Daily Dose Of Jazz…
Charles Fambrough was born on August 25, 1950 in Philadelphia, Pennsylvania. He originally studied classical piano but switched to bass when he was 13. In 1968, he began playing with local pit bands for musicals and after some freelancing in 1970, he joined Grover Washington, Jr.’s band, staying with him until 1974.
Moving on he worked with Airto from 1975 to 1977), followed by McCoy Tyner for two years in 1978 and then on to be a part of the Jazz Messengers under Art Blakey from 1980 to 1982. Leaving the Messengers Charles freelanced as a sideman and led three CTI recordings with Wynton and Branford Marsalis, Roy Hargrove, Kenny Kirkland, Jerry Gonzalez, Steve Turre, Donald Harrison, Kenny Garrett, Abdullah Ibrahim, Grover Washington, Jr., Jeff “Tain” Watts, Stephen Scott, Billy Drummond, Bobby Broom, and Steve Berrios.
As a sideman, he worked and recorded sixteen albums with Kei Akagi, Craig Handy, Eric Mintel, and Roland Kirk among others. Reportedly been suffering from a number of serious ailments including end-stage renal disease and congestive heart failure, and benefit concerts had been held over the preceding several years in the Philadelphia area to help the bassist and his family defray the costs of his mounting medical bills.
Bassist, composer, and bandleader Charles Fambrough passed away at the age of 60 of a heart attack at his home in Allentown, Pennsylvania on January 1, 2011.
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Daily Dose Of Jazz…
Albert Morgan was born on August 19, 1908 in New Orleans, Louisiana into a musical family. He started on clarinet, then learned baritone saxophone, tuba, and bass. After taking lessons with Simon Marrero around 1919, he played with his brother Isaiah. Relocated briefly to Pensacola, Florida he played with Mack Thomas and Lee Collins.
Returning to New Orleans to play on riverboats with Fate Marable and Sidney Desvigne. Al went on to play with Davey Jones and Cecil Scott and recorded with the Jones & Collins Astoria Hot Eight.
In the 1930s, Morgan led his own band and played as a sideman with Fats Waller, Les Hite, Zutty Singleton, Louis Jordan, and Sabby Lewis. This period saw him performing with Otto Hardwick and then spent four years with Cab Calloway from 1932 to 1936.
After leaving the Calloway orchestra, Al settled in California, playing live, on record, and on film. His film appearances include a feature on “Reefer Man” with the Calloway band in International House, Cab Calloway’s Hi-De-Ho, with Louis Armstrong in Going Places, and in The Gene Krupa Story.
From the 1950s to the 1970s, Morgan played extensively with Buddy Banks in a duo. Morgan recorded with Chu Berry, Coleman Hawkins, Don Byas, Jack Teagarden, Jay McShann, Red Allen, and T-Bone Walker.
Double bassist Al Morgan passed away on April 14, 1974 in Los Angeles, California.
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Requisites
JAMES II ~ JAMES LEARY | BY EDDIE CARTER
This morning’s column begins with the second album by James Leary on David Manley’s audiophile record label VTL. James II (VTL-The Vital Sound 005) is a stellar 1992 quartet session released a year after his first album for Vital Records, James. The personnel for this two-record set is Eddie Harris on tenor sax (tracks: A2, C1, D1, D2), and vocals (track: B1); Billy Childs on acoustic piano; Leary on acoustic bass and Ralph Penland on drums. My copy used in this report is the original Stereo release.
The album gets underway with the opening number, Joshua. This is a Victor Feldman composition originally made famous by Miles Davis on Seven Steps To Heaven (1963) and two live albums, Miles Davis In Europe (1964) and ‘Four’ & More (1966). Billy kicks off the album with a breathtaking melody, then rips into the opening solo with searing intensity. James follows with a fascinating study of vivacity and sprightliness, then Ralph executes a brief finale of impeccable brushwork before the coda.
Have You Met Miss Jones? The popular standard by Richard Rodgers & Lorenz Hart first appeared in the 1937 musical comedy, I’d Rather Be Right. Eddie Harris makes his debut here and the quartet takes the melody at a relaxed beat. Billy picks up the pace on the opening solo with a compelling improvisation. Eddie’s first reading finds full rein of expression with a full-bodied tone you can’t help but enjoy. James puts together a very effective closing statement ahead of the ending theme.
A Flower Is a Lovesome Thing by Billy Strayhorn was composed in 1944. It opens Side Two with a hauntingly delicate introduction to the melody by the quartet utilizing Harris’ voice scatting along with the trio. Leary tells a deeply poignant story on the lead solo that’s a reminder of the passing of time. Childs delivers the second statement with the sweetness of a scented summer breeze after a light rain. Harris makes the final reading his own with a sublimed moody feeling that floats gently into the climax.
Seven Steps To Heaven by Miles Davis and Victor Feldman brings Record One to a close with a brief unaccompanied introduction by the bassist segueing into an invigorating theme. Leary swings from the outset on the first statement, then Childs gives an energetic workout next. Penland speaks last with a fierce intensity leading to an exuberant closing chorus. John Coltrane’s Spiral creates an infectious midtempo melody from the opening notes of the introduction into a swinging first interpretation by Eddie. Billy brings his own brand of excitement to the second reading and James provides some good cooking on the finale.
Leary’s Laugh, Laugh Again is a trio performance beginning with a bowed introduction by the bassist preceding the lovely opening chorus. Childs starts the first reading tenderly, revealing the essence of the song with a delicate interpretation that’s rich and atmospheric. Leary wraps up the solos with a tender, sweet performance.
Oleo by Sonny Rollins begins the final side with Leary providing a repeating bass figure reoccurring underneath each reading. Billy starts with a muscular groove that really cooks, then Eddie swings with an exciting restlessness on the second statement. James follows with a scintillating solo and Ralph ends in fine form on a dynamically propulsive presentation. Leary’s Hold My Hand is a simple ballad that opens elegantly with Harris in front of the foursome on the lyrically beautiful theme. The first solo is affectionately handled by Harris who gives a presentation of intimate lyricism. Childs wraps up the album with a thoughtfully delicate reading.
David Manley, VTL’s (Vacuum Tube Logic of America) founder produced and engineered this album in a state-of-the-art studio utilizing the company’s tube technology. The soundstage is extraordinary throughout the highs, midrange, and bass. The result is James II by James Leary is not just an excellent album, but a treat for any jazz fan to enjoy!
~ ‘Four’ & More (Columbia CL 2453/CS 9253); James (Vital Records ViTaL 003); Miles Davis In Europe (Columbia CL 2183/CS 8983); Seven Steps To Heaven (Columbia CL 2051/CS 8851) – Source: Discogs.com ~ Oleo, Have You Met Miss Jones? – Source: JazzStandards.com ~ Seven Steps To Heaven – Wikipedia.org © 2020 by Edward Thomas Carter
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Requisites
Blue Hour ~ Stanley Turrentine With The Three Sounds | By Eddie Carter
In the hands of Stanley Turrentine, the tenor saxophone was an instrument of soulful creativity and immense power. From his 1960 debut, Look Out to his biggest hit, Sugar in 1971, Turrentine’s credentials were second to none as a giant of Hard-Bop, Modal, and Soul-Jazz. This morning’s choice from the library joins him with Gene Harris on piano; Andrew Simpkins on bass and Bill Dowdy on drums who were collectively known as The Three Sounds. Blue Hour (BLP 4057/BST 84057) was released in 1961 and is the second record where The Three Sounds backed a saxophonist, the other is 1959’s LD + 3 with Lou Donaldson. My copy used in this report is the 2015 Music Matters 33 1/3 Stereo audiophile reissue (MMBST-84057). I Want A Little Girl, written by Murray Mencher and Billy Moll in 1930 starts Side One. This infrequently heard ballad opens with an angelic introduction illustrating Harris’ attentiveness to the lyric and melody. Stanley brings a beautifully expressive sound and delicate sincerity to the opening chorus, then adds a graceful sensitivity to his solo. Gene’s interlude is brief but lovely and the closing by the quartet is captivating.
Gee Baby, Ain’t I Good To You was written in 1929 by Don Redman and Andy Razaf. Its first recording was by The King Cole Trio in 1943 and a year later, it became a hit for Nat King Cole and a jazz standard with numerous recordings to its credit. The Three Sounds provide a respectful treatment with a pensive introduction, allowing Turrentine to deliver the evocative theme with warm and affectionate feelings. The saxophonist also weaves a reverent spell of subtle lyricism on the opening solo. Harris is up next for the closer with a thoughtfully tender interpretation that speaks to the soul. The only original on the album ends the first side, Gene Harris’ Blue Riff takes the tempo to a medium beat during the first statement moving with a finger-popping, toe-tapping groove. The threesome states the melody, then Stanley takes over for a jubilant solo of vivacious spontaneity. Gene takes the next turn for a bouncy, bright presentation with a youthful spirit. Stanley returns for a few final compulsive choruses before the pianist takes the threesome into the fade-out.
Since I Fell For You by Buddy Johnson opens Side Two. He composed both the music and lyrics, introducing it in 1945 with his sister Ella on vocals. The Three Sounds start the song with a stylishly soft, slow-paced introduction as natural as if it was written for this quartet exclusively. This segues into a soothing opening melody by Turrentine who solos twice, putting his stamp on both interpretations displaying tranquil restraint on the first and closing statements. Harris contributes a tender reading that’s lovingly stated, anchored by Simpkins and Dowdy’s voluptuous foundation. Willow Weep For Me, written by Ann Ronell in 1932 begins with the exquisitely mellow tone of Stanley’s tenor sax having an intimate conversation with the rhythm section on the opening chorus. Gene’s first solo is elegant and laid-back, revealing its true beauty with gorgeous verses preceding an alluring climax. Stanley’s closing performance is soulful and bluesy like a leisurely walk on a warm summer evening with the trio proving the ideal companion to take the tune into a luscious coda.
Gene Harris, who was known for his gospel jazz style formed The Three Sounds in 1956 with Andy Simpkins and Bill Dowdy. The group became a hit with the public and when Blue Hour was recorded, the trio was amid a four-year run (1958-1962) recording a total of twelve albums for Blue Note including four in 1960 alone. The other three are Feelin’ Good, It Just Got To Be, and Moods. I believe that’s why Alfred Lion didn’t release the additional eight songs of this session on another album. The Three Sounds’ were together until 1970 when Harris left to embark on a successful solo career. Stanley Turrentine was a veteran of the Soul-Jazz style since the fifties and he recorded a total of seventeen LP’s for the label as a leader, plus several as a sideman with Donald Byrd, Kenny Burrell, Jimmy McGriff, Ike Quebec, Horace Parlan, Duke Pearson, Shirley Scott (who he was married to at the time), Jimmy Smith, and Art Taylor.
In his liner notes, noted author, jazz historian and journalist Ira Gitler offers one definition of the Blue Hour as that early morning time “when you reach across the pillow where your Baby used to lay” and find him (or her) not there. The sound quality is stunning, the remastering of Rudy Van Gelder’s original tapes by RTI Record Technology Incorporated is superb and the gatefold photos of each musician during the session compliments the music marvelously. This record is nearly thirty-nine minutes of enjoyable jazz by Stanley Turrentine and The Three Sounds that adds weight to any jazz library. It’s well worth auditioning for a spot in your library and an LP that’s perfect to enjoy any time of the day, evening, or early morning during the Blue Hour.
~ Feelin’ Good (Blue Note BLP 4072/BST 84072); Gee Baby, Ain’t I Good To You (Capitol 169); It Just Got To Be (Blue Note BLP 4120/BST 84120); LD + 3 (Blue Note BLP 4012/BST 84012); Look Out (Blue Note BLP 4039/BST 84039); Moods (Blue Note BLP 4044/BST 84044); Sugar (CTI Records CTI 6005) – Source: Discogs.com
~ I Want A Little Girl, Gee Baby, Ain’t I Good To You, Since I Fell For You, Willow Weep For Me – Source: Wikipedia.org
© 2020 by Edward Thomas Carter
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The Quarantined Jazz Voyager
The Quarantined Jazz Voyager is pulling off the shelf for your listening pleasure comes from Black Orchid. It’s an album by jazz group The Three Sounds featuring performances recorded on March 7, 1962 (1-4, 6) and March 8, 1962 (5, 7-8) at Rudy Van Gelder Studios in Englewood Cliffs, New Jersey. It was released on the Blue Note label in 1964. The session was produced by Alfred Lion.
A 1998 reissue on compact disc added seven additional songs and as you listen to the below recording you will hear all fifteen compositions.
Track Listing | 42:37
- Black Orchid (Cal Tjader) – Erroneously credited to (Neal Hefti) – 5:25
- A Foggy Day (Gershwin, Gershwin) – 6:46
- For All We Know (Coots, Lewis) – 5:31
- Oh Well, Oh Well – 3:45
- At Last (Gordon, Warren) – 5:37
- Secret Love (Sammy Fain, Paul Francis Webster) – 5:44
- Don’t Go, Don’t Go – 5:08
- Saucer Eyes (Randy Weston) – 4:41
Personnel
- Gene Harris – piano
- Andrew Simpkins – bass
- Bill Dowdy – drums
Remain diligent my fellow voyagers in staying healthy, continue practicing social distancing, and don’t be so anxious to rush back to the new normal. It has been said that music soothes the savage beast, so listen to great music. I share that music to give you a little insight into the choices this voyager has made over the years during this sabbatical from jet setting investigations of jazz around the globe.
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