Requisites

Blues In Trinity ~ Dizzy Reece | By Eddie Carter

Last night, I listened to one of my mom’s favorites, Blues In Trinity (Blue Note BLP 4006/BST 84006) by Dizzy Reece, which inspired this discussion. It was his second album as a leader and first for Alfred Lion’s label. Reece was born in Kingston, Jamaica, and began playing the baritone sax at eleven. He took up the trumpet at fourteen and later got the nickname Dizzy. At sixteen, he started playing professionally and worked with some of the best musicians in England, France, and the United States. Donald Byrd (tracks: A3, B1) and Dizzy Reece (A1 to B2) on trumpet, Tubby Hayes (A1, A3, B1 to B3) on tenor sax, Terry Shannon on piano, Lloyd Thompson on bass, and Art Taylor on drums are the musicians. My copy is the 1983 King Record Company Japanese Mono reissue (Blue Note BLP 4006 – K18P 9245).

The title tune and first of four originals by Dizzy Reece, Blues In Trinity, gets the first side off to a good start with the quintet’s medium theme. Dizzy jumps out front with a bright lead solo, then Tubby blows a set of wailing choruses. Terry takes charge next with a stunning short performance until the trumpeter and tenor saxophonist exchange riffs preceding the theme’s return. I Had The Craziest Dream by Harry Warren and Mack Gordon is a beautiful song from the 1942 film Springtime In The Rockies. Reece and the rhythm section reveal the song’s sensual beauty in an elegantly tender presentation. He also delivers a heartfelt solo as the only soloist.

Close-Up opens with a relaxing ensemble melody. Dizzy takes the lead, making each note look effortless. Tubby takes an exciting turn next, then Donald sinks his teeth into an aggressive statement. Terry follows with a solo of absolute joy. The front line takes the final flight in an exchange, leading to the sextet’s reprise and finale. Shepherd’s Serenade starts Side Two at a burning beat with the sextet’s rollicking theme. Reece launches into the opening statement with pure fire. Hayes continues with a shower of fiery notes from his tenor sax. Donald follows, blowing fierce heat in his second and final presentation, and then Art converses with the front line before the theme’s reprise and close.

Color Blind eases the throttle back to medium for the quintet’s finger-popping opening chorus. Dizzy goes right to work on the opening solo with plenty of feeling. Tubby takes the baton and builds the following interpretation effectively. Teddy maintains the mellow mood in the third performance, and the front line shares the finale in a short exchange before the theme’s restatement and climax. ‘Round About Midnight by Thelonious Monk, Cootie Williams and Bernie Hanighen ends the album as a feature for Tubby Hayes and the rhythm section. The saxophonist combines the elements of elegance, restraint, and tenderness in a gorgeous performance that culminates softly.

Tony Hall produced the initial session of Blues In Trinity, and Rudy Van Gelder is credited as the recording engineer. However, he only re-recorded the initial session. The sound quality of this King reissue is sensational, with a superb soundstage that emerges from your speakers as if the musicians are playing right in front of your listening chair. This album holds a special place in my heart, as it was a staple during our Sunday jazz dinners with my mom and sister when I was younger. If you’re a hard bop fan, I offer Blues In Trinity by Dizzy Reece for consideration on your next record-shopping trip. It’s an underrated, excellent album by one of the best musicians most may not know, and I highly recommend it for a spot in your library!

~ ‘Round About Midnight – Source: JazzStandards.com

~ I Had The Craziest Dream – Source: Wikipedia.org

© 2024 by Edward Thomas Carter



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Crossings ~ Red Garland, Ron Carter and Philly Joe Jones | By Eddie Carter

It happened like this: after hearing Introducing Carl Perkins, I spent the remainder of the evening listening to several other trio albums while reading when I heard a title I hadn’t played in a while, which inspired this morning’s discussion. Crossings (Galaxy GXY-5106) is a 1978 release bringing together a dream team to record their first trio album. Red Garland is on piano, Ron Carter is on bass, and Philly Joe Jones is on drums. All three were members of the Miles Davis Quintet and have given jazz fans many incredible albums throughout their careers as leaders and sidemen. My copy is the original U.S. Stereo release.

Side One starts with a brief trio introduction, setting the stage for the melody of Solar by Chuck Wayne and Miles Davis. Red leads the way with a statement that sparkles with energy. Ron delivers precisely articulated choruses in the second solo. The pianist and Philly share the finale in an inspired interpretation, leading to the theme’s reprise. Railroad Crossing by Ron Carter is a smooth, easy-flowing tune. The bassist sets the tone with a concise introduction that seamlessly transitions to the trio’s melody. Carter begins with a leisurely opening statement; then, Garland gets into a down-home groove on the following solo ahead of the bassist’s return for the ending theme.

Never Let Me Go is a beautiful Jay Livingston and Ray Evans song. It was featured in the 1956 film noir The Scarlet Hour. Red opens with a short unaccompanied introduction that segues into the trio’s gorgeous theme. The pianist goes first with a delicately sultry performance, then hands the torch to Ron, who delivers a heart-warming presentation before the close. Oleo by Sonny Rollins gets underway with a short workout by Jones, leading to the ensemble’s quick theme. Garland ignites the fire in the first solo, and then Carter keeps the fires burning next. Jones adds more heat in the closer, preceding a captivating conclusion.

George and Ira Gershwin introduced But Not For Me in the 1930 Broadway musical Girl Crazy. The jazz standard starts Side Two with Ron leading the trio through the melody. The bassist masterfully manages the opening statement before making room for Red, who swings in the following reading. Ron returns to converse briefly with Philly ahead of the finish. Cole Porter’s classic Love For Sale begins with a lengthy solo piano introduction before the trio steps on the gas for the lively theme. Garland ignites the first solo with fiery choruses. Carter steps into the spotlight next and slows things down, and Garland returns for a vigorous exchange with Jones into the climax.

Orrin Keepnews produced Crossings, and Bruce Walford recorded and mixed the album at Fantasy Studios. David Turner mastered the album. The record’s sound quality possesses a vibrant soundstage, placing the musicians in your listening room with excellent fidelity. If you’re a fan of these jazz giants and enjoy a good piano trio album, I invite you to check out Crossings by Red Garland, Ron Carter, and Philly Joe Jones. The group’s musicianship shows three masters’ at work, and the six selections complement each other perfectly. The result is an album you can sit back, listen to and enjoy from the first note to the finale!

~ But Not For Me, Love For Sale, Oleo – Source: JazzStandards.com

~ Solar – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Swiss Movement ~ Les McCann and Eddie Harris | By Eddie Carter

This morning’s record from the library is an exceptional live album by Les McCann and Eddie Harris. They performed a spontaneous concert at the 1969 Montreux Jazz Festival. Their set, which became the highlight of the three-day event, was a testament to the quintet’s exceptional musicianship. Swiss Movement (Atlantic SD 1537) immortalizes this incredible performance. The ensemble consists of Benny Bailey on trumpet, Eddie Harris on tenor sax, Les McCann on piano, Leroy Vinnegar on bass and Donald Dean on drums. My copy is the original 1969 U.S. Stereo release.

The opener, Compared To What by Gene McDaniels, is a poignant reflection of the sentiments of many Americans towards the Vietnam War and the President of the United States. McCann’s vocals, which delve into the pressing issues of the time, add a layer of historical significance to the song. Les starts things with a spirited introduction, setting the stage for a lively dialogue when Donald joins in. Leroy and Eddie add to the jubilant theme with McCann’s vibrant vocal choruses. Benny follows with a zestful solo, and Les returns for another round of swinging. He then lets his fingers do the talking with exhilarating energy. Eddie takes the performance to a whole new level next, leading to an electrifying climax, the audience’s thunderous applause, and McCann’s quintet introduction.

Cold Duck Time by Eddie Harris slows the pace to medium speed, opening with Les McCann’s introduction to the crowd. Leroy and Donald build the song softly to the quintet’s relaxing theme. Eddie starts the soloing with a nice, easygoing groove. Benny delivers the following solo with thoughtful construction and captivating lines. Les ends with a contagious swing on the closer, which cooks to the finale. Kathleen’s Theme by Les McCann ends the first side with Harris leading a quartet performance. Eddie delivers a feisty reading with a spirited momentum fueled by the rhythm section’s groundwork, which receives a well-deserved ovation from the Montreux audience at its conclusion.

Les McCann’s You Got It In Your Soulness opens Side Two with the trio’s festive introduction to Les scatting along in the background of the melody. He continues taking care of business on the first solo. Eddie launches a funky, firm-toned attack next. Benny responds with energetic verses in the following reading, and Les puts the exclamation point on the solos with intense heat, which glows brightly into the close. The Generation Gap by Les McCann starts with the trio’s introduction and melody. Eddie begins with a velvety, smooth opening statement. Les delivers a stimulating workout before the trio’s gentle ending.

Nesuhi Ertegün and Joel Dorn produced Swiss Movement, and French recording engineer Pierre Grandjean crafted the album with meticulous diligence to detail. The album boasts an excellent soundstage with a “you are there” feeling, immersing the listener in the Montreux Jazz Festival audience as the group performs. The record is also quiet until the music begins. As for the music itself, Swiss Movement by Les McCann and Eddie Harris is a testament to the highest standards of jazz, a live performance that rocked the house that night and continues to captivate audiences today. If you’re a soul jazz or post-bop fan, it’s a must-have for your library!

~ Compared To What – Source: Wikipedia.org

© 2024 by Edward Thomas Carter



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Introducing Carl Perkins ~ Carl Perkins | By Eddie Carter

One of my favorite things to do after a long day is listening to a piano trio album when reading. I first heard Carl Perkins on Harold In The Land of Jazz and You Get More Bounce With Curtis Counce. Introducing Carl Perkins (Dootone Records DL-211) is a 1956 release and his only album as a leader. He began playing professionally with Tiny Bradshaw and Big Jay McNeely in the late forties, then became a unique talent in the fifties. Despite polio afflicting his left arm, he developed a piano technique that was all his own. Leroy Vinnegar joins him on bass, and Lawrence Marable on drums completes the trio. My copy is the 1984 U.K. Mono reissue (Boplicity Records BOP-8).

Side One opens with Way Cross Town, the first of five Carl Perkins originals. The melody’s opening notes give the song a lively bounce. Carl is up first and delivers the lead solo with great spirit. Leroy takes a nice leisurely walk next, and then Lawrence has a short conversation with the pianist ahead of the closing chorus and abrupt stop. You Don’t Know What Love Is by Gene de Paul and Don Raye begins with a lovely solo introduction by Perkins, segueing into the trio’s pretty melody. Carl performs beautifully and sincerely as the song’s only soloist, culminating with a gentle theme reprise and climax.

The Lady Is a Tramp by Richard Rodgers and Lorenz Hart moves the beat to mid-tempo for the trio’s opening chorus. The mood is joyous from the start of the threesome’s theme. Carl delivers the song’s only interpretation with a carefree zest, leading to the theme’s restatement and close. Marblehead by Carl Perkins begins with the trio taking it easy on the opening ensemble. The pianist steps into the spotlight first to dispense a little home cooking. Vinnegar takes his bass for a short walk next, then Perkins returns to make a final comment preceding the ensemble’s theme restatement and ending.

Woody ‘n’ You by Dizzy Gillespie is among his most ageless compositions. The trio begins the jazz standard with a relaxing Latin-flavored melody. Carl has the solo showcase alone and keeps close to the bluesy spirit as his interpretation unfolds, while the rhythm section perfectly complements him into the ending theme and fade-out. Westside by Carl Perkins is a happy little tune that gets underway with the trio’s cheerful theme. The pianist is up first with an attractive reading, and then Vinnegar comes in for a buoyant walk. Marable applies a marvelous touch to the closer before the trio’s out-chorus.

Side Two starts with Just Friends by John Klemmer and Sam M. Lewis. Lawrence introduces the song with a short introduction that segues into the trio’s joyful melody. Carl leads the way and works his magic in the opening solo, then engages in a brief conversation with the drummer, leading to the closing ensemble. It Could Happen To You by Jimmy Van Heusen, and Johnny Burke is a beautiful song from the forties. Perkins’s lovely introduction sets the mood for the trio, showing its sentimental side in a tender melody. The pianist delivers the only solo with great sensitivity and delicacy ahead of the group’s gorgeous finale.

Why Do I Care by Carl Perkins is a much happier song than its title suggests, as exhibited in the trio’s medium groove on the theme. Carl takes the lead and constructs the opening solo effectively. Leroy comes in next to take a short walk, and Leroy returns for the theme’s reprise and close. Lilies In The Rain by Peter DeRose and Mitchell Parish is a lovely ballad that begins with an unaccompanied piano introduction to the trio’s gorgeous melody. In the song’s only solo, Perkins presents a thoughtfully tender presentation matched by the rhythm section’s elegant support until the trio’s return for a gentle ending.

It’s finger-popping time for the album’s final track, Carl’s Blues by Carl Perkins. The trio sets the scene with their easygoing opening chorus. The pianist approaches the first statement more relaxed, and then Leroy briefly walks in a splendid performance. The ensemble reassembles for the closing chorus and a final thought by the leader and bassist into the climax. Dootsie Williams supervised the original session, but it’s unknown who the recording engineer was for the date. The album’s sound quality is quite good, with a solid soundstage that transports the trio to your listening room with stunning fidelity.

Carl Perkins played with some of the elite jazz musicians in a short career but left the jazz world with a void when he died tragically from a drug overdose on March 17, 1958, at age twenty-nine. His untimely death was a loss to the jazz community, a reminder of the fragility of life and the enduring power of his music. If you’re a piano trio fan like me and in the mood for a terrific jazz album, I invite you to consider Introducing Carl Perkins on your next trip to your favorite record store. It’s a feast for the ears and a fascinating album that glimpses a talented pianist who was beginning to make a name for himself but left us far too soon!

~ Harold In The Land of Jazz (Contemporary Records C3550/S7550), You Get More Bounce With Curtis Counce (Contemporary Records C3539/S7539) – Source: Discogs.com

~It Could Happen To You, Just Friends, Woody ‘n’ You, You Don’t Know What Love Is – Source: JazzStandards.com

~Carl Perkins, The Lady Is a Tramp – Source: Wikipedia.org

© 2024 by Edward Thomas Carter



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Mulligan Meets Monk ~ Thelonious Monk and Gerry Mulligan | By Eddie Carter

This morning’s record from the library, Mulligan Meets Monk (Riverside RLP 12-247/RLP 1106), is an excellent quartet date that brings together two giants, Gerry Mulligan and Thelonious Monk, for their only collaborative album. Their influence on bop and cool jazz is immeasurable. It hit the stores in 1957, and the personnel are Gerry Mulligan on baritone sax, Thelonious Monk on piano, Wilbur Ware on bass and Shadow Wilson on drums. My copy is the 1975 Victor Musical Industries Japanese Stereo reissue (Riverside SMJ-6107).

‘Round Midnight by Thelonious Monk, Cootie Williams, and Bennie Hanighen is one of The Great American Songbook’s most beautiful and recorded jazz tunes. It opens the first side with the quartet’s elegantly tender theme. Gerry delivers a mesmerizing first solo. Thelonious is next and gives a beautifully constructed reading ahead of the theme’s reprise and climax. Thelonious Monk’s Rhythm-a-ning picks up the pace with a lively introduction by Wilson segueing into the foursome’s spirited melody. Mulligan is up first with a statement of dynamic energy; then Monk speaks assertively in the second reading. Gerry returns with an excellent improvisation ahead of the theme’s restatement.

The group’s unique and refreshing approach to Sweet and Lovely by Gus Arnheim, Jules LeMare, and Harry Tobias starts with Gerry and Thelonious’ delicately graceful theme. Monk shows a considerable amount of respect in the opening solo. Mulligan’s exquisite softness in the closer precedes a gorgeous conclusion. Decidedly by Gerry Mulligan begins Side Two with a two-instrument dialogue between Gerry and Shadow, extending into the quartet’s brisk theme. Mulligan functions most effectively in the opening statement. Monk unwraps a pleasant surprise next. Wilbur takes a short, impressive walk, Gerry takes over briefly, and Shadow wraps things up before the close.

Straight, No Chaser is one of Thelonious Monk’s perfectly structured originals. The foursome’s bluesy theme sets up Gerry’s inspired opening statement. Wilbur’s bass goes to work next in a short reading, and then the pianist sums everything up nicely before the closing chorus and finale. I Mean You by Thelonious Monk and Coleman Hawkins begins with the pianist’s introduction, leading to the ensemble’s opening chorus. Monk steps into the spotlight first, cruising comfortably, and then Mulligan puts together a few good ideas in the second solo. Ware rounds out things with a breezy walk before the group reassembles to take the song out.

Mulligan Meets Monk was produced by Orrin Keepnews and recorded by Jack Higgins. The album’s sound quality is top-notch, with a superb soundstage that makes it feel like the quartet is performing right before you. Whether you’re a bop or cool jazz fan or new to the music of Gerry Mulligan and Thelonious Monk, Mulligan Meets Monk is a must-listen on your next record-shopping trip. It’s a delightful addition to both musicians’ discographies, showcasing their talents in a way that might make it a favorite in your library!

~ ‘Round Midnight, Straight, No Chaser, Sweet and Lovely – Source: JazzStandards.com

© 2024 by Edward Thomas Carter

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