo reissue sharing the original catalog number.

Side One opens with See See Rider by Gertrude “Ma” Rainey and Lena Arant. Jimmy and the trio introduce the theme at a slow tempo. Kenny has the first spot and swings lightly to the leader’s fat bass lines and Donald’s subtle brushwork. Percy follows with a down-home reading, and then Jimmy is equally elegant in a short solo ahead of the song’s finale. Sugar Hill by Kenny Burrell is dedicated to an area of Harlem and picks up the pace significantly as the composer leads Smith and Bailey through the melody. Kenny gets things going with a lively lead solo, and then Jimmy comes in for a spirited statement that moves along nicely. Burrell adds a few more comments preceding the reprise and slow fadeout.

I Got A Woman by Ray Charles would become a big hit for Jimmy McGriff a year later. Smith and company offer a change of pace from that swinger with a medium groove featuring Jimmy in the solo spotlight. The organist’s soulful presentation is a danceable treat until the threesome reprises the ending theme into a slow dissolve. Messin’ Around by Jimmy Smith brings back France to the foursome for the medium melody. Burrell is up first again with a sparkling statement. France puts a lot of heart and emotion into the following reading, then Smith’s short solo leads back to the quartet’s theme restatement and fade out.

Side Two begins with an introduction to a lovely lady named Gracie by Jimmy Smith. The quartet’s leisurely theme sets the tone for Percy’s contagious opening statement. Kenny skillfully constructs the second solo, and then Jimmy delivers one of his smoothest readings preceding the out-chorus. Come On Baby by Kenny Burrell is a solid blues that grabs the listener from the start of Smith’s melody and informal, easy opening interpretation. France steps up next with an excellent example of his superb tone quality. Burrell enters the picture next for a brief presentation before Jimmy adds a few last thoughts until the slow fade into nothingness.

Jimmy’s Motoring Along is the album’s closing number and the final trio track. The beat shifts upward for the melody. Kenny gets his message across in the lead solo, and Jimmy is a joy to listen to in the closer. Donald keeps the excitement in the beat going until the theme’s closing chorus and the trio’s slow exit. Alfred Lion produced Home Cookin’, and Rudy Van Gelder was the man behind the dials. The sound quality is good but not great, and the reason is the same issue I had with Hootin’ ‘n Tootin’ and Open House. The microphone placement for Jimmy’s organ has a level of distortion that is particularly noticeable on every track but not as bad on Come On Baby.

The front and rear covers are both laminated, and the record is incredibly quiet until the music starts. That aside, the good news is I enjoyed the music, particularly Percy France who I was unaware of, but pleasantly surprised with his playing because he reminded me of Stanley Turrentine. Burrell and Bailey are as solid a rhythm section as anyone could have, and they’ve collaborated with Jimmy on four other albums: Back At The Chicken Shack, Houseparty, Midnight Special, and The Sermon. If you’re a fan of hard bop, soul-jazz, or Jimmy Smith, I hope you will check out Home Cookin’ on your next record shop visit. It’s a tasty musical meal I’m sure you won’t regret adding to your library!

~ Back At The Chicken Shack (Blue Note BLP 4117/BST 84117), Hootin’ ‘n Tootin’ (Blue Note BLP 4094/BST 84094), Houseparty (Blue Note BLP 4002/BST 84002), Midnight Special (Blue Note BLP 4078/BST 84078), Open House (Blue Note BLP 4269/BST 84269), The Sermon (Blue Note BLP 4011/BST 84011) – Source: Discogs.com

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