Requisites

This morning’s choice from the library is a recent acquisition I’ve been hunting for since it was reissued as part of The Prestige Mono Series. It’s a swinging Fifties jam session that was originally released in 1957 by The Prestige All-Stars. All Night Long (Prestige PRLP 7073/PRST 7289) brings together a first-class ensemble, Donald Byrd on trumpet, Hank Mobley on tenor sax, Jerome Richardson (tracks: A1, B1 to B3) on flute, and (track: A1) on tenor sax, Mal Waldron on piano, Kenny Burrell on guitar, Doug Watkins on bass, and Art Taylor on drums. My copy used in this report is the 2012 Analogue Productions Mono audiophile reissue (APRJ 7073 – PRLP 7073).

Side One opens with Kenny Burrell’s All Night Long occupying the entire side. Art kicks off the song with an infectious beat. Kenny starts the opening solo with exquisite execution. Jerome’s flute flows with a happy feeling on the first of two statements. Hank takes us on a carefree joyride in the next reading, then Donald speaks his peace with a stellar presentation. Jerome resurfaces on tenor for a sparkling performance, and Mal gives a soulful effort on the next interpretation. Art follows with a brief exchange with the principal soloists before the group takes the song out. Side Two starts with the first of two tunes by Hank Mobley, Boo-Lu. Richardson sets the mood of this happy groove on the melody and opening chorus. Burrell, Byrd, Mobley, and Waldron follow with four short solos ahead of the reprise and close.

Flickers by Mal Waldron suggests a homage to the movies. It begins with the ensemble’s collective mid~tempo theme. Jerome is up first and shines with a light-hearted warmth. Donald and Hank follow with one easygoing reading each, then trade a few feisty riffs. Kenny turns in a tasty performance next and Mal applies blues-rooted energy to the finale leading to the closing chorus and Doug’s slow fade into oblivion. Mobley’s Li’l Hankie comes at you at medium speed with the ensemble in unison on the melody. Hank leads off the solos with a marvelous interpretation. Donald delves into the second reading on muted trumpet mining a vein of musical riches. Kenny tells a short story that makes every note count on the third statement. Jerome lights a fuse of creative inspiration on the next performance, followed by a stimulating conversation between the front line, Waldron, and Richardson ahead of the ending theme.

Bob Weinstock supervised the original album and the man behind the dials was Rudy Van Gelder. Kevin Gray did the remastering from the analog tapes. The record has a flat-edge and deep groove on the label like the original release, and the album cover has a high gloss. This reissue was pressed on 200-gram audiophile vinyl by Quality Record Pressings. The soundstage is outstanding, transporting the musicians to your listening room and the record is silent until the music starts. Burrell, Byrd, Watkins, and Taylor also appear on the companion album, All Day Long, recorded just a few days after this date. If you’re a Hard-Bop fan and are looking for an album with superb musicianship, I can’t think of a better choice to introduce you to The Prestige All-Stars than All Night Long! It’s a gorgeous recording that’s highly recommended and well worth adding to your library!

~ All Day Long (Prestige PRLP 7081/PRST 7277) – Source: Discogs.com © 2022 by Edward Thomas Carter

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Three Wishes

When the Baroness inquired of Spanky De Brest what, if granted, his three wishes would be he answered her with:

1. “I want my whole salary from Birdland!”
2. “To be situated in New York, happily with my family.”
3. “Play my bass as well as God can allow me to.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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Daily Dose Of Jazz…

Arthur “Artie” Bernstein, born February 4, 1909 in Brooklyn, New York, started his musical career playing cello on board cruise ships to South America. He studied law at New York University, however, by 1929 he had started playing bass, and began performing in clubs around New York City. He performed with trumpeter Red Nichols, Red Norvo and others, and recorded with Ben Pollack, Jimmy and Tommy Dorsey, and many others in the 1930s.

In 1939 he performed with Benny Goodman at the second From Spirituals to Swing concert. He fell out with Goodman in 1941 after the bandleader fiddled with Bernstein’s music-stand light so that he would have problems reading the music to appear incompetent, giving the pretext to fire him.

He went on to win the Down Beat readers’ poll in 1943 and later moved to Los Angeles, California. Artie worked in the film industry for Universal Studios and Warner Bros., continuing to work for the latter organization until 1963.

Over the course of his career he worked with Arnold Ross Quintet, Charlie Christian Jammers, Hoagy Carmichael Trio, Ralph Burns Quintet, as well as the orchestras of Adrian Rollini, Billie Holiday, Cloverdale Country Club, Clyde Hurley, Cootie Williams, Eddie Condon, Frankie Trumbauer, Harry James, Jack Teagarden, Larry Clinton, Lionel Hampton, Metronome All Stars, Mildred Bailey And Her Swing Band, Putney Dandridge, Teddy Wilson, and Ziggy Elman.

Double bassist and cellist Artie Bernstein transitioned on January 4, 1964 in Los Angeles, one month to the day shy of his 55th birthday.

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Daily Dose Of Jazz…

Alphonso Johnson was born on February 2, 1951 in Philadelphia, Pennsylvania and started off as an upright bass player, but switched to the electric bass in his late teens. He began his career in the early 1970s, and showing innovation and fluidity on the electric bass he sessioned with a few jazz musicians before landing a job with Weather Report, taking over for co-founding member Miroslav Vitous.

His debut with Weather Report was on the album Mysterious Traveller, followed by two more albums in the Seventies: Tale Spinnin’ and Black Market before he left the band to work with drummer Billy Cobham. During 1976-77 Alphonso recorded three solo albums as a bandleader, for the Epic label, in a fusion-funk vein.

One of the first musicians to introduce the Chapman Stick to the public, in 1977, his knowledge of the instrument offered him a rehearsal with Genesis, who were looking for a replacement for guitarist Steve Hackett but being more of a bassist than a guitarist, Johnson instead recommended his friend ex-Sweetbottom guitarist and fellow session musician Daryl Stuermer. However, he was one of two bass players on Phil Collins’s first solo album, Face Value, in 1981.

He would work with Bob Weir on a couple of projects – Bobby & The Midnites and The Other Ones; reunite with Cobham in the band Jazz Is Dead, and Steve Hackett’s Genesis Revisited album as well as with Santana, Steve Kimock and Chet Baker. He toured Europe and Japan with saxophonist Wayne Shorter, pianist James Beard, drummer Rodney Holmes, and guitarist David Gilmore.

Earning a Bachelor of Arts in Music Education degree from California State University in 2014, as an undergrad he was a member of the CSUN Wind Ensemble. With extensive experience as a bass teacher he has conducted bass seminars and clinics in Germany, England, France, Scotland, Ireland, Japan, Switzerland, Australia, Brazil and Argentina.

Bassist Alphonso Johnson continues to perform while serving as an adjunct instructor at the University of Southern California and the California Institute of the Arts.

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Daily Dose Of Jazz…

Charles Valdez “Truck” Parham was born in Chicago, Illinois on January 25, 1911 and was first a professional boxer and football player with the Chicago Negro All Stars. He played drums before settling on bass, and studied under Walter Page. From 1932~34 he was part of Zack Whyte’s band, playing primarily in Cincinnati, Ohio but was mostly a singer and valet for the band, the latter activity giving rise to his nickname.

Returning home he played through the Thirties with Zutty Singleton, Roy Eldridge, Art Tatum, and Bob Shoffner. 1940 saw Truck joining Earl Hines’s orchestra, remaining for two years;then on to be hired by Jimmie Lunceford for five years until 1947.

During the 1950s Parham continued to play revival gigs with Muggsy Spanier,, Herbie Fields, Hines again, and Louie Bellson. He spent much of the 1960s working with Art Hodes, and played in numerous Dixieland jazz groups later in his career. Recording profusely as a sideman, he continued playing into the 2000s, being a member of Franz Jackson’s band in 2000.

Double bassist Truck Parham, who never recorded as a leader transitioned in his hometown of Chicago on June 5, 2002.

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