Requisites

Major Changes ~ Frank Morgan and The McCoy Tyner Trio | By Eddie Carter 6.15.25

During the five years I lived in Cincinnati, Ohio, Everybody’s Records was a favorite shop I regularly visited. It was there that I heard Major Changes (Contemporary Records C-14039) by Frank Morgan and the McCoy Tyner Trio spinning on the turntable. As I listened, memories of when I first became a jazz fan came rushing back, and I picked it up immediately. Frank was born in Minneapolis, Minnesota, and began playing the guitar at a young age. His father introduced him to Charlie Parker, who inspired him to play the clarinet at age seven. Morgan later graduated to the soprano sax, then the alto sax, which became his primary instrument. Rounding out the ensemble are McCoy Tyner on piano, Avery Sharpe on bass, and Louis Hayes on drums. My copy of the album is the 1988 U.S. stereo release.

The quartet kicks off the first side with Changes by McCoy Tyner. The pianist’s brisk introduction sets the tone for their feisty melody. McCoy takes the first bite of this jazzy apple with a high-spirited solo. Frank follows with a vigorous statement, then Avery’s vivacious interpretation guides the group back to the theme’s reprise and fadeout. Irving Berlin’s How Deep Is The Ocean starts on a deceptively slow note, with the alto sax and piano sharing a private conversation ahead of the foursome’s sprightly theme. Tyner leads the charge with a swinging opening statement. Morgan builds on this momentum with a feisty reading. Sharpe rounds out the solos with a brief presentation leading to the out-chorus and exit.

Emily is a lovely composition by Johnny Mandel and Johnny Mercer. Frank begins delicately expressing each note of the melody with heartfelt sensitivity. McCoy’s opening solo is delivered with tenderness and warmth. Frank concludes with a gentle presentation, leading to a serene and graceful finish. Search For Peace by McCoy Tyner begins with Hayes’s introduction, leading into the quartet’s theme, which moves at a bright and brisk clip. The pianist starts the opening solo with remarkable precision and vibrant enthusiasm. Sharpe and Hayes share a brief interlude, then Morgan effortlessly glides over the rhythm section, perfectly attuned to Hayes’s flawless timing, until the closing chorus fades into nothingness.

McCoy Tyner announces Frank’s Back with a smooth lead-in, segueing into the opening ensemble at medium-tempo to begin the second side. Frank sets a stellar example for the group in the first solo. McCoy follows with a charismatic interpretation, then Frank and Louis share an exchange of notes, leading back to the reprise and conclusion. Oscar Hammerstein II and Jerome Kern’s All The Things You Are opens with the saxophonist’s soothing introduction ahead of the group’s mellow theme. Morgan’s opening statement starts strong and doesn’t let go until Tyner takes his turn. The pianist launches into a taut second reading that holds the listener’s attention until Morgan returns briefly, leading to the theme’s reprise and a graceful exit.

Theme From Love Story by Francis Lai and Carl Sigman comes from the 1970 romantic drama. The rhythm section’s introduction is simultaneously delicate and inviting, leading Frank to explore the intricately beautiful melody. McCoy captures the song’s essence with lively exuberance in the opening statement. Frank then weaves a tapestryof grace and elegance before the theme resurfaces, and the quartet fades into a poignant stillness. Richard Bock produced Major Changes. Ed Rak was the engineer behind the direct-to-digital recording, and George Horn mastered this release. The album boasts a superb soundstage that envelops the listener’s sweet spot, as if they’re seated in the studio alongside the musicians.

Frank Morgan battled heroin addiction for much of his life, mirroring the path of Charlie Parker. This struggle led him to spend a significant portion of his adult years in and out of prison. However, by the mid-1980s, he managed to overcome his dependency, remaining clean for the final two decades of his life, though he continued taking methadone daily. Morgan recorded twenty-one albums as a leader and contributed to twelve more as a sideman. Despite suffering a stroke in 1998, he made a remarkable recovery and continued to perform and record music during the last nine years of his life. Toward the end of his career, Morgan successfully completed his first European tour. He passed away from complications of colorectal cancer on December 14, 2007, just nine days before his seventy-fourth birthday.

The album’s title reflects the significant shifts in Morgan’s life and music, while highlighting the extraordinary chemistry between the musicians. Whether you're a seasoned jazz aficionado or a newcomer to Morgan’s music, Major Changes by Frank Morgan and the McCoy Tyner Trio is a treasure trove of captivating tracks and stunning solos. It also serves as a delightful showcase of his talent, and I wholeheartedly recommend checking it outthe next time you’re out record-shopping!

~ All The Things You Are – Source: JazzStandards.com

~ Theme From “Love Story” – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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Requisites

Explorations ~ Bill Evans Trio | By Eddie Carter

My admiration for Bill Evans runs very deep, and I have cherished the pianist’s music since childhood. This morning’s selection from my library holds a special place in my heart. It was one of my mom’s favorites during our Sunday family dinners. Explorations (Riverside RLP 351/RLP 9351) by the Bill Evans Trio is a 1961 release and one of four outstanding albums featuring Scott LaFaro on bass and Paul Motian on drums. Its timeless charm makes it an essential addition for any jazz piano lover. I could stop here, but I won’t leave you with just a small taste; instead, I’ll share the entire eight-course meal with you. My copy is no. 843 of the 2024 U.S. Craft Recordings stereo audiophile reissue (Riverside CR 00825).

Israel by John Carisi opens the album, setting the tone for the trio’s introduction and medium melody. Bill solos first with a cheerfully carefree groove. Scott adds his voice to a lighthearted reading that flows like a lovely stream. Bill returns to exchange notes with Paul before a marvelous conclusion. Haunted Heart is a gorgeous tune by Howard Dietz and Arthur Schwartz that begins with Evans’s brief, poignant introduction blossoming to the ensemble’s deeply touching theme. Bill takes center stage as the soloist, delivering each verse with grace and sensitivity, matched by Scott and Paul’s subtle support into a gentle climax.

Beautiful Love, by Haven Gillespie, Wayne King, Egbert Van Alstyne, and Victor Young, presents the trio with a delightful opportunity to pay homage to the 1930s classic at a toe-tapping beat during the melody. Bill’s respect for the original composition is evident in a joyful opening solo, followed by Scott’s inspired walk in the subsequent reading, leading to the closing chorus and exit. The trio treats Earl Zindars’s Elsa with endearing care, crafting an opening chorus that sparkles like a night on the town with that special someone. Bill guides each note of the first solo elegantly. Paul follows with a soothing and refined performance, preceding a tender reprise of the theme.

Side Two opens with an enchanting rendition of Nardis, one of Miles Davis’s prettiest compositions that Bill initially recorded with Cannonball Adderley. The trio’s pretty theme sets things in motion. Scott takes the lead with an elegant opening statement. Bill then shares his intimate, sincere thoughts in the second solo, leading to a gorgeous reprise and conclusion. The trio probes one of Irving Berlin’s loveliest questions next, How Deep Is The Ocean? They swing softly in a luscious melody. Again, the song’s only soloist, Bill’s interpretation is the epitome of grace and beauty, preceding a beautiful closing chorus that showcases their musical fluency and understanding of each other’s playing.

I Wish I Knew, by Mack Gordon and Harry Warren, is a beautiful ballad from the 1940s. The ensemble introduces it at a gentle, unhurried tempo, leading to the theme. Bill offers a serene and heartfelt interpretation that concludes in a tender finale by the trio. Sweet and Lovely by Gus Arnheim, Jules LeMare, and Harry Tobias is pure fun from start to finish. After the trio’s melody, Bill begins a solo that evolves from a quiet, spoken tone to a playful and spirited one. The pianist and drummer engage in a brief dialogue before Paul delivers a concise solo that ties everything together, leading back to the theme’s reprise and a delightful conclusion.

Orrin Keepnews was at the helm of Explorations, Bill Stoddard was the recording engineer, and Jack Matthews mastered the initial session. Bernie Grundman mastered the reissue from the original tapes. The record is pressed on 180-gram vinyl, using Neotech’s VR900 vinyl compound, and manufactured using a one-step lacquer process. The sound quality of this reissue is exceptional, offering an impressive soundstage that brings the musicians to your listening room with stunning fidelity. This limited-edition box set is 2,500 copies, each individually numbered and presented in a foil-stamped, linen-wrapped slipcase featuring an acrylic inset of the original artwork. The record is protected by an archival-quality, anti-static, non-scratching inner sleeve.

Explorations marked Bill Evans’s final studio collaboration with Scott LaFaro. He was a brilliant hard-bop bassist, admired and celebrated for his playing of uptempo tunes or ballads. His contributions brought an outstanding level of sophistication, maturity, and precision to the four albums he recorded with The Bill Evans Trio. Tragically, just ten days after the trio’s 1961 performance at the Village Vanguard, LaFaro’s life was cut short due to a car accident. This devastating loss deeply affected Evans, who withdrew from live performances and recording for several months. If you’re discovering his music or are already a Bill Evans fan, I urge you to listen to Explorations by the Bill Evans Trio at your earliest opportunity. It’s an outstanding showcase of jazz that I can’t recommend enough for your library!

~ Portrait In Jazz (Riverside RLP 12-315/RLP 1162), Portrait of Cannonball (Riverside RLP 12-269), Sunday at The Village Vanguard (Riverside RLP 376/RLP 9376), Waltz For Debby (RLP 399/RLP 9399) – Source: Discogs.com

~ How Deep Is The Ocean, Sweet and Lovely – Source: JazzStandards.com

~ Beautiful Love, Israel, Nardis – Source: Wikipedia.org

© 2025 by Edward Thomas Carter



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Relaxin’ With The Miles Davis Quintet ~ The Miles Davis Quintet | By Eddie Carter

In just two days in 1956, the Miles Davis Quintet recorded four remarkable albums, which are widely regarded as quintessential examples of hard bop and have endured as jazz classics over time. They fulfilled Davis’s contract with Prestige Records before moving to Columbia Records, his home for some of the most iconic music over the next thirty years. The albums are Cookin’ (1957), Workin’ (1959), Steamin’ (1961), and today’s focus, Relaxin’ With The Miles Davis Quintet (Prestige PRLP-7129), released in 1958. Miles Davis is on muted trumpet (tracks: A1 to A3, B1, B2), and trumpet (B3), John Coltrane is on tenor sax, Red Garland is on piano, Paul Chambers is on bass, and Philly Joe Jones is on drums. My copy is no. 535 of the Craft Recordings Limited Edition mono reissue (Prestige CR 00227).

The first side opener, If I Were a Bell by Frank Loesser, became a jazz standard after Davis’s rendition on this album. Miles snaps his fingers to set the rhythm ahead of the quintet’s medium-paced melody. The muted trumpet’s ideas unfold in the opening statement. John demonstrates his signature fluidity next. Red takes an energetic solo ahead of the theme’s reprise and a subtle conclusion. After two brief false starts, You’re My Everything by Mort Dixon, Harry Warren, and Joe Young begins with the quintet’s tender introduction, ahead of Miles’s delicately heartfelt melody and opening solo highlighting his more sentimental side. John executes a graceful, intimate statement, supported by the trio’s rich foundation, leading to a thoughtfully reflective finale from Davis.

The pace picks up noticeably for I Could Write a Book by Richard Rodgers and Lorenz Hart. The trio gets things started, leading to the quintet’s collective medium-fast melody. Miles takes off first with brisk, vibrant notes that set the mood. John fills the air with pure joy next, and then Red’s reading is so full of energy before the leader takes the song out, which ends abruptly. Sonny Rollins’s Oleo opens the second side with two false starts and some lighthearted studio chatter, ahead of Davis’s introduction and the quintet’s lively theme with John completing the melody. Miles goes first, delivering a spirited statement, then John soars into an energetic turn. Red concludes with an upbeat reading while Paul and Philly propel each soloist to new heights before the group’s brisk finish.

Up next is It Could Happen To You by Jimmy Van Heusen and Johnny Burke. The ensemble adopts a relaxed midtempo vibe with Miles leading the theme. He then continues with a sweet-toned first solo. John follows with a compelling statement that’s as cool as the other side of the pillow. Red brings out the liveliness in a cheerful interpretation, engaging beautifully with Paul and Philly in the subdued climax. Woody ‘n’ You by Dizzy Gillespie begins with Red’s brief introduction preceding the opening ensemble. Miles commands the lead solo with fiery passion on the open horn, paving the way for John’s high-energy performance. Davis and Jones share the song’s final moments in the closing chorus, culminating in a gentle fade. A few final words from Miles brings the jazz standard to a close.

Bob Weinstock oversaw the original session, and Rudy Van Gelder was the recording engineer. For this audiophile reissue, Mark Piro and Mason Williams took charge of production, and Bernie Grundman mastered the album from the original tapes. The record is pressed on 180-gram vinyl, using Neotech’s VR900 vinyl compound, and manufactured using a one-step lacquer process. The sound quality of this reissue is truly exceptional, offering a beautifully balanced soundstage that’s ideal for demonstration on a good mid-fi or high-end audio system. This limited-edition box set is 5,000 copies, each individually numbered and presented in a foil-stamped, linen-wrapped slipcase featuring an acrylic inset of the original artwork. The record is protected by an archival-quality, anti-static, non-scratching inner sleeve.

One of the highlights of this reissue is the inclusion of studio snippets, such as false starts and Miles’s conversations with Rudy Van Gelder. These moments offer the listener a unique sense of connection to the studio sessions, making them part of the event. On mid-fi or high-end audio systems, the tonal balance across highs, midrange, and low frequencies truly shines in a stunning soundstage. Relaxin’ With The Miles Davis Quintet is an excellent album of standards, showcasing inspired performances by every member. It’s a superb choice for enjoying at any time of the day or evening. I highly recommend it for a spot in your library, and I urge you to pick up a copy before it sells out, because you ain’t gettin’ mine!

~ Cookin’ With The Miles Davis Quintet (Prestige PRLP 7094), Steamin’ With The Miles Davis Quintet (Prestige PRLP 7200), Workin’ With The Miles Davis Quintet (Prestige PRLP 7166) – Source: Discogs.com

~ Oleo, It Could Happen To You, Woody’n You – Source: JazzStandards.com

~ If I Were A Bell, You’re My Everything, I Could Write A Book – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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No More Brew ~ Brew Moore | By Eddie Carter

This morning’s album offered for your consideration is a live performance by Brew Moore. No More Brew (StoryvilleSLP-4019) was his final album, released eight years after his passing. Brew was born in Indianola, Mississippi and began playing the trombone at age twelve, later graduating to the clarinet and eventually the tenor saxophone. His professional journey took him from a Texas territorial band before attending college, to New Orleans, Memphis, and New York, to further his craft. He’s joined on stage by Lars Sjösten on piano, Sture Nordin on bass, and Fredrik Noren on drums. My copy is the 1981 U.S. Stereo release.

The set begins with Jimmy Van Heusen and Johnny Burke’s It Could Happen To You. Lars opens with a swinging introduction, setting up the quartet’s theme. Brew launches into a sizzling solo. Lars comes in energetically next. Sture illustrates he’s an effective soloist in a polished reading. Brew and Frednik exchange a brief dialogue, leading to the theme’s return and closure. Moore addresses the audience, then Sjösten’s introduction leads into the ensemble’s lively melody of Manny’s Tune by John Marabuto. Moore takes off first quickly. Sjösten responds with an impressive reading. Moore and Noren wrap things up with a concise conversation ahead of the closing chorus and abrupt finish.

Brew’s contribution to the set, No More Brew begins Side Two with the foursome’s joyful introduction and melody. Moore opens with energetically captivating phrases, then Lars’s vigorous reading flows through the rhythm section like ephemeral shadows. Brew and Fredrik fuel the finale with a concise comment preceding the theme’s return and a short announcement by Moore that concludes with Blue Monk by Thelonious Monk. The quartet begins with a soulful, blues-inspired melody that sets the stage for Moore to accelerate into an extended, captivating solo. Sjösten mines a rich vein of sentimentality next until the tempo slows again for the melody’s reprise and exit.

Rune Öfwerman produced the album, although it’s unknown who recorded it. However, the album’s sound quality is excellent, with a soundstage placing the listener in the club audience as the musicians are performing. Brew Moore, known for his irresistibly appealing tone that could either stir excitement or touch the heart, recorded twelve albums as a band leader and contributed to seven more as a sideman. Tragically, he passed away on August 19, 1973, at age forty-nine after a fatal fall down a flight of stairs. If you’re a fan of swing and bop and also enjoy the tenor sax, I highly recommend exploring No More Brew by Brew Moore on your next record store visit. This exceptional album showcases a talented young musician whose promising career was sadly cut short!

~ Blue Monk – Source: JazzStandards.com

~ It Could Happen To You – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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The Song Book ~ Booker Ervin | By Eddie Carter

In February 1964, tenor saxophonist Booker Ervin recorded an album of standards. The Song Book (Prestige PRLP7318/PRST 7318) is a quartet session featuring Tommy Flanagan on piano, Richard Davis on bass, and Alan Dawson on drums. My copy is the 2023 Analogue Productions stereo audiophile reissue matching the original catalog number. The album opener, The Lamp Is Low by Peter de Rose, Mitchell Parish, Maurice Ravel, and Bert Shefter, kicks off the quartet’s melody at a fast gallop. Booker wails with remarkable energy, then Tommy rips down the road next. Richard follows suit with a brisk walk, and Alan goes to work last, preceding the ending theme and fadeout.

The quartet brings a profound emotional depth to Duke Ellington’s Come Sunday. Tommy’s gentle introduction sets the mood for Ervin’s warm tone, tenderly embracing the theme. Flanagan shines as the song’s lone soloist, delivering sweet moments of beauty matched by the rhythm section’s serene accompaniment, leading up to the leader’s soft conclusion. All The Things You Are by Oscar Hammerstein II and Jerome Kern picks up the beat for the quartet’s lively melody. Booker goes right to work on the opening statement and is consistently inventive and entertaining. Tommy swings effortlessly into the spotlight next with a spirited solo before the theme’s restatement dissolves gradually.

Just Friends by John Klenner and Sam M. Lewis begins the second side on an upbeat note, with Flanagan’s introduction leading to the quartet’s opening theme. Ervin blazes the trail with a commanding performance, then Flanagan delivers the song’s second message with authority. Davis completes the proceedings with a concise comment leading to a charming conclusion. Yesterdays by Otto Harbach and Jerome Kern opens with a tender piano introduction ahead of the saxophonist’s beautiful melody. Tommy takes the first turn with an emotionally rich, heartfelt interpretation, then Booker blends nostalgia and sentiment flawlessly until the theme’s gentle reprise and serene ending.

Our Love Is Here To Stay by George and Ira Gershwin picks up the pace one final time for the foursome’s lively melody. Ervin takes hold of the first spot swiftly, then Flanagan swings effortlessly into the following reading. Davis provides the exclamation point propelled by the rhythm section’s brisk supplement, ahead of the group’s upbeat exit.

Don Schlitten produced The Song Book, and Rudy Van Gelder was the recording engineer. Kevin Gray mastered the audiophile reissue, and the album’s sound quality is mesmerizing, placing the musicians in front of the sweet spot. The record was pressed on 180 grams of audiophile vinyl and is quiet as a church mouse until the music starts.

Booker and the rhythm section bring each track to life with genuine emotion, and approach each song with heartfelt affection, showcasing a profound admiration for the melodies of these cherished standards. If you’re a fan of hard bop and haven’t acquired an earlier pressing yet, please make a note to add The Song Book by Booker Ervin to your list on your next record hunt. This Analogue Productions reissue beautifully celebrates the timeless treasures of The Great American Songbook and undoubtedly deserves a place in every jazz fan’s library!

~ All The Things You Are, Come Sunday, Just Friends, Love Is Here To Stay – Source: JazzStandards.com

~ The Lamp Is Low, Yesterdays – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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