Requisites

Live! ~ Brother Jack McDuff | By Eddie Carter

Three cherished family members inspired this morning’s discussion. My mom, Merlyn Carter, introduced my sister and me to Brother Jack McDuff during our Sunday dinners when we were younger; my uncles, Benjamin and Emmanuel Curry, often featured this album at their weekend jazz gatherings. Offered now for your consideration is his 1963 release and first concert performance, Live! (Prestige PRLP 7274/PRST 7274). (Prestige PRLP 7274/PRST 7274). This album captures the organist igniting a lively crowd at The Front Room in Newark, New Jersey, joined by his stellar quartet: Red Holloway on flute (track B1) and tenor sax (tracks A1 to A3, B2, B3), George Benson on guitar, and Joe Dukes on drums. My copy of the album is the 1964 U.S. stereo reissue.

The announcer’s introduction gets the set off to a roaring start with Rock Candy by Jack McDuff. The quartet’s infectiously spirited theme segues into Red’s vigorous opening statement. A swinging interlude is succeeded by George’s lively solo ahead of the foursome’s second interlude. Brother Jack states his case in fine form before the theme’s closing chorus, and Jack speaks to the crowd. The tempo eases as the foursome takes on George and Ira Gershwin’s It Ain’t Necessarily So. Benson and Dukes’ soulful warmth paves the way for McDuff’s down-home melody that whets the appetite for more. George pays his respects in the opening solo, then Red compliments him with a bluesy, slow-cooked groove, preceding McDuff’s theme reprise fading softly into Jack’s introduction of the next tune.

The group ushers us into Jack McDuff’s Sanctified Samba, launching the soulful gathering with an irresistible, bossa-nova tinged beat that calls the congregation to worship. George begins with a lively, melodic progression that builds to a satisfying climax. Jack delivers a stream of inventive ideas with characteristic ease next. Red wraps up the readings, blending bluesy flair with smooth, expressive lines before the group unites for a rousing conclusion. Side Two starts with Whistle While You Work, by Frank Churchill and Larry Morey from Disney’s “Snow White and the Seven Dwarfs.” Red opens the whimsical melody on flute, then steps aside for McDuff to take two happy solos with Benson’s cheery statement sandwiched in between them, leading back to the ending theme.

Jack shares the story behind his blues, A Real Good’un, and then the organist’s introduction segues into the quartet’s home cooking during the melody. Benson comes to the table first, serving up a platter of appetizing notes. After the first of several short interludes, Holloway brings the musical equivalent of red beans and rice to the table. McDuff adds a generous helping of fried chicken and mac and cheese before the group wraps up the song on a tasty note. The set concludes with Undecided, by Sid Robin and Charlie Shavers. The ensemble’s brisk introduction and catchy melody open the door for McDuff to deliver a swinging solo. Holloway maintains the momentum in a peppy interpretation. Benson plays with energetic finesse, then Dukes has the last word preceding the spirited closing chorus.

>Produced by Lew Futterman and Peter Paul, this live session captivates listeners from the very first note. Though the identity of the recording engineer remains a mystery, the album’s sound places listeners right in The Front Room, giving them the sense of being part of the lively crowd. The energy of the performances is infectious, and it’s nearly impossible not to snap your fingers, tap your feet or get up and dance along. Throughout his career, Jack McDuff masterfully fused hard bop, R&B, and soul jazz, drawing out the best from his fellow musicians at every turn. If you’re a jazz organ fan seeking an album that’s vibrant and uplifting, Live! by Brother Jack McDuff is a top recommendation for your library. It’s the perfect soundtrack to relax after a busy day or week, and is guaranteed to brighten your mood!

~ It Ain’t Necessarily So, Whistle While You Work – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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Images ~ Ralph Moore | By Eddie Carter

Ralph Moore enters this morning’s spotlight with Images (Landmark Records LLP-1520). He was born in Brixton in South London, England, and took up the trumpet and various instruments at the age of fourteen before deciding on the tenor saxophone. In the early 1970s, he relocated to Santa Maria, California, and later to Boston, Massachusetts, where he began performing locally while studying at Berklee College of Music. Unfortunately, his studies were interrupted by a home invasion that left him seriously injured and unable to complete his degree. Joining him on this date are Terence Blanchard on trumpet (tracks: A1, A3, B1, B3), Benny Green on piano, Peter Washington on bass, Kenny Washington on drums, and Victor See-Yuen on congas (A3). My copy of the album is the 1988 U.S. stereo release.

Side One commences with an energetic trip on the Freeway by Ralph Moore. From the rhythm section’s introduction, the quintet swings with an invigorating theme. Ralph has the first solo spot and swiftly navigates the trio’s interplay to a satisfying conclusion. Terence follows with an energetic interpretation, then Benny dives into a jubilant performance, culminating in the exuberant closing chorus and climax. The mood shifts to a slower tempo for a beautiful quartet rendition of Enigma by J.J. Johnson. Moore exudes grace and politeness in the opening melody, then proceeds with a richly detailed and tender presentation. Green’s short solo is filled with melodious sweetness, like the taste of a well-aged vintage wine before the close.

The trio’s infectious Latin-influenced introduction begins with Episode From a Village Dance by Donald Brown. The quintet’s danceable theme gets things off to a good start. Ralph leads the way with a happy groove. Terence steps up to give a jaunty reading, then Benny adds to the festive mood in the closing interpretation, ahead of the ensemble’s theme reprise and climax. The quintet takes the beat upward to begin the second side with This I Dig of You by Hank Mobley. The rhythm section’s introduction sets up the ensemble’s rhythmic attack in the melody. Blanchard opens the door with a spirited solo, then Moore brings the heat in the second reading. Green soars ahead next, and the front line mixes it up with Washington preceding the quintet’s closing chorus and exit.

Ralph Moore’s Blues For John is his upbeat tribute to John Coltrane. A spirited two-instrument dialogue between Moore and Washington segues into the quartet’s brisk melody. Benny rolls out the opening statement effortlessly, then the leader soars through the following interpretation with terrific momentum. Peter takes his first solo of the date and delivers an inspired reading, leading to a short theme restatement and abrupt stop. The quintet returns to begin Punjab by Joe Henderson with a bluesy introduction and melody. Peter goes for a leisurely stroll in the opening statement. Ralph follows with a delightful interpretation, then Terence steps for a well-crafted solo that’s marvelously executed. Benny has the last word, then hands it over to the ensemble, who close the song as they began.

Elmo Hope’s One Second, Please, raises the intensity one final time for the trio’s introduction, leading to the quartet’s rapid melody. Ralph launches into the opening statement with electrifying energy. Benny succeeds him with a series of exhilarating ideas that flow seamlessly. Ralph and Kenny add a vigorous footnote before the ensemble wraps up the song. Orrin Keepnews produced Images, with Rudy Van Gelder as the recording engineer. George Horn mastered this release, utilizing a Mitsubishi X-80 digital tape recorder, which enabled direct recording and mastering from two-track digital tape. The album’s sound quality is splendid, with a crystal-clear soundstage that not only allows each instrument to shine but also makes it feel as though the musicians are playing right in front of you.

Ralph Moore is a tenor saxophonist whose music, deeply influenced by John Coltrane, is both personal and easily recognizable. His professional journey began with a 1979 tour of Scandinavia. After moving to New York City a year later, he collaborated with numerous musicians, including as a member of Kevin Eubanks’ band on “The Tonight Show.” “Images” is Moore’s fourth album as a leader, and despite his relatively small discography as both a leader and sideman, each album reveals his energetic and vibrant style. For fans of the tenor saxophone, I invite you to consider “Images” by Ralph Moore for a spot in your library on your next record hunt. It’s a terrific album that showcases Moore’s growing mastery and passion for hard bop, and it should not be missed!

© 2025 by Edward Thomas Carter

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Requisites

Three Quartets ~ Chick Corea | By Eddie Carter

Chick Corea embarks on a captivating exploration of jazz through the lens of Baroque, Classical, Impressionist, and Romantic traditions in Three Quartets (Warner Bros. BSK 3552). He began learning the piano at the age of four and later took up the drums by the age of eight. Corea also became proficient with other keyboards and the vibraphone. His professional career began when he performed with Mongo Santamaria in 1962. Over the years, he contributed to several landmark jazz albums and collaborated with numerous artists. He also formed several groundbreaking groups, including Circle, the Chick Corea Akoustic and Elektric Bands, Five Peace Band, Origin, The New Trio, and Return to Forever. These ensembles cemented his reputation as one of jazz’s most innovative, revered, and versatile musicians.

The pianist is joined by an ensemble of highly skilled musicians: Michael Brecker on tenor sax, Eddie Gómez on double bass, and Steve Gadd on drums. Corea not only composed but also arranged all the songs, and my copy of the album is the 1981 U.S. Stereo release. Side One gets underway with the trio’s effervescent introduction to Quartet No. 1, setting the stage for an adventurous melody powered by the foursome’s rock-inspired rhythm. Michael’s entrance amplifies the energy aggressively in the opening statement. Eddie has the spotlight next and takes an invigorating stroll, then Chick’s closing interpretation comes vibrantly alive, leaving the listener’s ears sizzling, ahead of the song’s closing moments.

Quartet No. 3 takes matters a step further in terms of character and expression. The ensemble’s introduction is slow and deliberate, gradually building momentum as the melody unfolds. Brecker opens with a bold statement that explores the edges of avant-garde jazz and post-bop. Gómez comes in for a brief interlude, then Corea delivers one of his most inventive solos. Gómez shines once more in an excellent reading before Brecker guides the quartet into the out-chorus. Quartet No. 2 (Part 1) is a ballad that’s dedicated to Duke Ellington, beginning with a lengthy piano introduction, which develops into Michael’s tender theme. Eddie starts things off with a graceful solo, then Chick makes a polite point next. Michael wraps things up with a sweet-toned delivery in the lead-up to the tranquil climax.

The closer, Quartet No. 2 (Part II), dedicated to John Coltrane, welcomes us to Gadd’s crisp introduction, which segues into the group’s upbeat theme. Corea launches into the opening statement with swift and electrifying lines. Gómez steps in next with a nimble reading. Brecker follows with a fiery performance, before Gadd steps in for a brief workout. Corea returns for a short solo, leading to a thrilling finish. Chick also wore the producer’s hat on this date, and Bernie Kirsh was behind the recording dials, as well as handling the mixing. The album possesses a superb soundstage, with no harshness in the highs, midrange, or low end, allowing the quartet to come through your speakers with a clarity that will make you feel like they are in your listening room.

Expressing what “Three Quartets” means to me is no easy task. I first encountered the album at the Record Theatre in Norwood while living in Cincinnati, Ohio. It played a crucial role in helping me navigate through a profoundly difficult period in my life. Each time I revisit it, I discover something new and extraordinary in its depths. Chick Corea received an impressive seventy-two Grammy Award nominations, and he won the award twenty-seven times. He was also honored as a Down Beat Hall of Famer and a NEA Jazz Master. On his seventy-fifth birthday, he performed alongside more than twenty groups at the Blue Note Jazz Club in Greenwich Village. Corea passed away at seventy-nine in Tampa, Florida, on February 9, 2021, due to a rare form of cancer.

If you’re a long-time fan of Chick Corea or just starting to explore the incredible body of work in his catalog, “Three Quartets” should be considered the next time you’re visiting your favorite record shop. It’s a rewarding and thought-provoking listening experience, showcasing the pianist’s exceptional artistry and the collective brilliance of his Ensemble!

© 2025 by Edward Thomas Carter

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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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