Requisites

Out Of This World ~ Walter Benton Quintet | By Eddie Carter

Up next from the library is a recent acquisition by a musician I first heard on two Clifford Brown albums, Best Coast Jazz (1955), and Clifford Brown All-Stars (1956). Out of This World (Jazzland JLP 28/928S) is the only album tenor saxophonist Walter Benton recorded as a leader but is brilliant swinging jazz with a stellar cast. Freddie Hubbard (listed as Freddy, tracks: A1, A2, B1, B2) on trumpet, Wynton Kelly on piano, Paul Chambers on bass, Jimmy Cobb (tracks: A2, A3, B2), and Albert Heath (tracks: A1, A4, B1, B3) on drums.  Walter began playing the saxophone in high school, he’s also worked with John Anderson, Clifford Brown, Kenny Clarke, Eric Dolphy, Victor Feldman, Slide Hampton, Quincy Jones, Abbey Lincoln, Perez Prado, Max Roach, and Gerald Wilson.  My copy used in this report is the 1993 Japanese Stereo reissue (Jazzland VIJJ-30049).

Side One opens with the title song, Out of This World was written in 1944 by Harold Arlen and Johnny Mercer. It grabs hold from the beginning of the collective midtempo melody and doesn’t let go until Freddie’s deceptively easy swing before picking up the pace for a bristling first reading. Walter comes in next exhibiting an optimistic spirit on the next solo, and Wynton works out a few logical ideas on the closer preceding the coda and fadeout. Walter’s Altar is the first of five originals by the leader, and an easy-going blues giving everyone solo space except Cobb who takes over on drums. Benton kicks off the solos leisurely but builds his tone into a delightful interpretation. Hubbard makes a terrific impression on the second solo. Kelly is superbly articulate on the third reading and Chambers takes the bass for some tuneful walking on the final statement ahead of the closing chorus and climax.

Iris is a tender ballad by Benton beginning with a brief intro by Freddie before Walter takes over on the gentle theme. The first of the leader’s two solos is slow, easy, and meaningful possessing a soulful tone.  Wynton’s second solo is richly creative, then Walter returns for a few final softly, soothing comments before the close. Night Movement is an uptempo romp by Benton with a brief appearance by Hubbard during the melody, and Heath returning to the drums.  The saxophonist gives two brief readings of ferocious intensity with a short speedy statement by Kelly in-between.

Side Two opens with Benton’s A Blue Mood. This tune is a midtempo blues starting with the rhythm section’s brief introduction into the ensemble’s melody. The solo order is Hubbard, Benton, Kelly, Chambers, and each man applies some down-home cooking to each of their solos, making them quite appetizing. Walter’s Azil is fast and swinging, returning the quintet to uptempo speed on the swift-footed melody. Benton begins the solos with a scintillating conversation, then Hubbard comes in for a vigorously energetic reading. Kelly closes with an electrically charged interpretation with Chambers and Cobb supplementing the power into the quintet’s ending.

Lover Man by Jimmy Davis, Roger Ramirez, and James Sherman is a timeless standard from The Great American Songbook.  It ends the album with a sensuous performance by the quartet with Heath back behind the drums. Kelly and the trio begin the introduction blossoming into the foursome’s opening chorus. Walter opens with a delicately tasteful first statement. Wynton adds intimate lyricism to the second reading, then Paul performs so warmly you could bask in its glow like a sunbath. Walter wraps up the song with a beautifully phrased chorus into the coda.

Six years after recording this album, Benton retired from music altogether, becoming a real estate agent.  He passed away on August 14, 2000, at the age of sixty-nine. Out of The World was originally produced by Orrin Keepnews and engineered by Ray Fowler. Victor Entertainment (formerly Victor Musical Industries) has done an exceptional job with the mastering of the album from the original tapes. The music emerges from your speakers as if the group is playing right in front of your favorite chair. If you’re looking for an excellent Hard-Bop album for your library, and have not heard Walter Benton before, I submit for your consideration, Out of This World by The Walter Benton Quintet. It’s a stellar album of the genre that’s a treat for your ears!

~ Best Coast Jazz (EmArcy MG-36039), Clifford Brown All-Stars (EmArcy MG-36102) – Source: Discogs.com ~ Lover Man – Source: JazzStandards.com ~ Out of This World – Source: Wikipedia.org

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Requisites

Jazz at The Plaza, Volume 1  ~ The Miles Davis Sextet | By Eddie Carter

Submitted for your approval this morning is the first of two unique 1973 albums, capturing an unforgettable event. Jazz at The Plaza, Volume 1 (Columbia C 32470) is a live recording of a jazz party hosted by Columbia Records in The Persian Room of New York City’s Plaza Hotel on September 9, 1958. This celebration represented a significant moment in Columbia’s history, acknowledging the impressive talent of jazz artists on the label’s roster. The guests enjoyed a performance by The Miles Davis Sextet during the first set: Miles Davis on trumpet, Julian “Cannonball” Adderley (tracks: A1, B2) on alto sax, John Coltrane (A1, B1, B2) on tenor sax, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. My copy is the original U.S. Stereo release.

The album opener is misidentified as Jazz at The Plaza on the back cover and record label, but it is Thelonious Monk’s Straight, No Chaser. The song’s brisk pace sets the stage for the sextet’s lively introduction and theme. Miles delivers a vigorous opening statement, followed by John’s adventurous interpretation. Cannonball provides an energetic solo next. Bill makes a concise contribution before the ensemble returns for the finale and a brief presentation of the sextet’s theme. The pace slows for Bill’s introduction to the Rodgers and Hart classic My Funny Valentine. This highlight of the quartet sees Miles switching to the mute for the gentle melody and a beautiful solo. Bill follows with an enchanting statement, and Paul walks delicately toward the closing chorus and sensitive climax.

If I Were a Bell by Frank Loesser opens the second side with a short piano introduction that segues into the ensemble’s medium melody. Miles takes the lead with an agile, muted opening statement. John continues wailing in a spirited performance. Bill sinks his teeth into a captivating interpretation next, leading to the theme’s restatement and conclusion. Oleo by Sonny Rollins raises the tempo for Miles’s muted introduction, which leads to the sextet’s quick theme. Miles starts the opening statement with infectious heat, while John fuels the following performance with electrifying notes. Cannonball launches into a furiously hard-driving solo next, and then Bill keeps the fire burning with a concise comment. Paul has his turn in a short interlude before Miles guides the way to a speedy culmination.

Teo Macero and Irving Townsend produced Jazz at The Plaza, Volume 1, with recording engineer Russ Payne capturing the event for posterity. While the sound quality may not meet Columbia’s usual high standards, its unique charm conveys the exhilarating energy of the group’s performances. After listening to this album, I’ll be looking to find its companion, Jazz at The Plaza, Volume 2, featuring Duke Ellington and His Orchestra, Billie Holiday, and Jimmy Rushing. If you appreciate the trumpeter’s work from the fifties, I recommend exploring Jazz at The Plaza, Volume 1 by The Miles Davis Sextet, on your next record hunt. It offers a compelling snapshot of the ensemble’s fiery live performance and should make a worthy addition to any jazz enthusiast’s library!

Postscript: The owners of the long-out-of-print Mosaic Records box set, The Complete Columbia Recordings of Miles Davis With John Coltrane, also has a copy of Jazz at The Plaza, Volume 1.

~ Jazz at The Plaza, Volume 2 (Columbia C 32471), The Complete Columbia Recordings of Miles Davis With John Coltrane (Mosaic Records MQ9-191) – Source: Discogs.com

~ Straight, No Chaser – Source: JazzStandards.com

~ If I Were a Bell – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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Requisites

Please Send Me Someone To Love ~ Phineas Newborn Jr. | By Eddie Carter

Phineas Newborn Jr. was an exceptional pianist and one of my favorite musicians growing up. The first album I encountered by him as a teenager is this morning’s selection from the library. Please Send Me Someone To Love (Contemporary Records S7622) hit the stores in 1969 and is an excellent trio album. It was his fourth release for Lester Koenig’s label and is a companion to Harlem Blues, released six years later in 1975. Both albums were recorded during the same sessions, with the superb rhythm section of Ray Brown on bass and Elvin Jones on drums. My copy is the 1969 U.S. deep groove Stereo release.

The first side opens with Percy Mayfield’s Please Send Me Someone To Love, featuring a smooth, slow-tempo melody. Phineas delivers a dreamy solo, evoking a sense of longing and comfort, resulting in one of the album’s most beautiful moments. Ray and Elvin’s gentle accompaniment leads the trio back to the theme and a quiet, reflective conclusion. Rough Ridin’, an upbeat piece by Ella Fitzgerald, Hank Jones, and Bill Tennyson follows with an energetic melody by the ensemble. Phineas showcases his joyful groove with impressive skill as the only soloist, culminating in the group’s lively finish.

Come Sunday by Duke Ellington is a beautiful ballad that starts with Phineas’ tender solo introduction and flows seamlessly into the trio’s lovely melody. The pianist shines as the centerpiece, delivering an attractive, elegant interpretation with great warmth before a soft and gentle ending. Ray’s bass steers the course into Brentwood Blues by Phineas Newborn Jr., setting the stage for the ensemble to swing effortlessly through the melody. Phineas initiates the opening statement, articulating each note and verse with clarity. Ray then takes a brief, soulful walk to the closing chorus and climax.

Side Two starts with He’s A Real Gone Guy by Nellie Lutcher. Elvin’s Latin-flavored introduction breathes life into the track briskly, setting the stage for the trio’s lively theme. Phineas takes the lead with a vigorous interpretation, and Elvin’s electrifying brushwork fuels the finale, bringing the trio’s ending theme to a dynamic close. Black Coffee by Sonny Burke and Paul Francis Webster opens with a profoundly moving piano introduction by Phineas, transitioning into an intimately soft melody. His beautiful performance is anchored by the solid foundation laid by Ray and Elvin ahead of a lovely finale.

Little Niles is a jazz waltz by Randy Weston that is a tribute to his son. The trio’s version is delightfully vibrant, with Ray and Elvin’s introduction effortlessly shifting into the melody. Phineas showcases his impeccable technique during the song’s only solo, leading smoothly to the reprise and the song’s close. Stay On It, by Count Basie and Tadd Dameron, secures a swinging makeover with Phineas’ solo introduction. The trio’s lively opening chorus follows, with Ray and Elvin providing a solid foundation, allowing Phineas to deliver a remarkable interpretation in the song’s only solo, leading to the trio’s exit.

Lester Koenig was the producer and recording engineer for Please Send Me Someone To Love. The album’s impeccable sound quality creates the illusion that the trio is performing live in your listening room. If you seek an outstanding trio album, I wholeheartedly recommend Please Send Me Someone To Love by Phineas Newborn Jr.  It is an excellent addition to any jazz library, serving as a perfect introduction for new listeners to his music and a delight for seasoned collectors and fans. This album also pairs beautifully with Harlem Blues and is a must-have for any jazz enthusiast of piano trios!

~ Harlem Blues (Contemporary Records S7634) – Source: Discogs.com

~Come Sunday – Source: JazzStandards.com

~Black Coffee, Little Niles, Please Send Me Someone To Love – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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Requisites

The Summer Knows ~ Art Farmer | By Eddie Carter

This past week was particularly rough, and I eagerly looked forward to the weekend. This morning’s album offered for your consideration is The Summer Knows (East Wind EW-8047). It was one of my mom’s favorites, and the music brought back fond memories of when I was younger. This underrated gem is an excellent quartet date by Art Farmer, one of five albums he released in 1977. Art’s exclusively heard on flugelhorn and shares the spotlight with a stellar rhythm section: Cedar Walton on piano, Sam Jones on bass, and Billy Higgins on drums. My copy is the Japanese Stereo release.

Side One starts with the title track, The Summer Knows, by Alan and Marilyn Bergman and Michel Legrand. A gentle piano introduction transitions to Art’s sweet melody and a captivating, touching opening statement with a nostalgic and soothing vibe. Cedar follows with a delicately heartfelt performance. Art’s final enchanting choruses flow smoothly before the ensemble’s theme is softly revisited. Manhã Do Carnaval by Luiz Bonfá, Antônio Maria, and François Llenas springs to life with the trio’s introduction. Art follows them with an infectiously charming melody and opening solo. Cedar carries the festivities into the second reading until Art’s closing statement leads to the theme’s reprise.

Alfie by Burt Bacharach and Hal David starts with a piano introduction that grows into Art’s delicately sensitive theme and opening statement. Cedar’s solo creates a deep emotional resonance that is genuinely moving. Art’s concluding thoughts are hauntingly tender, preceding the closing theme. When I Fall In Love by Victor Young and Edward Heyman gets Side Two underway with Art’s solo introduction ahead of the foursome’s exquisite melody. The leader’s first solo embraces the song’s essence and intimacy. Cedar delivers enchanting beauty in the following reading; then, Art takes over the spotlight again for a short expression of love that dissolves into nothingness.

Ditty by Art Farmer starts with an energetic introduction by Sam and Cedar, setting the stage for the ensemble’s lively melody. Art begins the opening statement with a brisk and confident lead, followed by Cedar’s impressively spirited solo. Billy concludes with a concise yet impactful comment, leading back to the restated theme and climax. The album concludes with a beloved classic, I Should Care, by Axel Stordahl, Paul Weston, and Sammy Cahn. The group’s easygoing groove sets the mood for the introduction and melody. Art commences with a beautifully rendered interpretation, and Sam’s brief yet engaging solo complements it perfectly, leading into the heartfelt closing chorus.

Kiyoshi Itoh and Yasohachi Itoh produced The Summer Knows, with David Baker and Yoshihiro Suzuki behind the dials as the recording engineers. The album boasts exceptional sound quality, capturing an outstanding soundstage that places the musicians perfectly in your listening space with crystal-clear fidelity. For jazz aficionados seeking an ideal album perfect for unwinding after a long day or those only familiar with Art’s work with the Jazztet, I highly recommend The Summer Knows by Art Farmer for your library. It’s a remarkable release no jazz lover should overlook on their next record-shopping adventure!

~ I Should Care, When I Fall In Love – Source: JazzStandards.com

~ Alfie, Manhã Do Carnaval, The Summer Knows – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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Requisites

Generation ~ Dexter Gordon | By Eddie Carter

Dexter Gordon, a tenor saxophonist who has always held a special place in my heart growing up, is the focus of this morning’s spotlight with his album Generation (Prestige P-10069). As a teenager, I was fortunate to witness his live performance at the 1972 Newport Jazz Festival in a fantastic jam session. This 1973 release, his eleventh with Prestige, is a reunion with Freddie Hubbard, who previously collaborated with Dexter on Doin’ Allright and Clubhouse. Freddie plays flugelhorn (tracks: A2, B1) and trumpet (A1, B2) on the album. The rhythm section, consisting of Cedar Walton on piano, Buster Williams on bass, and Billy Higgins on drums, is equally impressive. My copy is the original U.S. Stereo release.

The album opens with the first version of Milestones by Miles Davis, setting the tone with a slightly slower groove for the theme. Dexter’s opening solo is immediately captivating, and then Freddie takes over the spotlight for an inspired improvisation. Cedar follows with a well-crafted statement, and Buster contributes a final shining moment before the theme’s reprise and climax. Scared To Be Alone by André Previn is up next. Dexter and the trio initiate the first chorus of the melody, then are accompanied by Freddie to complete the theme. Dexter’s tender and gentle solo paves the way, and Freddie’s luxuriously elegant flugelhorn conveys deep emotion. Buster’s brief reading before the theme concludes touchingly provides the perfect ending to this beautiful ballad.

We See by Thelonious Monk changes the pace with a lively start to the second side. Billy’s rhythmic introduction sets the stage for the quintet’s medium-tempo melody. Dexter demonstrates his skill and precision in a delightful opening solo, followed by Freddie, whose performance displays a dazzling tone. Cedar shines in a well-crafted statement next, while Buster comfortably strolls into the ensemble’s ending theme. The Group by Dexter Gordon wraps up the session with a lively melody led by the front line. Dexter opens the solos buoyantly; then Freddie takes over with a marvelously executed statement. Cedar moves efficiently and effectively next, with Billy adding a final comment during the closing chorus.

Generation was produced by Ozzie Cadena and recorded by Rudy Van Gelder, whose expertise behind the dials ensures an exceptional soundstage. The record’s sound quality is superb; the instruments are incredibly clear, emerging from your speakers with remarkable fidelity. For tenor sax enthusiasts, this hard-bop album certainly deserves a spot in any jazz library. The next time you’re at your favorite record store, be sure to check out Generation by Dexter Gordon. It’s a hidden gem from one of jazz’s most significant musicians, and despite being lesser known in his discography, acquiring it won’t break the bank!

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