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

  1. Triplin’ Awhile (Harold Land) – 7:46
  2. Rosie’s Spirit (Red Mitchell) – 5:26
  3. Hear Ye! (Mitchell) – 6:54
  4. Somara (Carmell Jones) – 6:42
  5. Catacomb (Land) – 8:21
  6. Pari Passu (Frank Strazzeri) – 4:55
The Players
  • 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: 

    1. “To be straight as far as work is concerned.”

    2. “To be able to play.”

    3. “To have peace of mind.”

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

GRIOTS GALLERY

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Three Wishes

When the Baroness asked Art Davis what he would have as his three wishes he said: 

    1. “Tho be successful and to help people.”

    2. “To have anything and everything I want.”

    3. “To be loved and admired by everyone.”

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

GRIOTS GALLERY

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Requisites

East Coasting is an album by Charles Mingus, recorded in New York City on August 16, 1957 for the Bethlehem record label and released later the same year. All of the songs were composed by Mingus except where noted.

TRACKLIST | 38:49

  1. Memories of You [Take 7] (Eubie Blake, Andy Razaf) – 4:27
  2. East Coasting [Take 4] – 5:13
  3. West Coast Ghost [Take 6] – 10:2
  4. Celia [Take 5] – 7:54
  5. Conversation [Take 16] – 5:28
  6. Fifty-First Street Blues [Take 4] – 5:48
  7. East Coasting [alternate take] – 5:30
  8. Memories of You [alternate take] (Blake, Razaf) – 4:42

PERSONNEL

  • Charles Mingus – bass
  • Clarence Shaw – trumpet
  • Jimmy Knepper – trombone
  • Shafi Hadi – alto saxophone, tenor saxophone
  • Bill Evans – piano
  • Dannie Richmond – drums

East Coasting ~ Charles Mingus | By Eddie Carter

This next LP from the library is one of the underrated jewels in the discography of jazz legend, Charles Mingus.  A distinguished bandleader, bassist, civil rights activist and composer, Mingus played on and produced some of the greatest albums during the fifties.  He founded an independent record label, Debut Records in 1952 with his first wife, Celia, and drummer Max Roach. Charles also recorded for several record labels throughout his career, Atlantic, Candid, Columbia, Impulse, Mercury and United Artists Jazz.  For his autobiography, Beneath the Underdog: His World as composed by Mingus, co-written with Louis Lomax, the bassist worked for nearly two decades writing the book until it was published in 1971. The original manuscript totaled nearly fifteen-hundred pages, but the published copy was reduced by nearly two thirds.  The album offered now for your consideration is East Coasting (Bethlehem Records BCP 6019), released in 1957. It comes four years after Jazz at Massey Hall and two years before his 1959 Post-Bop masterpiece, Mingus Ah Um. The lineup is Clarence Shaw on trumpet; Jimmy Knepper on trombone; Shafi Hadi on alto and tenor saxes; Bill Evans on piano and Dannie Richmond on drums.  My copy used in this report is the 2014 Pure Pleasure UK Mono Audiophile reissue (PPAN 6019).

The album opener is the 1930 song, Memories of You by legendary jazz, ragtime pianist Eubie Blake and Andy Razaf.  Shaw on muted trumpet and Mingus present the introduction affectionately preceding the sextet’s tender melody. Evans takes the first solo with a brief reading of elegant sincerity, revealing a glimpse of what he would play two years later on Kind of Blue.  Knepper is up next, caressing each note with a lushness and warmth conveying his deepest feelings and roots in a personal expression that will linger long after the song ends. Hadi opens things up on the song’s final interpretation with a short tenor solo of potent playing that’s superbly matched by Richmond’s pensive brushwork into the ensemble’s melodic closing chorus.  The title tune is a lighthearted medium tempo swinger and the first of five originals by Mingus making up the remainder of the album. The solo order is Knepper, Evans, Shaw, Hadi and opens with the sextet’s spirited theme treatment. Jimmy is up first with a vivaciously spirited opening statement swinging smoothly to a splendid climax. Bill makes the next solo his own with an exceptional performance that’s completely infectious.  Clarence also captivates with a reading that bounces along off the rhythm section’s supplement.  Shafi, still on tenor, takes the stage last, wailing on a bewitchingly delightful presentation into a dazzling ending.

West Coast Ghost ends the first side with a distinctive mixture of bop and the blues bringing to mind the street musicians march through the French Quarter in New Orleans.  Mingus describes the tune as himself because while living in New York, many of his peers thought him to be an East Coast musician exclusively. That wasn’t the case; Charles saw himself as a West Coast bassist because he also had a home in California and spent a lot of time there also.  Clarence leads off with a bright, relaxed interpretation. Shafi soars seamlessly on the next solo, holding no punches with a stimulating sound that’s irresistible. Bill communicates his points well on a luminous performance, then Jimmy hits a splendid pace on the fourth interpretation with imposing authority.  Charles puts an exclamation point on this enjoyable tune, casting his spell with a gripping presentation before the reprise. Celia, a poignantly beautiful ballad by Mingus named for his wife opens the second side. She was a producer of documentaries and they were married from 1951 to 1958. The song starts with a gentle introduction by the trio possessing a quiet fire that glows deeply into Clarence’s dreamy muted trumpet for the opening and closing melody.  Shafi leads off this time on alto with a soft, sensuous interpretation. Jimmy comes next, delivering an affectionately delicate message. Bill follows him with an intimately lyrical performance that’s stunning. Clarence takes the final bow with the mute off for an enthralling performance before the tender-hearted coda.

The sextet carries on a medium tempo dialogue for Mingus’ Conversation, opening their chat with a bluesy melody in unison led by the front line.  Clarence, Jimmy, and Shafi, back on tenor speak individually for one chorus each, then join forces for a three-instrument talk on the next two verses.  Bill sums up the song and discussion nicely with an effective solo performance preceding the ending. The closer is Charles’ Fifty-First Street Blues named for the street he and Celia lived on at the time.  She gave the song its name and it’s presented with a relaxed beat. Shafi goes to work first with a splendid opening statement, Clarence takes a brassy bite out of the second reading, then Jimmy gives an utterly charming reading exhibiting his rhythmic flexibility very effectively.  Bill eases into the final interpretation as mild as a smooth sherry propelled by the sweet beat of Charles’ bass and Dannie’s drums.

The personnel on East Coasting were all members of The Jazz Workshop at the time it was recorded except for Bill Evans and Clarence Shaw.  This is also the only time I know of that Evans and Mingus appeared together on an LP. Clarence Shaw comes from Detroit and played with Kenny Burrell, Donald Byrd, Wardell Gray, and T-Bone Walker among others.  Jimmy Knepper was born and raised in Los Angeles, he was a significant musician in the orchestras of Woody Herman, Stan Kenton, and Claude Thornhill, and also played with alto saxophonist Charlie Parker. Shafi Hadi, born Curtis Porter comes from Philadelphia, Pennsylvania but grew up in Detroit gaining several years of rhythm and blues experience as an alto saxophonist, before embarking on a jazz career also playing the tenor sax.  Bill Evans joined The Miles Davis Sextet in 1958, appearing on the album Jazz Track and Miles’ timeless classic, Kind of Blue a year later. After leaving Davis, he formed a trio that would become the gold standard for all piano, bass, drums groups that would follow and hailed as one of the greatest ensembles in jazz. Dannie Richmond who I became acquainted with on the 1960 album, Jenkins, Jordan, and Timmons was born in New York and raised in Greensboro, North Carolina.  He began as a rhythm and blues tenor saxophonist but would abandon both the instrument and the music in 1956 to become a jazz drummer. The sound quality of this Mono reissue is breathtaking with crystal clear transparency throughout the highs, midrange, and low end. The remastering by Ray Staff also makes this album, a serious choice to consider auditioning for your library. If you’re a fan of Cool Jazz and Hard-Bop, East Coasting is an excellent and quite intriguing example of both styles by one of the best musicians in jazz, Charles Mingus! 
~ Jazz at Massey Hall (Debut Records DEB-124); Jazz Track (Columbia CL 1268); Jenkins, Jordan, and Timmons (Prestige New Jazz NJLP 8232); Kind of Blue (Columbia CL 1355/CS 8163); Mingus Ah Um (Columbia CL 1370/CS 8171) – Source: Discogs.com 
~ West Coast Ghost, Fifty-First Street Blues, Personnel – Source: Album liner notes by Nat Hentoff
~ Memories of You – Source: JazzStandards.com
~ Remastered by Ray Staff at Air Mastering, Lyndhurst Hall, London
Charles Mingus, Debut Records, Beneath the Underdog – Source: Wikipedia.org

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