Requisites

Ahmad Jamal at The Top: Poinciana Revisited ~ Ahmad Jamal | By Eddie Carter

I first saw Ahmad Jamal live in 1995 at Spivey Hall on the campus of Clayton State University in Morrow, Georgia. I’d been a fan of his since the age of ten after hearing his 1958 album, Ahmad Jamal at The Pershing: But Not For Me.  That night, the trio characterized their creative energy and gracious lyricism into a mesmerizing performance bringing the capacity crowd to its feet.

This morning’s choice from the library is a 1968 live album, Ahmad Jamal at The Top: Poinciana Revisited (Impulse!–ABC Records AS-9176). It’s one of my favorite LP’s by the renowned pianist and his bandmates are Jamil Sulieman on bass and Frank Gant on drums. My copy used in this report is the 1969 Stereo reissue and the set opens with Have You Met Miss Jones? This song by Richard Rodgers and Lorenz Hart is from the 1937 musical comedy, I’d Rather Be Right.  The audience’s applause and a short solo introduction by Ahmad segue into a lively Latin-flavored theme. Jamal gives a vigorous interpretation that’s tremendously rewarding propelled by Jamil and Frank’s lively backing.

The jazz standard Poinciana by Nat Simon and Buddy Bernier was written in 1936 and is based on a Cuban folk tune, La canción del árbol (The Song of The Tree).  The Glenn Miller Army Air Force Band made the first recording in 1943 and it was featured in two films, Dreamboat (1952) and The Bridges of Madison County (1995), performed by Ahmad Jamal. The trio gives an inspired interpretation showcasing the pianist on a lengthy reading running the gamut of his extraordinary range.

Lament, Jamal’s lone contribution begins with a cascading solo introduction by Ahmad that blossoms into a marvelous melody.  As the song’s only soloist, the pianist ascends to a peak of pure pleasure, before descending gradually back for the rousing climax.  Call Me by Tony Hatch starts Side Two and was written for Pop vocalist Petula Clark who featured it as the title tune for her 1965 album.  The ensemble transforms the easy listening song into a torrid scorcher on the melody, and Jamal gives a passionately brisk solo of radiant intensity before the reprise and abrupt stop.

The pace slows down for a beautiful version of Theme From Valley of The Dolls, composed for the 1967 film by André Previn and his wife Dory. Ahmad and Jamil begin with a gentle dialogue that grows into a tender theme. The pianist infuses tender emotion, depth, and beauty into the song’s only solo with exceptional detail leading to a subtle coda. Frank’s Tune by Frank Strozier swings easily to a medium beat on the opening and closing chorus affording Ahmad, Jamil, and Frank each solo space. The 1961 Bossa Nova standard,

How Insensitive (known in Brazil as Insensatez) was written by Antônio Carlos Jobim, and Vinícius de Moraes who penned the Portuguese lyrics, and Norman Gimbel, the English lyrics.  The ensemble begins the melody rapidly setting the mood for Ahmad who opens with an exhilarating reading. Jamil takes the next reading aggressively, and Frank closes with a swift, zealous statement preceding the group’s out-chorus and crowd’s show of appreciation. The sound quality of the album by engineer Carlos Olms captures the spirit of the trio’s performance exceptionally well for maximum enjoyment in your listening room.

At ninety-years young, Ahmad Jamal shows no signs of slowing down.  His most recent release is a 2019 French album titled Ballades. If you’re a fan of piano jazz, or in the mood for a live album possessing an elegant and infectious groove, I submit for your consideration Ahmad Jamal at The Top: Poinciana Revisited. It’s a great introduction to his music for newcomers and an impressive showcase for seasoned fans that handsomely repays the effort to seek it out for your library!

~ Ahmad Jamal at The Pershing: But Not For Me (Argo LP-628); Ballades (Jazz Village–Jazzbook Records JV3357015758); Call Me (Pye Records NEP 24237); – Source: Discogs.com

~ Have You Met Miss Jones? – Source: JazzStandards.com

~Call Me, How Insensitive, Poinciana, Theme From The Valley of The Dolls – Source: Wikipedia.org

~© 2020 by Edward Thomas Carter

Synopsis

Ahmad Jamal at the Top: Poinciana Revisited is a live album by pianist Ahmad Jamal featuring performances recorded at The Village Gate in 1968 and released on the Impulse! label.

Track List | 42:04

1. Have You Met Miss Jones (Lorenz Hart, Richard Rodgers) – 3:47
2. Poinciana (Buddy Bernier, Nat Simon) – 9:19
3. Lament – 8:05
4. Call Me (Tony Hatch) – 4:51
5. (Theme from) Valley of the Dolls (André Previn, Dory Previn) – 4:23
6. Frank’s Tune (Frank Strozier) – 5:50
7. How Insensitive (Antônio Carlos Jobim, Vinícius de Moraes) – 5:52

Personnel

• Ahmad Jamal – piano
• Jamil Sulieman – bass
• Frank Gant – drums

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Requisites

Heads Up ~ David Newman | By Eddie Carter

Up next from the library is an album by the flutist, alto, and tenor saxophonist, David Newman. Heads Up (Atlantic 81725-1) finds him leading a first-rate quintet with Kirk Lightsey on piano; Steve Nelson on vibraphone; David Williams on bass and Eddie Gladden on drums. My copy used in this report is the original 1987 Stereo release.

Ain’t Misbehavin’ by Fats Waller, Harry Brooks and Andy Razaf starts Side One at a slow ballad tempo.  The song premiered at the Harlem club Connie’s Inn and was the opening tune for the 1929 all-black musical revue, Hot Chocolates.  The show was so successful it ran on Broadway for 219 performances, and Louis Armstrong performed the first instrumental version during the intermission. Kirk opens with a tender introduction that gently grows into David’s seductive melody. Newman also delivers a beautiful work of richness and sincerity on the lead solo.  Kirk and Steve split the next few verses, each man offering a romantic sensitivity before a pretty closing chorus.

Makin’ Whoopee is by Walter Donaldson and Gus Kahn, first appearing in the 1928 Broadway musical Whoopee, the song was sung by Eddie Cantor who reprised it two years later in the 1930 film. The quintet proceeds smoothly from the introduction to the opening chorus led by Newman who also casts a distinct voice with expressive beauty on the first reading. Nelson also gives an enticing presentation on the second solo. Williams is as sweet as honey on the third statement with an exquisite tone and Lightsey makes the final statement a delightfully nostalgic performance into the coda. Newman’s Heads Up comes at you next vivaciously with David taking off first with a rocking beat compelling one to snap their fingers and tap their toes. Steve conveys a festive celebration on the second reading, then Kirk dazzles with the vigorous zest of a sanctified church service. David sums everything up with a few short comments leading to the group’s finale.

Newman opens Side Two on flute for an upbeat rendition of Delilah by Victor Young. It’s a catchy 1954 tune with the quintet producing a vibrant melody.  David’s opening solo is delivered with abundant spirit and energy. Kirk steps up next with driving ambition, then Nelson takes the final bow with driving ambition and dexterity. Lover Man by Jimmy Davis, Roger Ramirez, and Jimmy Sherman slows the pace with the leader back on tenor sax. After the ensemble’s ravishingly beautiful theme, David demonstrates his rhythmic mastery with grace and elegance. Kirk etches a delicately thoughtful presentation next, then Steve follows with an amorously tender interpretation. Newman closes with a few sultry comments before the warm-hearted ending. For Buster, David’s second original closes the album with the leader on alto-sax expressing a down-home blues flavor. Newman and Nelson are the featured soloists and each man offers an interpretation eminently fitting for the blues into David’s earthy reprise and climax.

Heads Up was engineered by Tony May whose work has appeared on many Jazz, Latin, Pop, and Soul albums. His assistant Ira McLaughlin has worked on albums for Atlantic, CBS, and Profile Records. This album was digitally recorded and has a highly effective soundstage placing the musicians in the center of your listening room. David Newman who the jazz world would come to know as “Fathead” originally worked with Ray Charles and had a prolific career recording albums of Hard-Bop, Post-Bop, Soul-Jazz, Jazz-Funk, and Jazz-Fusion for another twenty-one years after Heads Up was released. He passed away at the age of seventy-five on January 20, 2009, from pancreatic cancer. If you’re seeking an album displaying his skills as a composer and multi-instrumentalist, consider this your Heads Up!

Heads Up is an album by saxophonist David Newman recorded at the Atlantic Recording Studios in New York City on September 16~18, 1986 and released in 1987 on the Atlantic Records label.

Track List | 37:55

1. Ain’t Misbehavin’ (Fats Waller, Andy Razaf) 7:40
2. Makin’ Whoopee (Walter Donaldson, Gus Kahn) 8:24
3. Heads Up (David Newman) 6:21
4. Delilah (Clifford Brown) 7:22
5. Lover Man (Jimmy Davis, Ram Ramirez, James Sherman) 9:52
6. For Buster” (Newman) :41

• David Newman – tenor saxophone, flute
• Steve Nelson – vibraphone
• Kirk Lightsey – piano
• David Williams – bass
• Eddie Gladden – drums

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Requisites

I was listening to this album a few nights ago and that’s what led me to this morning’s choice submitted for your approval by two jazz titans, trumpet and flugelhorn player Art Farmer and tenor saxophonist Benny Golson.  Another Git Together (Mercury Records MG-20737/SR-60737) by The Jazztet is a 1962 release and their sixth album as an ensemble. They were together from 1959 to 1962 before disbanding but would reunite in the nineties performing live at jazz festivals around the world. Here, the duo is augmented by Grachan Moncur III on trombone; Harold Mabern on piano; Herbie Lewis on bass and Roy McCurdy on drums. My copy used in this report is the 1985 Japanese Stereo reissue (Mercury EXPR-1002), one of The Original Jazz Classics Series from Nippon Phonogram and Polygram Records.

The album takes flight with a trip to the Space Station by Grachan Moncur III, an uptempo burner beginning with the group in complete agreement on a scintillating melody.  Art opens with a vigorously brisk first solo, then Benny blows with audacious confidence next. Grachan gives a statement of spirited exuberance on the third interpretation and Harold provides plenty of enthusiastic energy on a joyous finale.

The sextet changes gears for Domino, a 1950 French tune by Don Raye, Jacques Plante, and Louis Ferrari. It’s also been a hit in the US for numerous vocalists and an unforgettable title song by Roland Kirk on his 1962 album.  The trio settles into a relaxed setting for the melody with Farmer on flugelhorn, and Golson and Moncur trailing him softly. Art begins telling a subtle touching story on the opening chorus with a soft tone. Grachan hits his target next with a gorgeous performance. Benny meets the challenge on the third reading, his tenor sax flowing seamlessly. Harold makes his mark on the closing statement with a dazzling display of creativity preceding the ensemble’s climax.

The title track is a soulful blues by John Hendricks and Pony Poindexter that starts with a dialogue between the trio and ends slowly fading into oblivion.  The fun begins when Benny goes to work first at a danceable tempo, compelling the listener to snap their fingers, get up and dance. Harold gets into a tantalizing groove next, and Art is passionately driven on the third performance. Grachan expresses his emotions exquisitely with the utmost assurance on the fourth statement. Roy and Harold share an irresistibly appealing, smartly articulated performance on the closer.

Along Came Betty by Benny Golson first appeared on the 1958 album, Art Blakey and The Jazz Messengers while he was a member. The ensemble starts the melody slightly faster than the original recording. Mabern steps up first to create a relaxing atmosphere with a great swinging beat.  Golson breathes new life into his tune with a stylish interpretation providing a remarkable timbre and easy rhythm. Farmer executes a flawless statement on the finale before the sextet reconvenes for the coda.

This Nearly Was Mine by Oscar Hammerstein II and Richard Rodgers made its debut in their 1949 Broadway musical, South Pacific, and reappearing in the 1958 film as well. Farmer is back on flugelhorn leading the sextet on the melody of this pretty waltz at a lively pace. The solo order is Art, Benny, Grachan, and Harold with each man giving inspired improvisations.

Reggie, a cheerful original by Benny named for his second son closes the second side with a perfect vehicle for improvisation as the group collectively illustrates on the opening chorus. The tenor man opens the solos with a boldly assertive statement. Farmer comes in next for an enthusiastically agile reading that’s pitch-perfect. Moncur is as cool as the other side of the pillow on the third performance, and Mabern gets the final spotlight to deliver an imaginatively melodic, happy reading leading to the climax. Tommy Nola engineered the original recording of Another Git Together and has also made albums for Argo, ATCO, Atlantic, Contemporary, Riverside, and United Artists Records. The album was produced by Jack Tracy who also was the director of EmArcy and an editor at a little-known jazz magazine named Down Beat that’s still in publication in print and digital form today. The sound quality from Mr. Nola’s original tapes has been gorgeously remastered by Polygram with a spectacular soundstage throughout the highs, midrange, and low end, that’s quite revealing.  As noted, writer Leonard Feather mentions in his liner notes, “The Jazztet was one of the finest combos in 1959; it is one of the finest today. This is enough; invidious comparisons are not needed. By the same token, three years from now there will be no need to assume that the present LP has lost, any intrinsic value.  Any group in which Farmer and Golson are leaders, and for which they select the rest of the membership, can hardly go wrong”. I agree with every word in that statement and will only add, Another Git Together by The Art Farmer–Benny Golson Jazztet is an LP that’ll reward you with many hours of listening pleasure, especially if you’re a fan of small group jazz! ~ Art Blakey and The Jazz Messengers (Blue Note BLP 4003/BST 84003); Domino (Mercury Records MG 20748/SR 60748) ~ Tommy Nola, Jack Tracy – Source: Discogs.com ~ Album Quote – Source: Album Liner Notes by Leonard Feather ~ Domino – Source: Wikipedia.org ~ Space Station – https://www.youtube.com/watch?v=n3FrCKqP1Fs ~ Domino – https://www.youtube.com/watch?v=DN74iqjXLLs Track List | 34:28

1. Space Station (Grachan Moncur III) – 5:10
2. Domino (Don Raye, Jacques Plante, Louis Ferrari) – 6:58
3. Another Git Together (Jon Hendricks, Pony Poindexter) – 6:12
4. Along Came Betty (Benny Golson) – 5:24
5. This Nearly Was Mine (Richard Rodgers, Oscar Hammerstein II) – 6:20
6. Reggie (Golson) – 4:24

• Art Farmer – trumpet, flugelhorn
• Benny Golson – tenor saxophone
• Grachan Moncur III – trombone
• Harold Mabern – piano
• Herbie Lewis – bass
• Roy McCurdy – drums

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Requisites

Crazy! Baby ~ Jimmy Smith | By Eddie Carter

The Incredible Jimmy Smith steps into the spotlight for this morning’s discussion with his first release of the sixties and fifteenth of his career.  Crazy! Baby (Blue Note BLP 4030) is a 1960 trio album featuring the organist’s bandmates, Quentin Warren on guitar, and Donald Bailey on drums.  My copy used in this report is the 1966 Liberty Records Stereo reissue (BST 84030).

When Johnny Comes Marching Home, the album opener has been around since 1863 and the Civil War. I first heard the 45-rpm single of this song in 1962 and was blown away by the group’s musicianship. Quentin is up first after the ensemble’s introduction and marching theme for an opening statement that goes down smoothly and easily like chilled Chardonnay. Jimmy follows with one of his meatiest solos, nearly five-minutes of electrifying jazz preceding the out-chorus march and trio vanishing. Makin’ Whoopee by Gus Kahn and Walter Donaldson premiered in the 1928 Broadway musical, Whoopee! The trio eases into the wonderfully nostalgic theme and Smith executes a marvelous mellow interpretation with a stunning bass line using his left foot.

A Night In Tunisia by Dizzy Gillespie and Frank Paparelli was first sung as a vocal by Sarah Vaughan under the title Interlude on the 1950 album, Hot Jazz. This 1942 Bebop classic is one of Gillespie’s most recorded tunes and the trio establishes the opening chorus made famous by Dizzy.  Jimmy kicks off the lead solo with a riveting performance. Quentin closes with a funky statement matched by Donald’s rocking timekeeping propelling the trio into a thrilling coda.

Sonnymoon For Two is by tenor saxophonist Sonny Rollins and the composer introduced it on the 1957 album, A Night at The Village Vanguard. The group opens with a bluesy melody, then Warren dances and grooves on two short, but strong verses.  Jimmy comes in next for some extensive wailing on the finale before the reprise and fadeout.  Mack The Knife by Kurt Weill and Bertolt Brecht made its debut in the 1928 German play, The Threepenny Opera.  This jazz and pop evergreen is a showcase for Smith who does a superlative job illustrating the title character in a thoroughly satisfying performance.

Up next is the thoughtfully pensive ballad by Bob Haggart and Johnny Burke, What’s New?  Smith starts with a delicately wistful melody, segueing into a melancholic one-sided interpretation reflecting on the love that’s now just a memory before ending his conversation in grand fashion.  The album closes with Smith’s dedication to Blue Note co-founder Alfred Lion, Alfredo.  The trio flows vibrantly on the melody into Quentin soloing first with a leisurely, carefree swing that’ll get fingers snapping and toes tapping.  Jimmy raises the temperature on a vivaciously brisk closing presentation taking no prisoners into the ending.

Rudy Van Gelder’s recording has a pleasant soundstage across the treble, midrange and bass spectrum resulting in sweet sounds emerging from your speakers that make this LP an easy choice to recommend for your library.  If you’re a fan of jazz organ or are just discovering the music of Jimmy Smith, I submit for your consideration, Crazy! Baby.  It’s a tasty combination of Hard-Bop and Soul-Jazz that once heard, you’ll want to replay repeatedly!

~ A Night at The Village Vanguard (Blue Note BLP 1581/BST 81581); Hot Jazz (Remington RLP-1024) – Source: Discogs.com ~ A Night In Tunisia, Mack The Knife, Makin’ Whoopee, What’s New? – Source: JazzStandards.com ~ When Johnny Comes Marching Home – Source: Wikipedia.org ~ When Johnny Comes Marching Home https://www.youtube.com/watch?v=7YpKGKF7_XY ~ A Night In Tunisia – https://www.youtube.com/watch?v=S3c-564EE0o © 2020 by Edward Thomas Carter Synopsis

Crazy! Baby is an album by jazz organist Jimmy Smith with performances that were recorded on January 4, 1960 and released by Blue Note. This was the first album Smith recorded at Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey.

Tracks | 37:08

1. When Johnny Comes Marching Home (Traditional) – 7:58
2. Makin’ Whoopee (Walter Donaldson, Gus Kahn) – 4:57
3. A Night in Tunisia (Dizzy Gillespie) – 5:40
4. Sonnymoon for Two (Sonny Rollins) – 7:15
5. Mack the Knife (Bertolt Brecht, Kurt Weill) – 4:58
6. What’s New? (Bob Haggart, Johnny Burke) – 3:50
7. Alfredo (Jimmy Smith) – 4:30

• Jimmy Smith – organ
• Quentin Warren – guitar
• Donald Bailey – drums

• Alfred Lion – producer
• Rudy Van Gelder – engineer
• Reid Miles – design
• Bob Ganley – photography
• Leonard Feather – liner notes

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The Quarantined Jazz Voyager

From the library of The Quarantined Jazz Voyager comes a favorite album from Julian “Cannonball” Adderley. It’s his 1962 recording titled Cannonball’s Bossa Nova that was released the following year on the Riverside label. However, the album was reissued on Capitol Records several times with different covers and titles.

Cannonball selected eight tunes composed by Durval Ferreira and Maurício Einhorn; João Donato; Antonio Carlos Jobim; Sérgio Mendes; Vinicius de Moraes and João Gilberto for a total of 34:46. The songs are Clouds, Minha Saudade, Corcovado, Batida Differente, Joyce’s Samba, Groovy Samba, O Amor Em Paz (Once I Loved), and Sambop.

The performers that were enlisted for this date were: Cannonball Adderley – alto saxophone, Sérgio Mendes – piano, Durval Ferreira – guitar, Octavio Bailly, Jr. – bass, Dom Um Romão – drums, Pedro Paulo – trumpet (#2, 4-5, 7-8) and Paulo Moura – alto saxophone (#2, 4-5, 7-8).

Remain diligent my fellow voyagers in staying healthy, continue to practice social distancing, and don’t be so anxious to rush back to the new normal. It has been said that music soothes the savage beast, so listen to great music. I share that music to give you a little insight into the choices this voyager has made over the years of collecting during this sabbatical from jet setting investigations of jazz around the globe.

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