Daily Dose Of Jazz…
Squire Gersh was born William Girsback on May 13, 1913 in Astoria, Oregon. In the Thirties, he played in San Francisco, California with Lu Watters, Bob Scobey, Turk Murphy, and Mutt Carey. He went on to record with Watters in 1942 and with Murphy multiple times between 1950 and 1966.
Gersh’s agile double bass playing may be heard on Some Of These Days, recorded by Darnell Howard’s Frisco Footwarmers in San Francisco in 1950. He replaced bassist Arvell Shaw and accompanied Louis Armstrong on recording sessions with is All-Stars in “The Edsel Show” on October 13, 1957 and went on a tour of South America with Armstrong between 1956–58.
He then went on to play in Europe with Kid Ory and Red Allen in 1959, along with drummer Alton Redd and pianist Cedric Haywood making up the rhythm section. Never leading his own recordings, little is known about the musician from the Sixties until his death. Tubist and double-bassist Squire Gersh, who played in the traditional jazz genre, passed away on April 27, 1983 in San Francisco.
Requisites
Hear Ye!!!! Hear Ye!!!! ~ The Red Mitchell-Harold Land Quintet | By Eddie Carter
The simplest thing I can say about this morning’s choice from the library is it’s a first-rate West Coast Hard-Bop session. But rather than teasing you with a morsel or taste, I’ll attempt to deliver a full-balanced meal to nourish your jazz appetite. Hear Ye!!!! Hear Ye!!!! (Atlantic SD 1376) brings together two elite masters of this style; double-bassist, composer, lyricist, poet, Red Mitchell and composer, tenor saxophonist, Harold Land as co-leaders of a quintet consisting of Carmell Jones on trumpet; Frank Strazzeri on piano; and Leon Betties on drums. My copy used in this report is the original 1962 US Mono release (1376).
Side One starts with Triplin’ Awhile, a midtempo tune by Land allowing everyone solo opportunities. It opens as a two-instrument dialogue between Harold and Red on the introduction before the ensemble adds to the conversation for the theme. Land delivers the lead statement with a festive appeal perfectly suitable for dancing. The front line fills the gaps with a brief thematic interlude preceding Carmell’s response, a cheerfully bright performance with a good summer groove. Frank makes an intriguing examination next setting up a comfortable beat for Red who captures the soulful mood to perfection. Leon takes the final spot on a feisty solo moving fluently towards a short coda.
The tempo moves upward for Rosie’s Spirit, the first of two Mitchell creations opening with the quintet’s vivaciously spirited theme. Carmell leads off with an effervescent improvisation succeeded by Red’s sprightly statement of swift verses, then Harold seizes the opportunity for a short scorcher. Frank takes a furious flight on the next reading and Leon dives into a lively finale with a bristling passion ascending to a joyful climax.
The title tune, also by Mitchell, concludes the first side on a laid-back note beginning with an introduction by Harold and Red segueing into the quintet’s midtempo melody. Land opens with a bluesy, straightforward solo that’s neat and tidy, then Jones says plenty on the next performance with pinpoint accuracy. Strazzeri exhibits his strong chops on a frisky reading, and Mitchell makes a superb case as one of the best bassists in jazz on the closer.
Somara is from Carmell’s pen, opening Side Two on a brief introduction by the trio blossoming into a collective medium-fast melody. Land launches the lead solo with high-octane velocity, then Mitchell tackles the second turn radiantly. Carmell cooks with ravenous energy next, followed by Strazzeri who’s on fire on the fourth reading. Betties exchanges a concise reading of incandescent heat with both horns into the closing chorus.
Catacomb is the second Land original, slowing the speed to a moderate pace from the previous burner as evidenced on the ensemble’s melody. Harold excels on the opening solo, blowing free and easy against the trio’s sterling groundwork. Red is confidently assertive and direct on the second reading with impeccable intonation, then Carmell melds each note of the third interpretation into a powerful work of inspired creativity. Frank follows, painting an aural picture of melodic emotion with rich and mellow hues. Leon culminates with a brief presentation that holds together into the subtle climax.
The album wraps up with Frank Strazerri’s original, Pari Passu that fastens your seat belt and you take off on a thrill ride right from the start of a torrid introduction and theme in unison. Frank kicks off the first solo voraciously, then Carmell emits intense heat from his horn. Land comes in next with the ascending movement and violent fury of a twister or tornado. Red and Leon both have brief words with the front line for a few radiant riffs before the ensemble’s closing chorus rings the curtain down on this very entertaining album.
The sound on Hear Ye!!!! Hear Ye!!!! is outstanding, capturing the vibrant tone and transparency of each instrument vividly, emerging from your speakers with breathtaking clarity. The quintet only remained together a short time, but the meeting that collectively brought them to record this album is one of the most enjoyable jazz LP’s I’ve heard and would enthusiastically recommend anyone audition.
The All Music review by noted author and historian, Scott Yanow states that “this is a fine effort from a group that deserved greater recognition at the time”. I couldn’t agree with him more and will only add that the verification of his statement can be found within the cover of Hear Ye!!!! Hear Ye!!!! by The Red Mitchell-Harold Land Quintet!
~ Excerpt by Scott Yanow – Source: AllMusic.com ~ I’m Old Fashioned, The Way I Feel – Source: Discogs.com
>~ © 2020 by Edward Thomas Carter
Hear Ye!!!! Hear Ye!!!! is an album by the Red Mitchell-Harold Land Quintet recorded in San Francisco, California on October 14th (tracks 1, 3 & 4) and December 13th (tracks 2, 5 & 6), 1961 and released on the Atlantic label in 1962.
Tracks | 52:41
- Triplin’ Awhile (Harold Land) – 7:46
- Rosie’s Spirit (Red Mitchell) – 5:26
- Hear Ye! (Mitchell) – 6:54
- Somara (Carmell Jones) – 6:42
- Catacomb (Land) – 8:21
- Pari Passu (Frank Strazzeri) – 4:55
- Red Mitchell – bass
- Harold Land – tenor saxophone
- Carmell Jones – trumpet
- Frank Strazzeri – piano
- Leon Petties – drums
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Daily Dose Of Jazz…
Ralf Hübner was born on May 3, 1939 in Berlin, Germany where he attended the Hochschule für Musik from 1958-1962. During his tenure, he studied both double bass and drums and played with Benny Bailey and Nathan Davis.
Upon graduating he joined the Jazzensemble des Hessischen Rundfunks, an ensemble he would work with into the 1990s. He also began a decade-long association with Albert Mangelsdorff.
In the 1970s he worked with musicians and ensembles such as the Frankfurt Jazz Ensemble, Joki Freund, Volker Krieger, Itaru Oki, Michel Pilz, Manfred Schoof, and Eberhard Weber. In the 1980s and 1990s he worked with Christof Lauer among others. At eighty, drummer Ralf Hübner currently resides in Glashütten, Hessen, Germany.
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Three Wishes
Nica asked Jual Curtis what his three wishes would be and he replied:
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“To be straight as far as work is concerned.”
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“To be able to play.”
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“To have peace of mind.”
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*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter
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Three Wishes
When the Baroness asked Art Davis what he would have as his three wishes he said:
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“Tho be successful and to help people.”
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“To have anything and everything I want.”
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“To be loved and admired by everyone.”
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*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter
More Posts: baroness,bass,history,instrumental,jazz,music,pannonica,three,wishes