Daily Dose Of Jazz…
Raymond Court was born on December 2, 1932 in Lausanne, Switzerland. He began playing trumpet in his late teens, but by age 20 was playing in Raymond Droz’s band from 1952 to 1956.
Later in the 1950s he played with Flavio Ambrosetti and Kurt Weil, and the early 1960s saw him with Daniel Humair, Martial Solal, and Rene Urtreger.
Starting in the mid-Sixties, he began concentrating on a new career in woodworking and cabinetry, but returned to music after about a decade. He recorded as a leader in the 1980s and with Weil again and Charly Antolini in the 1990s.
Trumpeter Raymond Court died March 03, 2012.
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Requisites
1958 Miles ~ Miles Davis | By Eddie Carter
Throughout his career, Miles Davis was widely regarded not only as a leading figure in jazz but as a monumental presence in music as a whole. He consistently demonstrated his influence by producing an impressive array of records that have remained influential over the years, offering critics, listeners, and fellow musicians more to consider and appreciate than most artists across any musical style. This morning’s album up for discussion is 1958 Miles (CBS/Sony 20AP 1401). Interestingly, this record did not see a complete release in Japan until 1974. Tracks: A1 to A3 were initially released on “Jazz Track” in 1958. Track B1 later appeared on the 1975 double album “Black Giants, ”while track B2 appeared twice in 1973, on the compilations “Basic Miles—The Classic Performances of Miles Davis” and the CBS/Sony Japanese release “The Miles Davis Quintet & Sextet.”
By the time he recorded this album, Davis had brought in some new talented musicians to his group. Red Garland and “Philly” Joe Jones had left, and in their places, pianist Bill Evans and drummer Jimmy Cobb joined the band. Rounding out the ensemble are Julian “Cannonball” Adderley on alto sax (tracks: A1, A2, B1), John Coltrane on tenor saxophone (tracks: A1 to B2), Bill Evans (tracks: A1 to A3, B1), and Red Garland on piano (track: B2). On bass, Paul Chambers is featured on track B2, while Jimmy Cobb (tracks: A1 to A3, B1) and “Philly” Joe Jones (track: B2) keep the rhythm going on drums. The copy of the album I used for this report is the 1979 Japanese Mono Reissue.
Side One kicks off with the timeless song On Green Dolphin Street by Bronislaw Kaper and Ned Washington.Initially written for the 1947 film “Green Dolphin Street”, it’s Miles Davis’s version that truly made it a jazz standard we cherish today. He starts his soulful dialogue on the muted horn, with the trio providing a relaxed, friendly groove around the melody. His energetic lead solo radiates positive vibes, sizzling at a comfortable medium heat, while Coltrane responds with a lively, lyrical interpretation. Cannonball adds his beautiful touch on the third reading, and Evans plays just as wonderfully, culminating in a joyful moment before Miles wraps up the song with a satisfying finish.
Fran-Dance is a heartfelt tribute from Miles to his second wife, Frances Taylor. I first heard this beautiful tune on the 1961 live album, “Miles Davis In Person, Saturday Night at The Blackhawk, San Francisco, Volume 2.” Miles, playing a gently muted trumpet, creates a beautifully dreamy theme that feels warm and inviting, ending with a rich, mellow note. Coltrane’s opening is so lush that it feels like it melts right into your heart. Cannonball's tender, slightly fragile tone adds a delicate touch to the next performance, and Evans approaches the finale with such fingertip delicacy that it becomes one of his most touching ballad performances.
The 1944 jazz classic Stella By Starlight, by Victor Young with lyrics by Ned Washington, provides a graceful ending to the album’s first side and stands as a cherished staple of The Great American Songbook. Cannonball takes a reflective moment to appreciate this enduring masterpiece, highlighting the remarkable solos by Miles, Coltrane, and Evans. The enchanting atmosphere is set immediately with the opening chorus, as the muted trumpet conveys each phrase with deep emotion. Coltrane delivers a powerful, regal rendition, seamlessly leading into Evans’ exquisite solo, which builds to a memorable climax.
Love For Sale, by Cole Porter, made its first appearance in the 1930 musical “The New Yorkers.” The song’s lyrics paint a vivid image of a streetwise woman offering love for purchase, and it has become one of Porter’s most frequently covered songs. Notably, Cannonball and Miles recorded their own rendition just two months earlier for the 1958 album “Somethin’ Else.” Miles opens with a brisk, upbeat introduction, playing with a mute and delivering a truly memorable highlight. Following that, Cannonball takes over and shines brilliantly. Evans then immerses himself in the closing statement, providing a remarkable performance before the group’s theme reprise concludes.
Jackie McLean’s composition Little Melonae made its debut on his 1955 album, “Presenting Jackie McLean”, and is dedicated to his daughter. Cannonball Adderley also doesn’t perform on this track. The quintet introduces the tune with a unified statement of the melody, followed by a captivating solo from Miles Davis, who opens with the mute off, adding a striking touch. John Coltrane responds with heartfelt sincerity in the following statement. Red Garland impresses with refined technique and elegance on his only appearance on the album. Paul Chambers briefly steps into the spotlight, after which the quintet brings the song to a close together.
Teo Macero produced the album, and Larry Keyes carefully engineered each recording session. The sound quality is absolutely stunning across all ranges—treble, midrange, and bass—creating a rich, immersive experience. The sextet’s performance surrounds your favorite listening spot with a beautifully solid soundstage from the instruments, making every note feel alive. Since this is a Japanese release, 1958 Miles might be a bit tricky to track down on your next vinyl hunt. But with a little patience, you’ll be rewarded with an extraordinary album that would make an excellent addition to the Hard-Bop section of your library. It also offers a fresh perspective on Miles Davis’s sound in the Modal style, which reached its peak a year later with “Kind of Blue!”
~ Basic Miles-The Classic Performances of Miles Davis (Columbia KC 32025); Black Giants (Columbia KG 33402); Jazz Track (Columbia CL 1268); Kind of Blue (Columbia CL 1355/CS 8163); Miles Davis In Person, Saturday Night at The Blackhawk, San Francisco, Volume 2 (Columbia CL 1670/CS 8470); Presenting Jackie McLean (AdLib 6601); Somethin’ Else (Blue Note BLP 1595/BST 81595); The Miles Davis Quintet & Sextet (CBS/Sony SOPM-140) – Source: Discogs.com
~ On Green Dolphin Street, Love For Sale – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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The Jazz Voyager
The Jazz Voyager is on the road again, this time leaving Tennessee for Georgia. Heading north of Atlanta on 400 for the progressive city of Alpharetta where The Velvet Note does its thing. The 40 plus eating offers an intimate atmosphere where one comes to listen to jazz, not talk through the set.
On tap this week is trumpeter Russell Gunn & Blackhawk. The project’s name, Blackhawk, is a nod to the legendary 1961 album Miles Davis In Person Friday and Saturday Nights at the Blackhawk. That record is famous for capturing Miles Davis at his most raw and hard-swinging, performing in a gritty San Francisco club with no rehearsals and no safety net.
The Velvet Note is located at 4075 Old Milton Parkway, 30005. For more information visit https://thevelvetnote.com
Tickets: $54.00
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Requisites
Quartet ~ Russ Freeman and Chet Baker | By Eddie Carter
It had been some time since I last enjoyed Russ Freeman’s piano work, so this morning I chose an excellent collaboration featuring him and trumpeter Chet Baker from my library. Quartet (World Pacific Records, PJ-1232) hit the stores in 1957 and was the eleventh album Freeman and Baker recorded together. The album showcases six original tunes alongside two standards, and they are supported by the outstanding rhythm section of Leroy Vinnegar on bass and Shelly Manne on drums. The copy of this album that I own is a King Record Company Japanese mono reissue (Pacific Jazz GFX-3104).
The first side opener, Love Nest by Otto Harbach and Louis A. Hirsch begins at a brisk pace, with Chet on muted trumpet during the lively melody, which continues into a spirited opening statement. Russ gets the next nod and delivers an energetic reading. Leroy follows up with a swinging interpretation, then Chet and Shelly engage in a brief exchange before the closing chorus returns. Fan Tan, the first of six originals by Russ Freeman, slows the pace to midtempo for the quartet’s theme. Freeman is afforded plenty of room to shape his phrases in the opening statement. Baker is back on the open horn and maintains a laid-back vibe as he effortlessly swings to the closing chorus and ending.
Summer Sketch begins with a gentle piano introduction. Chet Baker’s trumpet playing throughout the track is both poetic and tender, with each note radiating romantic beauty, softly guiding the group to a smooth, unified finish. An Afternoon At Home ends the first side with the rhythm section’s inviting introduction, allowing Baker to glide through the opening chorus at a leisurely, relaxed pace. Freeman’s lead solo is as enjoyable as spending a leisurely afternoon with friends. Then, Vinnegar takes the spotlight next for a captivating solo. Baker has the last word with a charming presentation, before the quartet brings the tune to a satisfying close.
Say When starts Side Two with the quartet’s spirited melody. Chet leads the way with an exciting opening statement. Russ soars into the following presentation, then Shelly swings with great force in a brief, exhilarating closing reading before the theme’s reappearance and the group’s exit. Lush Life by Billy Strayhorn is one of the enduring favorites among jazz standards. The song begins with Freeman’s sensitive introduction, gently segueing to Baker’s rich tone as he introduces the tender theme. The pianist’s solo possesses a sad, reflective beauty, culminating in the trumpeter’s tender and thoughtful finale.
Amblin is a slow blues, introduced by the trio’s soulful introduction, segueing to the leader’s down-home melody. Chet opens with a solo that’s thoughtfully crafted and effortlessly delivered. Russ continues letting each verse glide effortlessly next. Leroy wraps it up with plenty of heart, ahead of the quartet’s theme reprise and climax. Hugo Hurwhey takes off with a short introduction, preceding the ensemble’s upbeat theme. Baker hits an ideal groove in the opening statement. Freeman takes the reins next with a robust reading, then Vinnegar, Manne, and Freeman culminate the solos in a vigorous exchange with Baker, leading to the melody’s restatement and conclusion.
Richard Bock produced Quartet, but the identity of the recording engineer is unidentified. However, this King Record Company reissue possesses outstanding audio quality, with an excellent soundstage that brings the foursome into your listening room with impressive clarity and presence. Whether you’re a Russ Freeman or Chet Baker fan, or are just discovering the discography of either musician, I emphatically recommend and invite you to pick up Quartet on your next trip to the record store. The album is a stellar showcase for both musicians and would make a welcome addition to any jazz library!
~ Lush Life – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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The Jazz Voyager
Autumn in New York is one of my favorite times of year. The weather is wonderful and the jazz is plentiful. This month the Jazz Voyager is flying nowhere but around the isldanrelegated to the city’s cabs, private cars or Lyfts. Last week was Dizzy’s at Columbus Circle, this week I’ll be right up Broadway to Lincoln Center to be in the audience at Alice Tull Hall.
For the listening pleasure of this week’s audience I will be in attendance to witness the talent of Trindadian trumpeter and composer Etienne Charles with his band Creole Soul. Joining him is the University of Miami Frost Symphony Orchestra along with special guests. They’ll be paying tribute to San Juan Hill, a story about the Black neighborhood that was destroyed in order to build the venerable performance venue complex, Lincoln Center.
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