Requisites

My Funny Valentine ~ Miles Davis In Concert | By Eddie Carter

Miles Davis opens this morning’s discussion with a concert promoting a worthy cause. On February 12, 1964, his quintet of George Coleman on tenor sax, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums played a benefit performance for the registration of black voters at Lincoln Center’s Philharmonic Hall. The concert was sponsored by the NAACP Defense Fund, the Congress for Racial Equality, and the Student Nonviolent Coordinating Committee, resulting in two albums, ‘Four’ & More (1966) and My Funny Valentine (Columbia CL 2306/CS 9106), released in 1965. Their performance broke several records for a benefit concert with ticket prices reaching $25 and $50, resulting in Standing Room Only. It also emphasized Miles’ solidarity with these organizations and the people fighting racism in the south. My copy used in this report is the 2016 Mobile Fidelity Sound Lab Stereo audiophile reissue (MFSL 1-431).

My Funny Valentine by Richard Rodgers and Lorenz Hart opens Side One with a gentle introduction by Herbie. Davis states a delicate melody and paints an unforgettable haunting portrait on the lead solo. Miles later attributed his sound during their performance to reflecting his deeply personal reaction to President Kennedy’s death the previous November. George gives a nostalgic, reflective reading next. Herbie turns in an alluringly gentle statement. Ron and Tony provide an exquisite foundation into Miles’ profoundly moving ending. The quintet moves to mid-tempo for All of You by Cole Porter. Davis opens the melody and first solo with a deliciously inventive performance. Coleman sails into a blissfully, soulful groove. Hancock gets a momentary spotlight, and Miles concludes with a few final verses preceding a subtle finale receiving appreciative applause from the audience.

Side Two starts with Stella By Starlight by Victor Young and Ned Washington, one of the most beautiful standards in jazz. Herbie opens with a lovingly picturesque introduction. Miles, Ron, and the ensemble soar briefly on the melody, then the leader goes first, showing expressive beauty. George executes the next reading thoughtfully and Herbie follows with a touching performance. Miles ends with a tender display of romantic lyricism into a lovely climax. The lone up-tempo tune is Miles’ All Blues from Kind of Blue (1959). With a rapid snap of the leader’s fingers, Carter and Hancock start a scintillating introduction. Then comes Coleman, Williams, and Davis who starts the muted melody calmly then attacks ferociously on the opening statement with the mute off. Hancock builds the next reading into an energetic climax. Coleman takes the last solo for a brisk workout before the front line’s vigorous reprise and exit.

Miles and the trio open I Thought About You by Jimmy Van Heusen and Johnny Mercer with a graceful theme. The leader then moves to mid-tempo for a gorgeous opening statement. George responds with a stunning solo, then Herbie performs with heartfelt sincerity. Ron comes in next with a wealth of ideas, and Miles returns with warm sweet sounds on the closing chorus, ending one of his most outstanding performances. The sound quality of this MOFI reissue is superb with an extraordinary soundstage and incredible definition.  If you’re a fan of jazz trumpet or only know of the fusion or contemporary albums by Miles Davis, I offer for your consideration, My Funny Valentine. It’s an hour of absolute perfection that belongs in every library and transports you back in time to enjoy a definitive performance with each listen!

~ ‘Four’ & More (Columbia CL 2453/CS 9253), Kind of Blue (Columbia CL 1355/CS 8163) – Source: Discogs.com

~ My Funny Valentine, All of You, Stella By Starlight, All Blues, I Thought About You – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Yuko Mabuchi Plays Miles Davis, Volume 1 ~ Yuko Mabuchi | By Eddie Carter 

Yuko Mabuchi has been making a positive statement on the jazz scene since her 2018 releases, Yuko Mabuchi Trio, Volumes 1 and 2. She steps into the spotlight this morning to give her second live performance at Cammilleri Hall before an enthusiastic crowd. Yuko Mabuchi Plays Miles Davis, Volume 1 (Yarlung Records YAR45588-171V) is a single 45-rpm audiophile album offering two jewels from Kind of Blue and two original tunes by the leader. She’s working again with trio members Del Atkins on bass and Bobby Breton on drums, plus JJ Kirkpatrick on trumpet. JJ is a member of Sophisticated Lady Jazz Quartet and my copy used in this report is the 2020 US Stereo album.

Yuko sets the groove for Side One with Miles’ All Blues, her enthusiastic notes on the introduction flowing as naturally as spoken words. JJ makes his entrance on the melody and first solo next with a gorgeous tone that fits the rhythm section like a comfortable glove. Yuko proceeds into the second statement at an easy pace that builds to a feisty finale before the quintet’s closing chorus. Blue In Green is a haunting and very beautiful song by Miles and Bill Evans. The pianist opens with a gentle introduction segueing into Kirkpatrick’s delicate opening chorus.  Yuko leads off with a serenely beautiful solo, followed by an incredibly tender statement by JJ. Del offers a few intimate thoughts on the closer preceding an elegantly graceful ending.

Missing Miles, the first of two from Yuko’s pen, gets Side Two underway with an infectious introduction that moves to an easygoing bounce by her and JJ on the melody. Yuko struts comfortably into the first reading making every note count to the relaxing momentum of Del and Bobby’s accompaniment. The drummer gets a brief moment of solo space next, then JJ keeps the ingredients stirring on the closing statement culminating with Yuko’s descent into a soft climax. Sky With No Tears is a very pretty tune expressing Yuko’s feelings about the environment and caring for the planet’s health. She delivers the melody with a charming simplicity and offers a delicate and subtle opening statement.  Del comes in next for a brief reading of refined taste preceding Yuko’s tenderly passionate ending.

The album was produced by Bob Attiyeh, engineered by Bob and Arian Jansen, and the mastering is by Bernie Grundman. The album sounds fantastic with a stunning soundstage that brings the listener to Cammilleri Hall as the musicians are performing. The record is silent until the music begins, making it a perfect demonstration record for any good mid-fi or high-end audio system. I was also impressed with JJ Kirkpatrick; he plays some tasty jazz here and complements the trio very well. Although there are only two tunes of Miles’ music heard here, Yuko Mabuchi breathes fresh air into both selections and she shows a maturity beyond her years as a composer. If you’re a fan of piano jazz, I invite you to audition Yuko Mabuchi Plays Miles Davis, Volume 1. It’s a live album worth investigating, and I hope will bring attention to a talented pianist who continues to exceed expectations and deserves to be heard!

~ Kind of Blue (Columbia CL 1355/CS 8163), Sophisticated Lady Jazz Quartet, Volume 1 (Yarlung Records YAR09272-004V1), Yuko Mabuchi Trio, Volume 1 (Yarlung Records YAR88157-161V), Yuko Mabuchi Trio, Volume 2 (Yarlung Records YAR71621-161V) – Source: Discogs.com ~ All Blues, Blue In Green – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Lee Konitz With Warne Marsh ~ Lee Konitz & Warne Marsh | By Eddie Carter

This morning’s choice from the library is an album bringing together two of the best musicians from the Cool Jazz school, Lee Konitz on alto sax and Warne Marsh on tenor sax. Lee Konitz With Warne Marsh (Atlantic 1217) was recorded and released in 1955. Ronnie Ball (track: B3), Sal Mosca (tracks: A2, A4 to B2, B4) on piano, Billy Bauer on guitar, Oscar Pettiford on bass, and Kenny Clarke on drums round out the stellar supporting cast. My copy used for this report is the 2018 Speakers Corner Mono audiophile reissue sharing the original catalog number.

Side One begins with Topsy by Edgar Battle and Eddie Durham. Oscar starts an elegant bass introduction segueing into a collective subtle theme minus both pianists. Lee opens with a relaxing informality on a lyrical, soft-spoken statement.  Oscar delivers the next reading with exquisite skill and Warne excels on the final solo before both saxes take the closing chorus into a soft climax. The sextet turns the beat upward on There Will Never Be Another You by Harry Warren and Mack Gordon. It opens with a quick collective theme led by Konitz who also cooks briskly on the opening statement. Marsh follows with a passionately assertive solo, then Pettiford delivers something special on the next vigorous reading.  Both horns return to share the final solo ahead of the close.

I Can’t Get Started by Vernon Duke and Ira Gershwin tells the story of a man who’s achieved great success in everything, except the affection and love of the woman he desires. Both pianists lay out on this tune also. Lee takes the lead this time with a dreamy melody and reading that’s delicately crafted. Warne approaches the next solo with tender sincerity. Oscar walks a short distance on the closer leading to a gentle exit. Donna Lee by Miles Davis is named for the daughter of bassist Curly Russell and begins with an expedient theme that’s breathtaking. Konitz opens with a very impressive reading, then Mosca takes over for an energetic interpretation. Marsh charges into the next searing statement and Clarke shares a fiery conversation with both saxes into the reprise and abrupt ending.

Side Two opens with Two Not One by Lennie Tristano that gets underway a vibrant opening chorus. Lee takes off first like a jolt of electricity traveling through the body. Warne adds some additional power on an inspired solo as steady as the rock of Gibraltar. Sal responds with an exhilarating reading shadowed closely by both saxes in the background. Kenny shares a brief statement with the principal soloists into the climax. Don’t Squawk is by Oscar Pettiford, a blues he makes his presence felt on the introduction and the melody with the rhythm section. Konitz takes the first solo for a slow stroll, then Mosca swings softly and smoothly into the next interpretation. Marsh also makes his point in a relaxed manner, followed by Pettiford who gives a slow, easy groove gently sailing over the rhythm section.

Ronnie Ball takes over the piano chair on his uptempo original, Ronnie’s Line.  Lee begins with an upbeat, energetic theme, then adds exuberant vitality to the opening solo. Ronnie takes the next spot for a swiftly paced statement. Marsh swings into the next performance vigorously, and the front line energizes the closing chorus with a spirited ride ending with an attractive exit. The album ends with a little Background Music by Warne Marsh opening with a collective theme.  Lee applies some serious blowing to the opening statement. Sal gives an exhilarating reading next, followed by Warne who executes the third solo with high-voltage precision. Oscar and Kenny exchange their ideas on the finale into a soft summation. Lee Konitz With Warne Marsh was produced by Nesuhi Ertegun and engineered by Tom Dowd.

Speakers Corner reissues are remastered using pure analog components only, from the master tapes through to the cutting head. The soundstage on this album is immense and absolutely stunning, drawing you in completely the moment your stylus touches the lead groove. You don’t just hear the musicians and their instruments; you almost feel their presence in your listening room. In my opinion, the album’s not only remarkable for its musicianship, but an underrated jewel of fiery and relaxed tempos by both saxophonists. If you’re a fan of Cool Jazz and in the mood for some great sax, I invite you to check out, Lee Konitz With Warne Marsh for your library.  It’s a terrific album of pure bliss that’s perfect in every way!

~ Tom Dowd – Source: Discogs.com ~ Donna Lee, I Can’t Get Started, There Will Never Be Another You, Topsy – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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The House That Love Built ~ Frank Foster Quartet | By Eddie Carter

Frank Foster steps into the spotlight this morning with an underrated, exceptional album titled The House That Love Built (SteepleChase Records SCS-1170). Frank was adept as an arranger, bandleader, composer, and multi-instrumentalist. Horace Parlan on piano, Jesper Lundġard on bass, and Aage Tanggaard on drums complete the quartet. Foster wrote all five selections and my copy used in this report is the 1982 Danish Stereo album. Frank was born in Cincinnati, Ohio and educated at Central State College, and Wilberforce University. He led his own big band in the fifties and was a member of The Count Basie Orchestra. Several of his songs became huge hits for the band and are now jazz standards, and his resume reads like a Who’s Who of Jazz.

>Side One takes off with I Remember Sonny Stitt, an uptempo tribute to the saxophonist that gets underway with an enthusiastic melody by the foursome. Frank kicks off the solos with a vibrant statement of pure jubilation. Aage engages in a brisk exchange with Foster fueled by Horace and Jesper’s lively foundation preceding the closing chorus. The House That Love Built is a tender ballad with a quaint melody and the tenor sax providing a lead solo of graceful elegance.  Horace marks the beginning of a beautiful romance on the next reading with an intimate conversation of beauty and warmth. The saxophonist returns, expressing a few final moments of thoughtfulness over the rhythm section’s delicate support into the soft climax.

A neatly paced toe-tapper titled John R and Garfield closes Side One with the quartet’s opening chorus in a light groove with everyone swinging easy. Horace opens with an exemplary performance on the lead solo.  Frank is completely carefree on the second statement and Aage keeps perfect time with an impeccable swing on the closer. A concise drum introduction by Aage grows into a collective melody march to begin Side Two with Lightly Stroking.  Jesper gets the first spot this time and executes an invigorating interpretation. Frank has the last word plenty to say on the next with a light, effervescent work that flows along efficiently. Horace gets the last word and ends with an exceptionally relaxing finale before the quartet’s exit.

Dunbar’s Delight cooks from the opening notes of the quartet’s vigorous theme and allows Foster a lengthy energetic first reading. Parlan meets the challenge with some high-voltage on the next solo followed by Tanggaard who supplies sharp brushwork for a propulsive showcase into ends on an upbeat note. The album was produced by Nils Winther and engineered by Niels Erik Lund. The album has a breathtaking soundstage with each instrument possessing remarkable clarity. If you’re in the mood for Hard-Bop on your next vinyl hunt, I invite you to check out The House That Love Built by The Frank Foster Quartet. It’s a very satisfying session from one of jazz’s best musicians and worthy of a spot in any library!

© 2021 by Edward Thomas Carter

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The Festival Album ~ The Jazz Crusaders | By Eddie Carter 

This morning’s discussion is a 1966 live album by four friends from Houston, Texas who began performing locally in 1956. After moving to Los Angeles in 1961, they became The Jazz Crusaders, one of the best West Coast jazz groups. I became a fan of their music listening to Chuck Lansing of Cleveland’s jazz station, WCUY 92.3 FM. His opening theme was The Young Rabbits, taken from their second LP, Lookin’ Ahead (1962). The Festival Album (World Pacific Jazz ST-20115) contains two performances from The Pacific Jazz Festival and The Newport Jazz Festival. The quartet consists of Wayne Henderson on trombone, Wilton Felder on tenor sax, Joe Sample on piano, and Stix Hooper on drums.  Jimmy Bond (tracks: A1, A2) and Herbie Lewis (tracks: B1, B2) on bass, complete the group. My copy used in this report is the 1967 Stereo reissue (Pacific Jazz ST-20115).

Trance Dance by Kenny Cox opens Side One with a collective soulful theme.  Wayne goes first with a noteworthy contribution offering a relaxing informality.  Wynton follows with an excellent solo of his own, then Joe gives a spirited closing reading ahead of the ensemble’s reprise and ending. A Summer Madness is the collaborative creation of Sample, Henderson, and Felder.  Wayne leads the quintet on the mid-tempo melody, then entices the listener with a captivating first statement. Wilton builds a satisfying groove with inspired lines next. Joe unfolds the next reading with a mellow tone effortlessly, and Jimmy makes a brief remark into the finale and crowd’s ovation.

Henderson’s Young Rabbits is off to the races from the intensely hot opening notes of the melody. Felder takes the first solo at breakneck speed with electrically charged excitement. Sample steps up next for a high-octane statement. Stix provides an energetic interpretation leading to the vigorous ending. Sample’s Freedom Sound was the title tune of their debut album (1961).  The trio begins this midtempo swinger with a march-like introduction developing into the quintet’s theme. Felder takes the lead with a cheerfully, light-hearted reading. Henderson swings comfortably into the next statement, and Joe wraps the album with a leisurely-paced performance powered by Herbie and Stix’s excellent groundwork.

This was The Jazz Crusaders’ twelfth LP for World Pacific Jazz and Pacific Jazz Records. *They were extremely popular and well known on the West Coast, but their first trip to The Newport Jazz Festival was significant because it introduced them to a whole new group of fans and brought them to the attention of the New York City jazz clubs.  I only wish it would have been released as a two-record set with each festival highlighted on one LP.  The Festival Album was produced by Richard Bock, and the sound quality of each session is quite good with an exquisite soundstage.  For those fans that only know of The Crusaders’ music from the seventies and eighties, The Festival Album shows the group in excellent form live and gives a snapshot of the Hard-Bop sound they created when Jazz was their middle name! ~ *AllMusic Review by Thom Jarek – Source: AllMusic.com

~ Freedom Sound (Pacific Jazz PJ-27/ST-27), Lookin’ Ahead (Pacific Jazz PJ-43/ST-43) – Source: Discogs.com © 2021 by Edward Thomas Carter

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