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!
~ Echoes of An Era (Elektra E1-60021) – Source: Discogs.com © 2024 by Edward Thomas Carter
More Posts: bass,choice,classic,collectible,collector,drums,history,instrumental,jazz,music,piano,saxophone,trumpet
Daily Dose Of Jazz…
Chester Zardis was born on May 27, 1900, in New Orleans, Louisiana and played bass from a young age, studying without his disapproving mother’s knowledge under Billy Marrero of the Superior Orchestra. In his teens he was sent to the Jones Waif Home where he began playing with another of the Home’s residents, Louis Armstrong.
He joined Buddy Petit’s orchestra at age 16, and worked as a bassist in nightclubs and a tubist in brass bands in 1920s New Orleans. There he played with Kid Rena, A.J. Piron, Punch Miller, Kid Howard, Jack Carey, Fate Marable, and Duke Dejan’s Dixie Rhythm Band.
He was given the nickname “Little Bear” by riverboat bandleader Fats Pichon, a bandleader with whom Zardis played in the 1930s. During that decade he also played with Count Basie in New York City, and recorded with George Lewis and Bunk Johnson. During World War II he served in the Army, then worked briefly as a sheriff. Upon his return to New Orleans, he played with Andy Anderson, but quit music between 1954 and 1964.
When he returned to active performance, Chester played often at Preservation Hall with Lewis and Percy Humphrey among many others. He continued to be a fixture of the New Orleans jazz scene up until his death in 1990, including several international tours.
Double bassist Chester Zardis, who was regularly featured in documentaries including Liberty Street Blues, Chester Zardis: Spirit of New Orleans, and Three Men of Jazz, died on August 14, 1990 in New Orleans.
More Posts: bass,history,instrumental,music
Daily Dose Of Jazz…
Edo Castro was born on May 24, 1957 in San Francisco, California to mother Aida Saberi, the only child from her first marriage. He attended Grattan Elementary, Herbert Hoover Junior High and J. Eugene McAteer High School, all in the city by the bay. Growing up during the tumultuous 1960s, where from an early age he was exposed to a myriad of musical styles, listening not only to rock and roll, R&B, but classical music, folk and jazz.
The first jazz albums came to him via his uncle, a recording engineer pioneer Reice Hamel. From these, Edo was first exposed to and enthralled by the sounds of Vince Guaraldi, Hugh Masekela, Ahmad Jamal, Bill Evans, Ramsey Lewis and Paul Desmond. He initially studied piano and violin, but when a friend suggested he try the electric bass, he knew he had found his instrument.
Castro attended Humboldt State University in northern California. Nearly three years later he bought an acoustic bass and auditioned for the music department at San Jose State University. So inspired by the musicians he met and their sound, he moved to Chicago, Illinois in 1982, and studied at DePaul University for a year, then completed his studies at the American Conservatory of Music, earning a Bachelor of Arts in 1987 with a focus on jazz studies and electric bass.
Returning to the Bay Area in 1990, Edo has performed and recorded with among others David Amram, Roy Haynes, Fareed Haque, David Onderdonk, Ed Thigpen, Johnny Griffin, Joel Harrison, Deborah Winters, Jill Knight, Bethany Pickens, Armando Peraza, Caren Armstrong, Percy Howard, Mark Egan, Yves Carbonne, and David Friesen.
Bassist Edo Castro has performed across Europe, Asia and South America. He continues to perform and record.
More Posts: bandleader,bass,history,instrumental,jazz,music
TARUS MATEEN
Tarus Mateen, a child prodigy on bass, went on a tour of the Caribbean when he was twelve years old. The double-bass and electric bassist, who works in jazz, pop, and R&B idioms.
Receiving his bachelor’s degree from Morehouse College, then relocated to New York City in 1988. He worked with Betty Carter, Marlon Jordan, Roy Hargrove, Eddie Harris, Kenny Burrell, Milt Jackson, Mark Whitfield, Tim Warfield, Rodney Kendrick, Terence Blanchard, Kenny Barron, Bobbi Humphrey, Marc Cary, Stefon Harris, Greg Osby, Bernard Purdie, Nasheet Waits, Stanley Cowell, Mark Shim, Jacky Terrasson, Michael Marcus, Logan Richardson, and Jason Moran among others.
The Band: Tarus Mateen ~ Bass | Colin Chambers ~ Piano | Tyler Leak ~ Drums | Clarence Ward III ~ Horns | Tamika Love Jones ~ Vocal
More Posts: adventure,bass,concert,genius,jazz,music,preserving,travel