Requisites

The Hawk Flies High is an album by jazz tenor saxophonist Coleman Hawkins. Apart from Barry Galbraith and Jo Jones on guitar and drums, the line-up of his accompanying sextet had a bebop background. The year is 1957, the dates, March 12^th, and 15^th, and Reeves Sound Studios at 304 East 44^th Street is the destination.

Track Listing | 39:02

1. Chant (Hank Jones) – 5:08
2. Juicy Fruit (Idrees Sulieman) – 11:16
3. Think Deep (William O. Smith) -3:24
4. Laura (David Raksin, Johnny Mercer) -4:34
5. Blue Lights (Gigi Gryce) -5:44
6. Sancticity (Hawkins) -9:10

• Coleman Hawkins – tenor saxophone
• Hank Jones – piano
• Oscar Pettiford – bass
• Jo Jones – drums
• Barry Galbraith – guitar
• J.J. Johnson – trombone
• Idrees Sulieman – trumpet

Coleman Hawkins ~ The Hawk Flies High | by Eddie Carter

Tenor saxophonist Coleman Hawkins steps into the spotlight with his only album as a leader for Riverside Records, The Hawk Flies High (Riverside Contemporary Series 12-233).  Originally recorded and released in 1957, this album and the other five he would record for Prestige; Soul (PRLP 7149) and Blues Groove with Tiny Grimes (PRLP 7138/PRST 7753) in 1958; Very Saxy with Eddie “Lockjaw” Davis, Buddy Tate, Arnett Cobb (PRLP 7167); Hawk Eyes (PRLP 7156) and Coleman Hawkins with The Red Garland Trio (Prestige Swingville SVLP 2001) in 1959 became essential parts of his impressive discography. Also, reviving his career as one of the perennial jazz musicians in the world until his death from liver disease on May 19, 1969. My copy used in this report is the 2007 Mobile Fidelity Sound Lab Limited Edition, Half-Speed Mastered Mono Audiophile Reissue (MFSL 1-290).  Producer Orrin Keepnews gave Bean (as he was also known) the freedom to choose the personnel he wanted, and he picked a dream lineup to share the date; Idrees Sulieman on trumpet; J.J. Johnson on trombone; Hank Jones on piano; Barry Galbraith on guitar; Oscar Pettiford on bass and Jo Jones on drums.

Side One opens with Hank Jones’ Chant; a midtempo original tailor-made for tuneful blowing by the septet on the melody and five sprightly solos by Hawk, Julie, J.J., Hank, and Oscar.  Bean takes charge first, telling a great story with a captivating opening chorus. Sulieman’s trumpet is deliciously appetizing on the next reading, then Johnson fills the third solo with an ecstatic swing. Jones’ ideas flow with finesse on the next performance, and Pettiford swings with light agility on the closing statement before the coda.   Idrees Sulieman’s Juicy Fruit is a blues that gradually rises from a march-like introduction to the mid-tempo melody. The trumpeter sustains a single note for nearly a minute (fifty-seconds to be exact) before settling into some bluesy smooth sailing on the lead solo.  Coleman endows the next reading with long, flowing mellow lines that are enjoyable. J.J. conjures up some especially inventive playing that develops subtly over the easy, relaxing beat. Hank solos next cultivating an irresistible warmth over the gently rocking groundwork of the rhythm section. Oscar comes in behind him maintaining a relaxed attitude with poise and self-assurance before the ensemble takes the song out.

Think Deep by jazz clarinetist William Smith begins leisurely with Hawk leading the septet on the hauntingly beautiful melody and closing chorus.  As the song’s only soloist, the venerable tenor man turns in a very satisfying intimate performance reminiscent of the spontaneously perfect solo he performed on Body and Soul for Bluebird Records (10523) in 1939.  Side Two starts with Laura by David Raskin who composed it for the 1944 film of the same name. This classic jazz standard is featured throughout the film noir drama and has been recorded over four-hundred times. Lyricist Johnny Mercer created the words for Laura in 1945 after the film became a huge hit, later admitting he never saw the film before writing them. Raskin also founded a little-known label called Capitol Records and has written over fifteen-hundred lyrics.  Sulieman lays out of this version, therefore showcasing Coleman and J.J. who clearly make two convincing cases for interpreting a ballad. The graceful mood is established by the rhythm section for the song’s introduction. Bean states the theme with passionate tenderness, then impresses on an expressively gentle first solo.  J.J. adds notes of dreamlike beauty that’s beautifully captured on the closing chorus leading to a subtle climax by Hawk.

Blue Lights by multi-instrumentalist Gigi Gryce made its debut on the 1957 album When Farmer Met Gryce (Prestige PRLP 7085) while he was a member of The Art Farmer Quintet. The septet presents the song at a medium tempo like the original, giving Barry his first solo opportunity for a brief bit that’s inspired.  Idrees is particularly intriguing on the third solo; Hank is also in top form on a short statement that’s rhythmically assured. J.J. mixes a bit of grace and fire on the following reading; Oscar and Jo Jones split the next interpretation with a few crisply executed exchanges. Coleman delivers the finale with a smoldering fire emerging from his horn that burns slowly into the closing theme. The album ends with the leader’s joyful original, Sancticity. The rhythm section lays down a swinging line to introduce this jaunty tune, preceding the ensemble’s frolic on the melody.  Johnson opens with a carefree, light-hearted opening statement that’s perfectly in step like a street march through the French Quarter in New Orleans.  Hawk leads the septet into the bridge between his and the trombonist’s solo statement, then settles in for a deliciously spry and merry reading of his own. Sulieman is firing on all cylinders with a frisky performance that’s a sure attention-grabber. Jones gives the final solo a happy send-off with a bright, breezy interpretation bringing this entertaining forty-minutes of jazz to a close.

I defy anyone to listen to this record with its deliciously smooth sound and punchy rhythms, and not find themselves moving to the music. The six songs that make up The Hawk Flies High offers a refreshing spirit of Cool Jazz, Hard-Bop, and Swing. Bean and his associates bring their talents to the mix with solid performances, superb solos, and vivid ensemble work for an album that you’ll want to add to your library! The original recording by Jack Higgins of Reeves Sound Studios is marvelously remastered by Mobile Fidelity Sound Lab with absolute sonic purity for a riveting soundstage that places you in the studio among the musicians as they work. If you’re a fan of good sax, I recommend for your consideration, The Hawk Flies High by Coleman Hawkins. An LP by one of jazz’s prominent musicians who not only made the tenor sax a jazz instrument but made art with it throughout a distinguished career spanning forty-five years!

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

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Requisites

Another Git Together is a studio album by the Jazztet, led by trumpeter and flugelhorn player Art Farmer and tenor saxophonist Benny Golson. It features performances recorded in 1962 and originally released on the Mercury label. It was the band’s last recording for 20 years. Kay Norton was the producer and Tommy Nola was the recording engineer for the studio session recorded on May 28 (tracks: B2, B3) and June 21, (tracks: A1-A3, B1) 1962 at Nola’s Penthouse Sound Studios, New York City.

Tracks | 34:28

1. Space Station (Grachan Moncur III) ~ 5:10
2. Domino (Don Raye, Jacques Plante, Louis Ferrari) ~ 6:58
3. Another Git Together (Jon Hendricks, Pony Poindexter) ~ 6:12
4. Along Came Betty (Benny Golson) ~ 5:24
5. This Nearly Was Mine (Richard Rodgers, Oscar Hammerstein II) ~ 6:20
6. Reggie (Golson) ~ 4:24

• Art Farmer – trumpet, flugelhorn
• Benny Golson – tenor saxophone
• Grachan Moncur III – trombone
• Harold Mabern – piano
• Herbie Lewis – bass
• Roy McCurdy – drums

Led by two titans of jazz, Another Git Together is their second album for Mercury Records and sixth as a group. The album takes flight with a trip to the Space Station by Grachan Moncur III, an uptempo burner with a scintillating melody by the sextet. The pace slows to mid~tempo for Domino, a French composition which was written in 1950 by Don Raye, Jacques Plante, and Louis Ferrari. The title track, Another Git Together is a soulful midtempo blues by Jon Hendricks and Pony Poindexter which comes to life and ends with a dialogue between the trio which slowly fades into oblivion to end the first side. Along Came Betty opens the second side and is one of Benny Golson’s timeless jazz standards. The Jazztet delivers the melody at a leisurely easy pace (that’s slightly faster than the original recording), stepping aside for the lead solo by Mabern who rolls with relaxing verses that are well matched to the gorgeous groundwork of Lewis and McCurdy. This Nearly Was Mine was written in 1949 by Oscar Hammerstein II and Richard Rodgers, making its debut in their Broadway musical, South Pacific which premiered that year and later reappears in the 1958 film version as well. Farmer is back on flugelhorn and leads the ensemble through the melody of this pretty waltz at a livelier pace than normally heard. The last track is Reggie, a cheerful original by Benny that’s named for his second son and a perfect vehicle for improvisation as the sextet illustrates in unison on the opening chorus.

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Requisites

Lighthouse ’68 is a live album by The Jazz Crusaders recorded on November 10-13, 1967 at the Lighthouse in Hermosa Beach, California and released the following year on the Pacific Jazz label. Lighthouse ’68 documents the group performing live at one of the premier West Coast clubs, The Lighthouse Café, opened in 1949.

The producer on the date was Richard Bock. The cover design was created by Gabor Halmos, the engineer was Dino Lappas, the liner notes were written by Howard Rumsey, and the liner photography was taken by Fred Seligo.

1. Ooga-Boo-Ga-Loo (Stix Hooper) – 6:39
2. Eleanor Rigby (John Lennon, Paul McCartney) – 7:32
3. Native Dancer (Buster Williams) – 8:52
4. Never Had It So Good (Joe Sample) – 7:15
5. The Emperor (Buster Williams) – 8:50
6. Impressions (John Coltrane) – 6:12

• Wayne Henderson – trombone
• Wilton Felder – tenor saxophone
• Joe Sample – piano
• Buster Williams – bass
• Stix Hooper – drums

Review by Eddie Carter

Four friends from Houston, Texas who began performing locally in 1956 were Wayne Henderson, Wilton Felder, Joe Sample, and Stix Hooper. They were originally known as The Swingsters, then The Nite Hawks, but after moving to Los Angeles, California in 1961, they changed their name and became one of the best West Coast ensembles of the sixties, The Jazz Crusaders.

The set opens with Oogo-Boo-Ga-Loo, an infectiously danceable audience grabber by Stix Hooper which begins with a lovely introduction by the trio, then blossoms into a sanctified styled theme treatment. John Lennon and Paul McCartney’s Eleanor Rigby allows their midtempo rendition to explore the melody collectively. The tempo moves up for Native Dancer, the first of two contributions by Buster Williams which gets off to a roaring start with an aggressive opening statement and nimble melodic presentation.

Sample’s Never Had It So Good starts the second side with an easy spirited beat that leads us back to church with a bit of boogaloo in the imaginative display of harmony during the group’s opening melody. The Emperor, is Williams’ second offering to the session that takes us back to straightforward bop with the solos in the same order as the previous tune.

The album ends with John Coltrane’s Impressions, takes an invigorating introduction by the trio and theme statement led by the horns followed with a jet-propelled interpretation infused with searing fire for an energetic workout and effervescent ending.

Source: Jazztracks by Eddie Carter | Excerpt: 12/2018 | atlantaaudioclub.org

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Requisites

The Yuko Mabuchi Trio, Volume 1 is a 2017 live recording by the trio at The Brain and Creativity Institute’s Cammilleri Hall in Los Angeles, California on March 31, 2017. It was recorded in honor of the 25th Anniversary of The Los Angeles and Orange County Audio Society, and their President, Bob Levi who was celebrating his 70th Birthday and released on the Yarlung Records label. The executive producer was Randy Bellous.

1. What Is This Thing Called Love?
2. Valse Noire
3. On Green Dolphin Street
4. Seriously

• Yuko Mabuchi ~ piano
• Del Atkins ~ bass
• Bobby Breton ~ drums

Review by Eddie Carter

On the stage, a beautiful young woman sits at a baby grand piano unleashing an aggressive flood of sound into the audience. Behind her are two elegantly dressed gentlemen, Del Atkins on bass and Bobby Breton on drums, who match her creativity, precise timing, and articulation with their own musical artistry note-for-note. Her name is Yuko Mabuchi.

The four-song album opens with one of Cole Porter’s most recorded compositions, the 1929 classic, What Is This Thing Called Love?, composed for the Broadway musical, Wake Up and Dream. It is followed by the very pretty ballad Valse Noire by Cincinnati, Ohio composer Mark Lehman who originally wrote the tune for solo piano. The pace slows down as the second side begins with the 1947 popular song On Green Dolphin Street by Bronislaw Kaper and Ned Washington. It was composed for the film Green Dolphin Street released that year and became a jazz standard after Miles Davis recorded it on his 1958 Columbia album, Jazz Track. The album closes with Seriously by singer-songwriter Sara Bareilles who wrote it for fellow singer Leslie Odom, Jr., who appeared on the weekly public radio program and podcast, This American Life.

Source: Jazztracks by Eddie Carter | Excerpt: 12/2018 | atlantaaudioclub.org

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Requisites

Jam Session is the first of two albums that comprised a two-part EmArcy Jazz Series recorded in front of a live audience on August 14, 1954, in Los Angeles, California.

1. What Is This Thing Called Love? (Cole Porter) – 14:56
2. Darn That Dream (Eddie DeLange, Jimmy Van Heusen) – 5:16
3. Move (Denzil Best) – 14:28
4. My Funny Valentine/Don’t Worry ’bout Me/Bess, You Is My Woman Now/It Might as Well Be Spring (Lorenz Hart, Richard Rodgers/Rube Bloom, Ted Koehler/George Gershwin, Ira Gershwin/Oscar Hammerstein II, Rogers) – 11:29

• Clifford Brown, Maynard Ferguson, Clark Terry ~ trumpet Herb Geller ~ alto saxophone (1,3,4)
• Harold Land ~ tenor saxophone
• Junior Mance (1,3,4), Richie Powell (2) ~ piano
• Keter Betts, George Morrow ~ bass
• Max Roach ~ drums
• Dinah Washington ~ vocal (2)

The album is opened with a spirited introduction by Roach preceding the ensemble presenting the melody collectively of Cole Porter’s 1929 classic What Is This Thing Called Love? written for the Broadway musical, Wake Up and Dream. Clifford is up first, revealing a musical maturity far beyond his years on the opening statement with a solo of dynamic energy. Land endows the next solo with long, flowing lines as Terry strolls in with his third performance for an impressive and entertaining interpretation.

Geller demonstrates the smooth, melodic quality of his playing with a light, fluid tone on the fourth reading and Morrow takes over illustrating his agility and potent endurance. Ferguson maintains the interpretative intensity and fullness of tone with Roach’s tower of strength swinging relentlessly. Powell takes the final bow hitting a perfect groove with plenty of incandescent heat. This is how the album flows.

Dinah Washington makes her only appearance on the album with the 1939 Jimmy Van Heusen and Eddie DeLange popular ballad, Darn That Dream. The song was introduced in the Broadway musical, Swingin’ The Dream, also released in 1939. Dinah’s luscious lyric delivery is with exquisite softness and elegant phrasing into a gorgeous finale to end the first side. Though only appearing once on this album, Washington recorded its companion Dinah Jams the following night as part of the same series. Both are enjoyable at any time of the day or evening with something to offer most jazz tastes.

Source: Jazztracks by Eddie Carter | Excerpt: 12/2018 | atlantaaudioclub.org

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