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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Requisites

Scenery ~ Ryo Fukui | By Eddie Carter

This morning’s record from the library holds a special place in my heart because two Christmases ago, my nephew Kyle, knowing how much I love trio albums, introduced me to pianist Ryo Fukui.  A Letter From Slowboat and Mellow Dream instantly became favorites of mine. Submitted for your consideration in this discussion is his first release from 1976, Scenery (Nadja PA-7148). It initially hit the Japanese stores that year, and his bandmates on this date are Satoshi Denpo on bass and Yoshinori Fukui on drums. My copy is the 2018 We Release Jazz Swiss Half-Speed Stereo reissue (WRJ001).

Side One opens with a jazz standard from the forties, It Could Happen To You, by Jimmy Van Heusen and Johnny Burke. Ryo makes the first move with a solo introduction leading to the trio’s sprightly theme. The pianist soars cheerfully through the song’s only interpretation while his colleagues’ accompaniment keeps pace, leading to the closing chorus and ending. I Want To Talk About You is a gorgeous ballad by Billy Eckstine that starts softly with a touching piano introduction, segueing into the group’s elegant melody. As the featured soloist, Fukui delivers a reading of quiet finesse preceding the climax.

Early Summer by Hideo Ichikawa grabs the listener from the opening notes of the pianist’s introduction to the trio’s lively theme. Ryo is up first and catapults into a swinging statement. Satoshi takes flight next with an exhilarating interpretation that soars skyward until Ryo’s closing remarks lead to the theme’s restatement. Ann Ronell’s Willow Weep For Me gets the second side underway with the trio’s bluesy opening chorus. As the song’s only soloist, Fukui serves an enjoyable performance with a down-home flavor. Satoshi and Yoshinori provide the foundation before the theme’s reprise and the song’s conclusion.

I first heard Autumn Leaves by Joseph Kosma, Johnny Mercer, and Jacques Prevert many years ago on Somethin’ Else and have been captivated ever since. The trio’s version of the jazz standard opens with a brief introduction that eases into their joyous melody. Ryo’s opening statement is as comforting as a visit to an old friend. Satoshi’s contribution takes a delightful stroll toward the closing chorus. The title tune, Scenery, highlights Ryo’s ability as a composer. His gentle introduction sets the mood for the trio’s delicate melody. In the song’s only solo, Fukui creates a canvas of tender beauty complemented by Satoshi and Yoshinori’s elegant accompaniment until the theme returns.

Scenery was produced by Masataka Ito, supervised by Olivier Ducret and Stéphane Armleder, and engineered by Kunio Arai. Music Matters Mastering mastered this reissue from the original reels at half-speed. The album sounds fantastic, with a superb soundstage transporting the musicians into your listening room. The first time I listened to this album was on a rainy evening, and the music seemed to transport me to a serene, picturesque landscape. If you’re in the mood for a terrific trio album, I invite you to check out Scenery by Ryo Fukui on your next record-shopping trip. It’s worth every penny for a spot in any fan’s library and should give its owner many years of listening pleasure!

~ A Letter From Slowboat (HMV Record Shop HRLP 103), Mellow Dream (Trio Records PA-7182), Somethin’ Else (Blue Note BLP 1595/BST 81595) – Source: Discogs.com

~Autumn Leaves, It Could Happen To You – Source: JazzStandards.com

© 2025 by Edward Thomas Carter

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Requisites…

The Real Thing ~ Louis Hayes | By Eddie Carter

This morning’s record from the library comes from the renowned drummer Louis Hayes. He’s recorded eighteen albums as a leader and is known for his work as a sideman with Cannonball Adderley, Horace Silver, Oscar Peterson, and many others. The Real Thing (Muse Records MR 5125) is his third date and second with this group. It was recorded in 1977 and hit the stores the following year. The album features the exceptional talents of Woody Shaw on flugelhorn (track: A2) and trumpet (A1, A3, B1 to B3), Slide Hampton on trombone (B1 to B3), Rene McLean on alto (B2, B3), soprano (A3, B1), and tenor sax (A1), Ronnie Matthews on piano and Stafford James on bass. My copy is the original U.S. Stereo album.

Side One opens with St. Peter’s Walk by Tex Allen. Hayes introduces this scorcher in an energetic exchange with the front line. After the ensemble’s theme, Woody races through the opening solo with extraordinary energy. Ronnie’s electrically charged fingers move like a shot of adrenaline, then Louis soars out of sight in a vigorous workout. Rene is featured in the opening and closing ensemble but does not solo. Nisha by Louis Hayes is a quartet feature featuring Woody on the flugelhorn. Ronnie’s gentle introduction segues to Woody’s delicate melody. Ronnie picks up the pace in a gentle first solo that hits the mark. Woody follows with a charming sincerity that fits like a glove. Stafford sustains the thoughtful mood in the closer, while Louis’s timekeeping holds everything together ahead of the climax.

Loose Suite by Ronnie Matthews is a play on Louis’s first name. The song opens with the drummer’s razor-sharp introduction ahead of an abstract quintet melody. Rene leads off with an adventurous reading. Woody charges into the second solo with lightning-fast intensity. Louis leaves the listener’s ears sizzling with explosive fireworks preceding the reprise and ending. Side Two starts with My Gift To You by Stafford James. Slide comes on board for the sextet’s medium-fast melody. Rene digs deep into the opening statement and then steps aside for Stafford, who walks briskly in the following presentation. Louis stamps his personality on the finale with propulsive power before the sextet’s closing chorus fades into oblivion.

Jack’s Tune, aka Blue Fable, is by Rene’s father, Jackie McLean, and begins with the ensemble’s vigorous melody. Rene ignites the opening solo with a fire-breathing showcase. Ronnie comes behind him with a blazing interpretation, and then Slide follows with an aggressive statement. Louis gets the last word with a brisk workout, leading to the closing chorus and abrupt climax. Marilyn’s House by Tex Allen keeps the high-voltage exhilaration of the earlier tune, with the front line leading a fiery sextet melody. Woody starts the opening statement with joyous determination. Rene comes in next to give an electrifying presentation. Slide provides the exclamation point in a dazzling reading ahead of the restatement of the theme.

Michael Cuscuna produced The Real Thing, and the recording engineer was Chuck Irwin. The sound quality is not just good, but an enjoyable sit-down and listening experience with a wide soundstage that’s sure to please the most discriminating jazz fan. This is the only studio album the group made together. Still, they also recorded a 1977 live album, The Woody Shaw Concert Ensemble Live at The Berliner Jazztage. At the end of his liner notes, noted jazz journalist Bob Blumenthal states, “Louis Hayes no longer leads this band with Woody Shaw, but it left its mark during 1976 and 1977, and the music remains real.”

Despite the group’s short tenure, the impact of their music is undeniable. The Real Thing by Louis Hayes is one of the jewels of his discography that I’m sure will leave a lasting impression on the listener. For any fan seeking a solid hard-bop album to unwind with after a long day or evening, I invite you to check out this first-rate release on your next record-shopping trip. It’s a perfect starting point to get acquainted with one of the quintessential jazz drummers and a pleasure from start to finish!

~ The Woody Shaw Concert Ensemble Live at The Berliner Jazztage (Muse Records MR 5139) – Source: Discogs.com

~ The Horace Silver Quintet, The Oscar Peterson Trio, The Cannonball Adderley Quintet and Sextet – Source: Album liner notes by Bob Blumenthal.

© 2025 by Edward Thomas Carter

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