Requisites

Xocia’s Dance (Sue-sha’s Dance) ~ Harold Land | By Eddie Carter  

Harold Land takes the stage for this morning’s discussion with an excellent hard bop album, Xocia’s Dance (Sue-sha’s Dance) (Muse Records MR 5272). He was one of the best West Coast tenor saxophonists during the fifties and sixties. His resume includes playing with the Clifford Brown/Max Roach Quintet, The Curtis Counce Group, The Gerald Wilson Orchestra, and The Timeless All-Stars. Xocia’s Dance reunites Harold with Bobby Hutcherson, who co-led a quintet with him thirteen years earlier. He is joined on this date by Oscar Brashear on flugelhorn (track: B2) and trumpet (A1 to A3), Bobby Hutcherson (A2, A3, B2) on vibes, George Cables on piano, John Heard on bass, Billy Higgins on drums, and Ray Armando (B1) on percussion. My copy is the original 1982 U.S. Stereo release.

Side One opens with Dark Mood, an original by Harold Land that is introduced by the trio ahead of the quintet’s lively theme. Harold gets things started, and then Oscar follows with a clearly inspired performance. George approaches the third reading with driving enthusiasm; then, all three soloists share a moment before the closing chorus and vibrant ending. Daisy Forever is a pretty tune by Oscar Brashear that Bobby gets started ahead of the group’s lovely melody. Brashear leads the way with a solo of seductive warmth; then, Land shows great care in the following reading. Hutcherson enters for the first time and delivers a beautiful interpretation. Cables provides the final gentle verses leading to the group’s closing chorus and slow dissolve.

Xocia’s Dance (Sue-sha’s Dance) comes from the pen of Harold Land, Jr., and the pace moves upward to a lively beat. The trio’s introduction heads toward the ensemble’s medium theme. Harold Sr. has the first solo and gets into a remarkable groove. Oscar answers him with a tasty reading as sweet as honey, and then George provides an exclamation point into the theme’s restatement and close. Side Two opens with Ah, I See, a beautiful tune by Charles Tolliver that starts with Harold’s and Bobby’s tranquil yet haunting theme. Land picks up the pace for a sweetly melodic opening statement, then gives way to Hutcherson’s delightful interpretation. Cables comes in softly and with feeling next before Harold returns for a restrained ending.

The album ends with a romantic postscript by Harold Land. To Lydia, With Love is a touching tribute to his wife and the mood is delicately expressed in the introduction and theme. Harold begins the opening solo lovingly, succeeded by Bobby’s equally thoughtful reading. Oscar’s flugelhorn delights with a beautiful statement. George conveys the feeling of everlasting love in a short anecdote ahead of the ensemble’s closing chorus and fadeout. Esmond Edwards produced Xocia’s Dance, and Jim Mooney was the recording engineer. The album’s sound quality is good, except for a bit of harshness during the piano solo on Ah, I See. The music, however, is terrific and quite capable of brightening anyone’s mood after a long day or week.

In addition to Xocia’s Dance, Harold Land recorded fourteen albums as a leader and appeared in some of the best jazz albums as a sideman. He co-led groups with Billy Higgins, Blue Mitchell, and Red Mitchell. Land later became a professor at the University of California and joined the UCLA Jazz Studies. He passed away on July 27, 2001, from a stroke at age seventy-two but is still remembered as a brilliant improviser and one of the best to play the tenor sax. If you’re a fan of West Coast jazz, I invite you to check out Xocia’s Dance (Sue-sha’s Dance) by Harold Land on your next record shopping trip. It’s a hidden gem in his discography and a personally satisfying album that I can happily recommend for a spot in your library!

~ Harold Land – Source: Wikipedia.org © 2024 by Edward Thomas Carter

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Little Johnny C ~ Johnny Coles | By Eddie Carter

It happened like this: after listening to Bass on Top, my memories of my mom led me to another of her favorite jazz albums. Little Johnny C (Blue Note BLP 4144/BST 84144) by Johnny Coles is the trumpeter’s second release as a leader and his only Blue Note session. It was recorded in 1963 and released the following year. Johnny’s joined on this hard bop date by Leo Wright on alto sax (tracks: A1 to A3, B2, B3) and flute (B1), Joe Henderson on tenor sax, Duke Pearson on piano, Bob Cranshaw on bass, Walter Perkins (A1 to A3), and Pete La Roca (B1 to B3) on drums. My copy is the 1990 Toshiba EMI Japanese Stereo reissue sharing the original catalog number.

Little Johnny C is the first of five tunes by Duke Pearson. It kicks off Side One at a fast tempo with Duke’s brisk introduction to the front line’s lively theme. Leo comes out cooking first; then Johnny steps swiftly into the second statement. Joe wails in the following solo; then Duke shows his impressive skills into the group’s climax. Hobo Joe by Joe Henderson is a Latin-flavored blues that opens with the trio’s introduction, ahead of the sextet’s easy going melody. Coles begins this pleasant trip; then, Pearson picks up the next part of the journey. Wright continues the leisurely caravan, and Henderson concludes the trek in a fine finale ahead of the theme’s return and the trio’s fadeout.

Jano picks up the beat to end the first side with the ensemble’s medium melody. Leo sets the scene in the opening solo. Johnny takes over for a lengthy reading; then Joe builds the third statement exquisitely. Duke provides the closing remarks before the group returns to take the song out. My Secret Passion is a pretty ballad taken at a medium bounce, with Johnny leading the sextet in the melody and Pete La Roca taking over on drums. Coles opens the solos with a warm tone. Henderson displays delicacy and sensitivity in the following reading. Wright comes in next on the flute and gives a heartwarming statement. Pearson’s soulful interpretation brings us back to the reprise and ending.

Heavy Legs delivers an upbeat invitation to relax and enjoy the sextet’s ride through the opening chorus. Johnny is concise and to the point in the first reading. Joe follows with an equally enjoyable solo; then Leo steps in next for a rousing interpretation. Duke brings the solos to a happy conclusion ahead of the sextet’s theme restatement, slowly dissolving into nothingness. So Sweet My Little Girl is Pearson’s tribute to his then seven-year-old daughter, Cynthia. Johnny starts the melody softly with the saxes in the background. It sets the scene for the pianist’s tender performance as the song’s only soloist, leading to the front line’s return for a gentle climax.

Alfred Lion produced Little Johnny C and Rudy Van Gelder was the man behind the dials of the recording. The album sounds amazing, with a stellar soundstage that’s so good you’ll think you’re in the studio with the musicians as they are playing. Toshiba EMI did an excellent job with this reissue and the record is also very quiet until the music starts. Johnny only recorded five albums as a leader but has an extensive discography as a sideman. If you’re a hard bop fan and unfamiliar with Johnny Coles, I invite you to look out for Little Johnny C on your next record shop visit. It’s simply a great jazz album that I’m sure would make a perfect addition to any library and become a favorite on your turntable!

© 2024 by Edward Thomas Carter



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Epistrophy: The Last Concert ~ Charlie Rouse | By Eddie Carter

Charlie Rouse was one of jazz’s great musicians, but he is best known as the tenor saxophonist in The Thelonious Monk Quartet for eleven years. He enters this morning’s spotlight with Epistrophy–The Last Concert (Landmark Records LLP-1521). The album honors the pianist and was recorded live at The Thelonious Monk Birthday Tribute during the Jazz in The City Festival. His bandmates for this exceptional performance are Don Cherry (tracks: B1, B2) on trumpet, Buddy Montgomery (B1, B2) on vibes, George Cables (A2, A3, B1, B2), and Jessica Williams (A4) on piano, Jeff Chambers on bass, and Ralph Penland on drums. Orrin Keepnews is the host. My copy is the 1989 U.S. Stereo release.

Orrin opens with a few words about Charlie Rouse before introducing him; then, the two men share Some Words About Monk that are just as entertaining as the music that follows. Nutty is taken at a medium tempo, and Charlie swings easily on the theme and the first solo. George picks up the groove and gets into something interesting; then Ralph shares the finale with Rouse and Cables preceding the ending. Ruby, My Dear is named after Monk’s first love, Rubie Richardson and is one of his most beautiful tunes. Charlie and the trio tenderly begin the melody. Rouse continues delivering the opening solo with sultry notes from his tenor sax. George compliments him with elegant execution in a short statement. Charlie adds a few final gentle touches before the closing chorus and the delight of the crowd.

Blue Monk was Monk’s personal favorite of all his compositions. Jessica takes over on piano and opens with a quirky introduction to the foursome’s bluesy melody. Charlie takes the lead solo with a relaxing informality that flows naturally. Jessica takes a comfortable ride in the second reading, and Jeff has an enjoyable moment in the closer, preceding the theme’s restatement and close. ‘Round Midnight by Thelonious Monk, Cootie Williams and Bernie Hanighen is Monk’s best-known and most recorded creation. George starts with a lengthy introduction, segueing into the trio’s gorgeous melody and the pianist’s opening solo. Buddy comes in next for a touching interpretation, and then Don expresses his thoughts in a haunting, muted performance. Charlie provides the pretty exclamation point ahead of the climax.

Epistrophy by Thelonious Monk and Kenny Clarke was the pianist’s closing number at each live set. George sets everything in motion for the ensemble’s lively melody. Don opens with a few twists and turns; then Charlie wails with ease next. Buddy answers with a spirited performance. George adds to the excitement, and Don, Charlie, and Buddy swap notes with Ralph ahead of the reprise and close, which receives abundant applause from the audience. Orrin Keepnews produced the album, and Ron Davis was the recording engineer. David Luke was the digital engineer, and the mastering was by George Horn. The album’s sound quality is stunning with an excellent soundstage that takes the listener to the club to enjoy the musicians as they are performing.

Epistrophy-The Last Concert is dedicated to Charlie Rouse’s memory and is the last album he recorded before his death from lung cancer seven weeks later on November 30, 1988. He was only sixty-four but leaves behind a legacy of thirteen albums as a leader. He also co-founded and recorded six albums with the group Sphere (Thelonious’ middle name). He also made quite a few titles as a sideman, including twenty-four with Thelonious Monk during his lifetime. Palo Alto was recorded in 1968 but not released until 2020. If you’re a fan of Monk’s music or Post Bop, I offer for your consideration, Epistrophy–The Last Concert by Charlie Rouse the next time you visit your favorite record shop. It’s one of the most enjoyable albums I’ve heard and is a title I’m sure you won’t regret adding to your library!

~ Palo Alto (Impulse B0032181-01) – Source: Discogs.com ~ Blue Monk, ‘Round Midnight – Source:JazzStandards.com ~ Epistrophy, Ruby, My Dear – Source: Wikipedia.org © 2024 by Edward Thomas Carter

***In Like Bud which is included in the YouTube version of the album, is only available on compact disc and not on the original wax recording.

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Free Wheeling ~ The Ted Brown Sextet Featuring Warne Marsh and Art Pepper | By Eddie Carter

I first heard a track from Free Wheeling (Vanguard VRS-8515) by The Ted Brown Sextet a few years ago on Sirius XM’s Real Jazz. I’ve loved the tenor sax since I was a child, so I was ecstatic to discover a new musician and finally get a copy. It was Ted’s first release as a leader, and the music within it is an excellent representation of West Coast jazz. During his career, he recorded with Lee Konitz, Hod O’ Brien, and Lennie Tristano, and on this date, he’s joined by Art Pepper on alto sax, Warne Marsh on tenor sax, Ronnie Ball on piano, Ben Tucker on bass, and Jeff Morton on drums. My copy is the 1975 King Record Company Japanese Mono reissue (Vanguard GXC 3121M).

Side one starts with the front line’s brisk introduction to Aretha by Ronnie Ball. Ronnie infuses the first solo with energy and agility. Art and Warne follow in successive order, hitting an ideal groove. Jeff is up next with a brief but lively finale ahead of the sextet’s theme’s restatement and climax. The ensemble moves the needle upward for Long Gone by Warne Marsh. The front line sets the mood in the opening chorus; then, Ted makes his entrance first for an exciting solo. Warne steps up next and takes the reins. Ronnie follows with a swift reading; then Art gets right to work and cooks. Jeff signals the end with a brief comment into the closing chorus and ending.

Once We Were Young by Walter Gross is a lovely song that Ted begins with a dreamy melody that Warne picks up in the background. Ronnie comes in for a short, sensitive interlude until both horns return for a beautiful theme restatement and tender climax. Foolin’ Myself is the creation of Andy Razaf and Thomas “Fats” Waller. The rhythm section starts with a mid-tempo introduction, segueing into the catchy melody. Ronnie takes the lead and gives an enchanting interpretation. Ted begins the second statement, then is joined by Art and Warne in succession for a hauntingly sincere reading that concludes softly.

The sextet takes us to Avalon by Al Jolson, Buddy DeSylva and Vincent Rose. The song’s title comes from a California city, and the front line kicks off the lively melody together. Ted goes first and makes a vigorous opening statement. Jeff succeeds him and delivers the goods in a spirited conversation with the leader before the group reconvenes to take the song out. On a Slow Boat To China by Frank Loesser starts Side Two with the sextet slowing the beat slightly for the opening chorus. Ted is thoroughly at ease in the first interpretation, and then Ronnie takes a few lovely choruses. Ted and Ronnie have a short exchange preceding the song’s conclusion.

Crazy She Calls Me by Carl Sigman and Bob Russell begins with the ensemble’s moving, deeply satisfying theme. Warne is the first soloist, and from his horn, notes of velvety softness flow. Ronnie expresses the song’s sentimentality next. Ted handles the following reading with a good deal of warmth, and then Warne returns to help bring the song to a gorgeous climax. Broadway by Wilbur H. Bird, Teddy McRae and Henri Woode opens with the front line’s collective melody. Warne, Art, and Ted are the first three in the solo spotlight, followed by an ensemble chorus together. Ronnie takes a splendid reading next, then Ben has a short summation as Jeff keeps perfect time toward the finale.

Arrival by Ronnie Ball is our final stop in this cool jazz session, and it’s off to the races from the start of the melody. Art leads the way with a swift opening statement. Warne delivers the second solo fleetingly; then, both horns make quick work of the finale in an exchange with Jeff before taking the song out. Alfred Marx supervised the original session, and the Vanguard Recording Society, Inc. recorded it. The sound quality of this reissue is exceptionally good and for a vintage fifties recording, exceeded my expectations. The music is also excellent, as is the pressing, and the vinyl is noticeably quiet.

There is one error on my copy, which doesn’t appear on the original album. The composers for Crazy She Calls Me are incorrectly listed on the Side Two label as the team of Cahn and Mayer but actually are Carl Sigman and Bob Russell. The album cover is also one of the strangest I’ve ever seen, but don’t let that dissuade you from checking out Free Wheeling by The Ted Brown Sextet on your next record hunt. If you’re a fan of cool jazz or West Coast Jazz, it’s a great-blowing session with Warne Marsh and Art Pepper and a wonderful introduction to a musician deserving of wider recognition. To borrow a quote from the great Vin Scully in game one of the 1988 World Series, “Not a bad opening act!”

~ Avalon – Source: JazzStandards.com ~ Broadway, Crazy She Calls Me, On a Slow Boat To China – Source: Wikipedia.org © 2024 by Edward Thomas Carter

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Bass on Top ~ Paul Chambers Quartet | By Eddie Carter

I was in the mood to hear something soothing before going to bed a few nights ago. The record I chose to play inspired my first March discussion by one of the great jazz bassists, Paul Chambers. Bass on Top (Blue Note BLP 1569/BST 81569) by The Paul Chambers Quartet is a 1957 release and his second record for the label. It was one of my mom’s favorite albums to listen to when she was cooking dinner. She always loved his big and warm sound, and his playing always knocked me out whenever I heard him. He is joined on this date by a marvelous rhythm section: Kenny Burrell on guitar, Hank Jones on piano, and Art Taylor on drums. My copy is the 2021 Blue Note Tone Poet Series Stereo Audiophile reissue, sharing the original catalog number.

Side One gets underway with Paul and Kenny’s two-instrument introduction to Yesterdays by Walter Gross and Jack Lawrence. Hank and Art come in to pick up the pace to deliver the alluring melody. The standard’s only solo is a thoughtful, reflective showcase by Paul, complemented by Hank, Kenny, and Art’s delicate accompaniment leading to the gentle ending. You’d Be So Nice To Come Home To by Cole Porter brings the beat up a few notches for the bassist’s introduction, segueing into his stating the melody supported by his colleagues. Chambers starts it off with an easy swinging interpretation, then gives way to Burrell’s unhurried statement. Jones brings on the pleasant finale before the leader’s return for the reprise and conclusion.

Chasin’ The Bird by Charlie Parker affords everyone a solo opportunity and begins with Kenny’s introduction to the group’s medium melody. Paul takes the lead with a lightly swinging solo, then Hank follows with a splendid statement. Kenny comes in next for a thoroughly satisfying reading, and Art cooks comfortably in the closer, preceding the theme’s return. Dear Old Stockholm is a Swedish folk song and jazz standard that receives a medium groove by the quartet. Kenny makes the introduction, and the ensemble joins in for the opening chorus. Chambers is up first and gives a soothing interpretation. Burrell follows with a sensitive and delicate performance; then, Jones wraps up the readings with a delightfully pleasant statement until the quartet regroups for the close.

The Theme ended many of Miles Davis’ live sets. The group opens with Kenny and Paul’s introduction to their lively melody. Paul swings right out of the gate in the opening solo. Kenny follows, maintaining the infectious beat in a vibrant statement. Hank comes in and builds the next reading exquisitely; then, Art shares the finale with Paul ahead of the climax. Confessin’, aka I’m Confessin’ That I Love You by Doc Daugherty, Ellis Reynolds and Al Neiburg begins with Paul’s introduction ahead of the foursome’s lovely opening chorus. Chambers handles the first of two interpretations flawlessly with excellent taste. Jones follows with a short solo as pleasant as a Sunday evening stroll. Chambers returns to give a brief statement that brings the set to a fitting climax.

Alfred Lion produced the original session, and Rudy Van Gelder was the man behind the dials of the recording. Joe Harley supervised this reissue’s release, and Kevin Gray mastered it. The sound quality is superb, with a breathtaking soundstage. A lot of thought and care went into the remastering of this audiophile reissue. The record is pressed on 180 grams of audiophile vinyl and is incredibly quiet until the music starts. The covers could be displayed at home on any wall, and the inside gatefold photos are wonderful. Every once in a while, something magical happens in a recording session where all the musicians come together in such a way that perfection is the result. Bass on Top by Paul Chambers is one of those albums.

Paul Chambers and his bandmates compel you to listen as they’re playing and, as the album unfolds, they provide the perfect backdrop to help you unwind after a long day, night, or week. If you’re new to jazz or only know of his work as a sideman with The Miles Davis Quintet and others. In that case, I happily recommend and invite you to check out Bass on Top by The Paul Chambers Quartet the next time you’re out record shopping. It’s a stellar album of soulful, swinging jazz at its best and a title you won’t have to listen to twice to know you love it!

~ I’m Confessin’ That I Love You, Yesterdays, You’d Be So Nice To Come Home To – Source: JazzStandards.com
~ Chasin’ The Bird, Dear Old Stockholm – Source: Wikipedia.org
© 2024 by Edward Thomas Carter



 

 

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