Requisites

The Hawk Flies High is an album by jazz tenor saxophonist Coleman Hawkins. Apart from Barry Galbraith and Jo Jones on guitar and drums, the line-up of his accompanying sextet had a bebop background. The year is 1957, the dates, March 12th, and 15th, and Reeves Sound Studios at 304 East 44th Street is the destination.

Track Listing | 39:02

  1. Chant (Hank Jones) – 5:08
  2. Juicy Fruit (Idrees Sulieman) – 11:16
  3. Think Deep (William O. Smith) -3:24
  4. Laura (David Raksin, Johnny Mercer) -4:34
  5. Blue Lights (Gigi Gryce) -5:44
  6. Sancticity (Hawkins) -9:10
Personnel
  • Coleman Hawkins – tenor saxophone
  • Hank Jones – piano
  • Oscar Pettiford – bass
  • Jo Jones – drums
  • Barry Galbraith – guitar
  • J.J. Johnson – trombone
  • Idrees Sulieman – trumpet

Coleman Hawkins ~ The Hawk Flies High | by Eddie Carter

Tenor saxophonist Coleman Hawkins steps into the spotlight with his only album as a leader for Riverside Records, The Hawk Flies High (Riverside Contemporary Series 12-233).  Originally recorded and released in 1957, this album and the other five he would record for Prestige; Soul (PRLP 7149) and Blues Groove with Tiny Grimes (PRLP 7138/PRST 7753) in 1958; Very Saxy with Eddie “Lockjaw” Davis, Buddy Tate, Arnett Cobb (PRLP 7167); Hawk Eyes (PRLP 7156) and Coleman Hawkins with The Red Garland Trio (Prestige Swingville SVLP 2001) in 1959 became essential parts of his impressive discography. Also, reviving his career as one of the perennial jazz musicians in the world until his death from liver disease on May 19, 1969. My copy used in this report is the 2007 Mobile Fidelity Sound Lab Limited Edition, Half-Speed Mastered Mono Audiophile Reissue (MFSL 1-290).  Producer Orrin Keepnews gave Bean (as he was also known) the freedom to choose the personnel he wanted, and he picked a dream lineup to share the date; Idrees Sulieman on trumpet; J.J. Johnson on trombone; Hank Jones on piano; Barry Galbraith on guitar; Oscar Pettiford on bass and Jo Jones on drums.

Side One opens with Hank Jones’ Chant; a midtempo original tailor-made for tuneful blowing by the septet on the melody and five sprightly solos by Hawk, Julie, J.J., Hank, and Oscar.  Bean takes charge first, telling a great story with a captivating opening chorus. Sulieman’s trumpet is deliciously appetizing on the next reading, then Johnson fills the third solo with an ecstatic swing. Jones’ ideas flow with finesse on the next performance, and Pettiford swings with light agility on the closing statement before the coda.   Idrees Sulieman’s Juicy Fruit is a blues that gradually rises from a march-like introduction to the mid-tempo melody. The trumpeter sustains a single note for nearly a minute (fifty-seconds to be exact) before settling into some bluesy smooth sailing on the lead solo.  Coleman endows the next reading with long, flowing mellow lines that are enjoyable. J.J. conjures up some especially inventive playing that develops subtly over the easy, relaxing beat. Hank solos next cultivating an irresistible warmth over the gently rocking groundwork of the rhythm section. Oscar comes in behind him maintaining a relaxed attitude with poise and self-assurance before the ensemble takes the song out.

Think Deep by jazz clarinetist William Smith begins leisurely with Hawk leading the septet on the hauntingly beautiful melody and closing chorus.  As the song’s only soloist, the venerable tenor man turns in a very satisfying intimate performance reminiscent of the spontaneously perfect solo he performed on Body and Soul for Bluebird Records (10523) in 1939.  Side Two starts with Laura by David Raskin who composed it for the 1944 film of the same name. This classic jazz standard is featured throughout the film noir drama and has been recorded over four-hundred times. Lyricist Johnny Mercer created the words for Laura in 1945 after the film became a huge hit, later admitting he never saw the film before writing them. Raskin also founded a little-known label called Capitol Records and has written over fifteen-hundred lyrics.  Sulieman lays out of this version, therefore showcasing Coleman and J.J. who clearly make two convincing cases for interpreting a ballad. The graceful mood is established by the rhythm section for the song’s introduction. Bean states the theme with passionate tenderness, then impresses on an expressively gentle first solo.  J.J. adds notes of dreamlike beauty that’s beautifully captured on the closing chorus leading to a subtle climax by Hawk.

Blue Lights by multi-instrumentalist Gigi Gryce made its debut on the 1957 album When Farmer Met Gryce (Prestige PRLP 7085) while he was a member of The Art Farmer Quintet. The septet presents the song at a medium tempo like the original, giving Barry his first solo opportunity for a brief bit that’s inspired.  Idrees is particularly intriguing on the third solo; Hank is also in top form on a short statement that’s rhythmically assured. J.J. mixes a bit of grace and fire on the following reading; Oscar and Jo Jones split the next interpretation with a few crisply executed exchanges. Coleman delivers the finale with a smoldering fire emerging from his horn that burns slowly into the closing theme. The album ends with the leader’s joyful original, Sancticity. The rhythm section lays down a swinging line to introduce this jaunty tune, preceding the ensemble’s frolic on the melody.  Johnson opens with a carefree, light-hearted opening statement that’s perfectly in step like a street march through the French Quarter in New Orleans.  Hawk leads the septet into the bridge between his and the trombonist’s solo statement, then settles in for a deliciously spry and merry reading of his own. Sulieman is firing on all cylinders with a frisky performance that’s a sure attention-grabber. Jones gives the final solo a happy send-off with a bright, breezy interpretation bringing this entertaining forty-minutes of jazz to a close.

I defy anyone to listen to this record with its deliciously smooth sound and punchy rhythms, and not find themselves moving to the music. The six songs that make up The Hawk Flies High offers a refreshing spirit of Cool Jazz, Hard-Bop, and Swing. Bean and his associates bring their talents to the mix with solid performances, superb solos, and vivid ensemble work for an album that you’ll want to add to your library! The original recording by Jack Higgins of Reeves Sound Studios is marvelously remastered by Mobile Fidelity Sound Lab with absolute sonic purity for a riveting soundstage that places you in the studio among the musicians as they work. If you’re a fan of good sax, I recommend for your consideration, The Hawk Flies High by Coleman Hawkins. An LP by one of jazz’s prominent musicians who not only made the tenor sax a jazz instrument but made art with it throughout a distinguished career spanning forty-five years!

~ Laura – Source: JazzStandards.com ~ © 2020 by Edward Thomas Carter

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Monday Night at Birdland is a live album that was recorded on April 21, 1958 at Birdland in New York City and released by the Roulette label.

Track Listing | 46:00

  1. Introduction by Symphony Sid – 0:09
  2. Walkin’ (Richard Carpenter) – 12:26
  3. All the Things You Are (Jerome Kern, Oscar Hammerstein II) – 11:27
  4. Bag’s Groove (Milt Jackson) – 12:29
  5. There Will Never Be Another You (Harry Warren, Mack Gordon) – 9:29
The Players
  • Hank Mobley, Billy Root – tenor saxophone
  • Lee Morgan – trumpet
  • Curtis Fuller – trombone
  • Ray Bryant – piano
  • Tommy Bryant – bass
  • Specs Wright – drums

Monday Night at Birdland | by Eddie Carter

This morning’s subject of discussion takes us to the legendary jazz club Birdland where Monday nights were always special, especially during the fifties and sixties.  Musicians and vocalists who were performing would be off that night and the stage would be given to up and coming jazz artists. Thankfully, Roulette Records was available to record the performance on April 21st to give jazz fans, Monday Night at Birdland (Roulette R–52015/SR–52015) to enjoy for all who couldn’t be there in person.  The Master of Ceremonies for these weekly jam sessions is the legendary jazz disc jockey, “Symphony Syd” Torin of WBNX in the Bronx, New York; WHOM in Jersey City, New Jersey, and WWRL, WMCA and WJZ in New York City.  Syd announces all the tunes on the album and has a brief comment after three of them conclude. The stars of this set are Lee Morgan on trumpet; Curtis Fuller on trombone; Hank Mobley, Billy Root on tenor sax; Ray Bryant on piano; Tommy Bryant on bass and “Specs” Wright on drums.  My copy used in this report is the 1988 Spanish Mono reissue (FSR-631) by Fresh Sound Records.

Symphony Syd starts the first side with the song’s introduction; the septet then launches Walkin’ by Richard Carpenter.  The trio opens the song evolving into the ensemble’s collective melody. Hank takes the spotlight first wailing enthusiastically followed by Lee who picks up the pace with a bright tone and feisty phrasing.  Curtis takes the reins next with a considerable zest for a rousing performance, Ray solos with evident delight in the next reading. “Specs” takes the final scintillating statement in exchange with the front line for a robust finish into the closing chorus and climax.  The septet eases the throttle back for the 1939 standard, All The Things You Are by Jerome Kern and Oscar Hammerstein II. Fuller cooks at an easy groove on the opening melody, then infuses the lead solo with a lively simplicity and splendor. Mobley makes his presence felt on a brisk interpretation next, then Morgan illustrates his assured mastery on the trumpet with an engaging performance.  Root takes his first solo next, giving an exquisite statement that fits the ensemble’s artistic temperament with a superb reading. Bryant ends with a short solo that’s profoundly moving before the collective reprise and coda.

Side Two opens with Milt Jackson’s contemporary classic, Bags’ Groove; it was written in 1952 and made its debut on Wizard of The Vibes (Blue Note LP 5011), released that year.  After a collective theme treatment, Lee is up first, combining lyricism and emotion for a charming lead solo. Curtis soars joyously on the next statement, then comes Hank who takes the next reading with a solid rock-steady rhythm from beginning to end.  Billy steps up next for a captivating performance unleashing red-hot notes from his horn and Ray glows brilliantly on the final spot ahead of the out-chorus and ovation. The set ends with an invigorating finale, There Will Never Be Another You by Harry Warren and Mack Gordon, originally written in 1942 and appearing in the musical film, Iceland.  The propulsive power of Wright’s drums brings the song to life leading to the speedy melody. Mobley accelerates to race car speed on the opening statement and never decelerates. Root’s tenor sax is an adrenaline rush on the next scintillating solo, followed by Morgan who also gives a spectacular exhibition. Fuller pulls no punches with a buoyant, effervescent interpretation next and Bryant shows he’s a fierce and fervid performer on the closer before the closing chorus and appreciative applause from the crowd.

Monday Night at Birdland was produced by Rudy Traylor, who’s also an arranger, jazz drummer, pianist, and vibraphonist.  The sound quality of the album is quite good throughout, and Hank Mobley, Billy Root, Lee Morgan, Curtis Fuller, Ray Bryant, Tommy Bryant, and “Specs” Wright offer the listener the very essence of live jazz.  In fact, there’s only one noticeable defect, on Symphony Syd’s introduction of Walkin’, his microphone has a little harshness. I don’t know if this appears on the original album or is exclusive to this LP. I’ll admit, I’m not that familiar with Fresh Sound Records, and don’t know if they’re in that group of European labels like DOL, Doxy, Jazz Wax, Jazz Workshop, Wax Time, etc.  However, I’m pretty impressed with what I’ve heard on this particular reissue and the performances are worth the price of admission for me to invite you to seek a copy of Monday Night at Birdland to check out for yourselves and form your own opinion!

~ All The Things You Are, There Will Never Be Another You – Source: JazzStandards.com ~ Bags’ Groove – Source: Wikipedia.org ~ © 2020 by Edward Thomas Carter

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You Get More Bounce with Curtis Counce! is a studio album by bassist Curtis Counce recorded on October 8 & 15, 1956, April 27, May 13 and September 3, 1957, at Contemporary Studios in Los Angeles, California and subsequently released on the Contemporary Records label. The music falls somewhere between hard bop and cool jazz and Counce contributed two original compositions to the recording, Complete and Counceltation. The producer for the sessions was Lester Koenig.

Track Listing | 44:39 All compositions by Curtis Counce except as indicated

  1. Complete ~ 5:51
  2. How Deep Is the Ocean? (Irving Berlin) ~ 6:35
  3. Too Close for Comfort (Jerry Bock, Larry Holofcener, George David Weiss) ~ 5:36
  4. Mean to Me (Fred E. Ahlert, Roy Turk) ~ 4:31
  5. Stranger in Paradise (Alexander Borodin, George Forrest, Robert Wright) ~ 7:03
  6. Counceltation ~ 6:01
  7. Big Foot (Charlie Parker) ~ 9:02
The Players
  • Curtis Counce ~ bass
  • Jack Sheldon ~ trumpet
  • Harold Land ~ tenor saxophone
  • Carl Perkins ~ piano
  • Frank Butler ~ drums

You Get More Bounce With Curtis Counce | by Eddie Carter

Simply stated, this is a superb album by bassist Curtis Counce and his quintet. Counce’s group was one of the better and more resilient bands on the West Coast during the late fifties. As a cohesive unit, the quintet’s interaction throughout the album delivers handsomely on the seven selections that make up this enjoyable set. The album opener is Counce’s Complete which begins with an impressive discussion between the rhythm section ahead of the melody. How Deep Is The Ocean? Is the ageless 1932 standard by Irving Berlin is a perfect vehicle for an affectionate performance by Land who adapts the song as easily as if it was originally created for jazz with a breathtakingly beautiful tenor sax reading of the melody and lead solo, anchored by Sheldon’s imaginative lyricism in support. Too Close For Comfort, the 1956 popular song by Jerry Bock, Larry Holofcener and George Weiss began life on Broadway in the musical production of Mr. Wonderful that year and has been recorded by an A-list of musicians and vocalists too numerous to mention. The 1929 popular song, Mean To Me by Fred Ahlert and Roy Turk has long been praised by critics as a “head of the class” standard for jazz musicians and vocalists to improvise.

Side Two opens with a bop-flavored midtempo rendition of Stranger In Paradise, the popular song from the 1953 musical, Kismet, written by Alexander Borodin, George Forrest, and Robert Wright. Counceltation, the second original by Counce and the title of the 1972 reissue of this album, due in part to the “original cheesecake cover” which enough people found offensive enough for Contemporary Records to replace it with a photo of the artist and his bass in an outdoor setting. The quintet returns to hard-bop on the album’s closer, Big Foot by Charlie Parker which gives everyone a chance to speak their piece on a lively joyride.

If you already own this album you know what to do. If you’re adding it to your collection, place the record on the turntable, drop the stylus, or slide the cd in the drive, crack open your favorite beverage, sit back and settle in to enjoy seven of the best sounding jazz cuts by The Curtis Counce Group that are spontaneous, soulful swinging at its best!

Source: Jazztracks by Eddie Carter | Excerpt: 1/2019 | atlantaaudioclub.org

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Another Git Together is a studio album by the Jazztet, led by trumpeter and flugelhorn player Art Farmer and tenor saxophonist Benny Golson. It features performances recorded in 1962 and originally released on the Mercury label. It was the band’s last recording for 20 years. Kay Norton was the producer and Tommy Nola was the recording engineer for the studio session recorded on May 28 (tracks: B2, B3) and June 21, (tracks: A1-A3, B1) 1962 at Nola’s Penthouse Sound Studios, New York City.

Tracks | 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
Personnel
  • Art Farmer – trumpet, flugelhorn
  • Benny Golson – tenor saxophone
  • Grachan Moncur III – trombone
  • Harold Mabern – piano
  • Herbie Lewis – bass
  • Roy McCurdy – drums
Review by Eddie Carter

Led by two titans of jazz, Another Git Together is their second album for Mercury Records and sixth as a group. The album takes flight with a trip to the Space Station by Grachan Moncur III, an uptempo burner with a scintillating melody by the sextet. The pace slows to mid~tempo for Domino, a French composition which was written in 1950 by Don Raye, Jacques Plante, and Louis Ferrari. The title track, Another Git Together is a soulful midtempo blues by Jon Hendricks and Pony Poindexter which comes to life and ends with a dialogue between the trio which slowly fades into oblivion to end the first side. Along Came Betty opens the second side and is one of Benny Golson’s timeless jazz standards. The Jazztet delivers the melody at a leisurely easy pace (that’s slightly faster than the original recording), stepping aside for the lead solo by Mabern who rolls with relaxing verses that are well matched to the gorgeous groundwork of Lewis and McCurdy. This Nearly Was Mine was written in 1949 by Oscar Hammerstein II and Richard Rodgers, making its debut in their Broadway musical, South Pacific which premiered that year and later reappears in the 1958 film version as well. Farmer is back on flugelhorn and leads the ensemble through the melody of this pretty waltz at a livelier pace than normally heard. The last track is Reggie, a cheerful original by Benny that’s named for his second son and a perfect vehicle for improvisation as the sextet illustrates in unison on the opening chorus.

Source: Jazztracks by Eddie Carter | Excerpt: 1/2019 | atlantaaudioclub.org

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Lighthouse ’68 is a live album by The Jazz Crusaders recorded on November 10-13, 1967 at the Lighthouse in Hermosa Beach, California and released the following year on the Pacific Jazz label. Lighthouse ’68 documents the group performing live at one of the premier West Coast clubs, The Lighthouse Café, opened in 1949.

The producer on the date was Richard Bock. The cover design was created by Gabor Halmos, the engineer was Dino Lappas, the liner notes were written by Howard Rumsey, and the liner photography was taken by Fred Seligo.

The Tracks | 44:33
  1. Ooga-Boo-Ga-Loo (Stix Hooper) – 6:39
  2. Eleanor Rigby (John Lennon, Paul McCartney) – 7:32
  3. Native Dancer (Buster Williams) – 8:52
  4. Never Had It So Good (Joe Sample) – 7:15
  5. The Emperor (Buster Williams) – 8:50
  6. Impressions (John Coltrane) – 6:12
The Players
  • Wayne Henderson – trombone
  • Wilton Felder – tenor saxophone
  • Joe Sample – piano
  • Buster Williams – bass
  • Stix Hooper – drums

Review by Eddie Carter

Four friends from Houston, Texas who began performing locally in 1956 were Wayne Henderson, Wilton Felder, Joe Sample, and Stix Hooper. They were originally known as The Swingsters, then The Nite Hawks, but after moving to Los Angeles, California in 1961, they changed their name and became one of the best West Coast ensembles of the sixties, The Jazz Crusaders.

The set opens with Oogo-Boo-Ga-Loo, an infectiously danceable audience grabber by Stix Hooper which begins with a lovely introduction by the trio, then blossoms into a sanctified styled theme treatment. John Lennon and Paul McCartney’s Eleanor Rigby allows their midtempo rendition to explore the melody collectively. The tempo moves up for Native Dancer, the first of two contributions by Buster Williams which gets off to a roaring start with an aggressive opening statement and nimble melodic presentation.

Sample’s Never Had It So Good starts the second side with an easy spirited beat that leads us back to church with a bit of boogaloo in the imaginative display of harmony during the group’s opening melody. The Emperor, is Williams’ second offering to the session that takes us back to straightforward bop with the solos in the same order as the previous tune.

The album ends with John Coltrane’s Impressions, takes an invigorating introduction by the trio and theme statement led by the horns followed with a jet-propelled interpretation infused with searing fire for an energetic workout and effervescent ending.

Source: Jazztracks by Eddie Carter | Excerpt: 12/2018 | atlantaaudioclub.org

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