Requisites
Movin’ Along ~ Wes Montgomery | By Eddie Carter
Submitted for your approval this morning is an overlooked, underrated gem by one of my favorite jazz guitarists: Wes Montgomery. Movin’ Along (Riverside RLP 342/RLP 9342) was his third release as a leader and one of six albums he recorded in 1960. Two as a leader, plus one each with Cannonball Adderley, Nat Adderley, Harold Land and his brothers. All six albums received critical acclaim, underscoring how rapidly Wes Montgomery’s star was rising. The personnel on this release are James Clay on flute (tracks: A1, A2, A4, B1) and tenor sax (B2); Wes Montgomery on guitar (A1, A3, B2, B3) and bass guitar (A2, A4, B1); Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums. I own the 1977 Victor Musical Industries Japanese Mono reissue (Riverside SMJ-6199M).
Wes Montgomery’s Movin’ Along, which opens the album, is a perfect tune to listen to and unwind to after a long workday or week. The quintet’s soothing, soul-pleasing melody starts at a leisurely pace. James steps up first with a relaxing solo as enjoyable as spending time with old friends, then Wes follows with a velvety-smooth reading. Victor takes a mellow stroll last before the group’s theme reprise fades out softly. The temperature moves upward for the ensemble’s spirited theme to Tune-Up by Miles Davis. Wes switches to bass guitar and gets a nice little swing groove going in the opening statement. James cruises into the second interpretation with vigorous enthusiasm, and Victorhas the last word with a few energetic choruses ahead of the theme’s restatement.
Ghost of a Chance by Bing Crosby, Ned Washington, and Victor Young is a beautiful ballad from the thirties that later became a jazz standard. This rendition becomes a quartet showcase for Wes and the rhythm section. The foursome begins the melody delicately, then steps aside for the guitarist’s thoughtful and tender opening solo. Victor shares a reflective moment of lyrical beauty in a short statement leading to the gentle closing chorus. Sandu by Clifford shifts the mood to a medium groove for the opening ensemble, with Wes back on bass guitar. Wes takes the reins first, and the listener will snap their fingers and tap their toes along. Sam comes in next for a short walk before engaging in a brief exchange with Wes before the theme’s return.
Side Two starts with Body and Soul, by Edward Heyman, Robert Sour, Frank Eyton, and Johnny Green. Wes, on bass guitar, introduces a warm, gentle melody as soothing as a summer breeze. The rhythm then becomes lively for James’s spirited opening solo. Wes follows with a wonderful reading, and Victor wraps up with a bright and sparkling finale. Wes slows down softly to conclude the song beautifully. Wes Montgomery’s So Do It slows the ensemble’s beat down slightly to medium for their opening chorus, featuring James on tenor sax. Wes moves right into the first solo with a bouncy effervescence. James handles the second statement with a few inspired ideas. Victor shapes the third interpretation into something special. Wes, Louis, and Sam take turns in a short three-way conversation before the quintet takes the song out.
Sam Jones’s Says You ends the album with the group’s upbeat theme. Wes gets things started with a cheerful, engaging solo. Victor follows with an easygoing interpretation, and Sam takes a brief walk before the quartet returns for the climax. Orrin Keepnews produced the album, and Wally Heider managed the recording console. The Victor reissue sounds excellent, offering a spacious soundstage that emerges from your speakers with superb fidelity. Wes Montgomery possessed a special gift for drawing listeners into his music, giving them a glimpse into the creative world of a true master. is one of the best albums in his discography. With the added talents of James Clay and the Cannonball Adderley Quintet’s rhythm section, I highly recommend checking it out on your next record-shopping trip!
~ Body and Soul, Ghost of a Chance – Source: JazzStandards.com © 2026 by Edward Thomas Carter
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Requisites
Double Take ~ Freddie Hubbard and Woody Shaw | By Eddie Carter
Freddie Hubbard and Woody Shaw were two of my mom’s favorite trumpet players, and one of her favorite albums inspired this morning’s discussion. Double Take (Blue Note BT-85121) is the first of two collaborations by Hubbard and Shaw, the other being The Eternal Triangle, recorded two years later. The sextet features Freddie Hubbard on flugelhorn (track: A3, B2) and trumpet (tracks: A1, A2, A4, B1, B3), Woody Shaw on trumpet, Kenny Garrett on alto saxophone (tracks: A1 to A4, B1, B3) and flute (track: B2), Mulgrew Miller on piano, Cecil McBee on bass, and Carl Allen on drums. I own the 1985 U.S. stereo release.
The set opens with Clifford Brown’s Sandu, and the sextet’s mellow melody is led by the front line. Woody is smooth as velvet on the first solo, followed by Kenny’s warm, mellow notes in a short statement. Freddie is up next and swings comfortably to the rhythm section’s support. Mulgrew takes a final short solo before the group reconvenes for the theme’s return. The trio’s introduction opens the tune for the ensemble’s leisurely melody of Boperation by Fats Navarro and Howard McGhee. Freddie takes the lead this time and gets down to business. Kenny swings through the second solo with rich, melodic lines. Woody follows with renewed vitality in the third reading. Mulgrew and Cecil share the last spot with two concise comments ahead of the sextet’s climax.
Lament for Booker by Freddie Hubbard is his tender ballad dedicated to Booker Little. Mulgrew’s delicately gentle introduction gets things started, with Freddie’s flugelhorn leading the group’s melody. As the song’s only soloist, he gives an elegantly graceful performance as the rhythm section provides a lush foundation, leading to the haunting finale. Hub-Tones, one of Freddie Hubbard’s signature compositions, picks up the pace significantly for the sextet’s brisk theme. Woody launches into an exhilarating opening statement. Kenny meets the challenge with a lively second statement. Freddie is at his sharpest in the third lively interpretation, then Mulgrew continues motoring along in the fourth reading. Carl gets a chance to shine briefly before the sextet’s theme restatement fades out softly.
Side Two takes off with the ensemble’s swinging rendition of Desert Moonlight by Lee Morgan. Woody leads the brisk melody and makes an energetic opening statement. Kenny, who isn’t featured in the theme, gets cooking in the second solo. Freddie takes over to give a short, sparkling interpretation, followed by Mulgrew, who gets one quick chorus before the theme is restated. Just a Ballad for Woody is a very pretty ballad written by Woody Shaw and his wife, Theresa Trainello. Woody leads the group again on the tender theme, with Freddie in a supporting role on flugelhorn and Kenny switching to flute on this tune. Woody has the first spot and gives a hauntingly dreamy performance. Kenny concludes the solos with a beautifully tender statement before the theme’s restatement and soft ending.
The sextet turns the temperature up one final time with Kenny Dorham’s Lotus Blossom. This is a showcase for both trumpeters, with Kenny stepping aside for Woody to lead the melody. Freddie is firing on all cylinders for the first solo; then Woody follows with a scintillating statement that will awaken the listener’s senses. The two trumpeters have a vigorous conversation before Carl makes a concise comment, leading to the spirited reprise and climax. Michael Cuscuna produced Double Take, and Rudy Van Gelder was behind the dials of the recording console. It’s a digital recording, but the sound quality is superb, with a stunning soundstage emerging from your speakers as if the musicians are playing in front of the sweet spot in your listening room.
To me, Double Take is more than an exemplary album showcasing two of jazz’s renowned trumpeters; it embodies a heartfelt love letter to trumpet players everywhere. The musicianship is exceptional, and every track was thoughtfully composed by a trumpeter, adding to its special charm. If you’re a fan of either Freddie Hubbard or Woody Shaw, I cordially encourage you to check out Double Take on your next record-shopping trip. It’s a terrific collaboration and an excellent display of both musician’s artistry that should become a welcome addition to your library!
Album Note. Freddie Hubbard is heard in the center of “Lament for Booker,” and Woody Shaw is heard in the center of “Just a Ballad for Woody.” Hubbard plays lead and is heard on the right channel on “Sandu” and “Boperation.” Shaw plays lead on “Just a Ballad for Woody” and is heard on the right channel on the remaining selections.
~ The Eternal Triangle (Blue Note B1-48017) – Source: Discogs.com © 2026 by Edward Thomas Carter
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Doin’ Allright ~ Dexter Gordon | By Eddie Carter
This morning’s discussion came up after dinner a few nights ago, when I chose a few titles to play and considerreviewing for our jazz members. After listening, I’d settled on one of my favorite tenor saxophonists, Dexter Gordon. Doin’ Allright (Blue Note BLP 4077/BST 84077) was released in 1961 and is his Blue Note debut, celebrating his comeback from personal struggles and incarceration. The album showcases Gordon at his very best, backed by Freddie Hubbard on trumpet, Horace Parlan on piano, George Tucker on bass, and Al Harewood on drums. I own the 1992 Toshiba-EMI Japanese Stereo reissue in the Blue Note 4000 Series Ultra Collection, sharing the original catalog number.
The album opens with a classic by George and Ira Gershwin, I Was Doin’ All Right. The quintet gets things going with an easy medium groove on the melody. Dexter makes a relaxed entrance for the first solo, followed by Freddie, who swings smoothly and confidently in the second statement. Horace comes in last, complementing the horns with a laid-back reading before the group returns to reprise the theme and fade out gradually. You’ve Changed by Carl Fischer and Bill Carey slows down to a ballad tempo for an emotionally sensitive melody by Dexter. He continues communicating his heart and soul in the opening statement. Freddie speaks next in a warm, emotional tone, and Horace has a deeply expressive moment before the front line returns and slowly takes the song out.
Dexter’s For Members Only ends the first side with an infectious ensemble theme that gets things started. Dexter goes right to work with a relaxing opening statement. Freddie is next, swinging effortlessly with a bright tone and articulate, precise notes. Horace takes his turn last with a laid-back solo ahead of the ensemble’s restatement of the melody and close. Society Red, a funky blues by Dexter Gordon, gets the second side underway with the quintet’s easy-flowing melody. Freddie puts together the first appetizer of this soulful meal. Dexter then shares a rich, bluesy flavor, simmered to perfection, inviting the listener to savor every note. Horace adds a delightful touch of seasoning, and George adds the final ingredient, wrapping up a musical feast that feels like home ahead of the close.
It’s You or No One by Sammy Cahn and Jule Styne wraps up the album on a brisk note, beginning with Dexter’s introduction before the quintet’s lively theme. Dexter takes center stage first with an energetic solo. Freddie adds some bite with the second statement. Horace follows, delivering exuberant verses with an aggressive impact. George takes a short, robust walk in the fourth reading, and Al brings plenty of heat in the finale preceding the group’s return to take the song out. Alfred Lion produced the session, and Rudy Van Gelder managed the recording console. The album’s sound quality is demonstration-class, with a stunning soundstage that if you close your eyes, you’ll swear the musicians are playing right in front of your sweet spot. The front and back covers are glossy, and the record is absolutely quiet until the music starts.
If you’re in the mood for a terrific hard bop album to enjoy anytime of the day or evening, I highly recommend you check out Doin’ Allright on your next record store visit. It makes a great introduction for jazz newcomers discovering Dexter Gordon, and a title I’m sure will also please seasoned fans. It also proves that the tenor saxophonist was not only back, but definitely Doin’ Allright!
~ I Was Doin’ All Right, You’ve Changed – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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Requisites
Central Avenue Reunion ~ Art Farmer, Frank Morgan, Lou Levy, Eric Von Essen, Albert “Tootie” Heath | By Eddie Carter
It’s wonderful to be back with you all after some time away to recuperate from two surgeries earlier this month. This morning’s album from the library, Central Avenue Reunion (Contemporary Records C-14057) spotlights two of my favorite artists, Art Farmer and Frank Morgan. Recorded live in 1989 over two memorable nights at Kimball’s East, it reunites Art Farmer on both flugelhorn (tracks: A2, A3, A4, B1) and trumpet (A1, B3), and Frank Morgan on alto saxophone (A1, A2, A4, B1 to B3). An outstanding rhythm section joins them: Lou Levy on piano, Eric Von Essen on bass, and Albert “Tootie” Heath on drums. I own the 1990 U.S. stereo release.
The set opens with Star Eyes by Gene De Paul and Don Raye. Art sets the solos in motion on muted trumpet, leading the group through the relaxing melody. Frank takes flight first with a spirited solo that’s crisp and precise. Art takes the second statement with smooth efficiency. Lou takes a cheerfully appealing turn, and Eric follows with a short walk towards the restatement of the theme. Farmer’s Market by Art Farmer takes off at a fast gallop for the quintet’s opening ensemble. Frank gets right down to business first, then Art sustains the momentum with passionate fire next. Lou follows with a vigorous statement, then all the soloists share a brisk exchange before the closing ensemble comes to a dead stop.
Art and the trio pay homage to George and Ira Gershwin with Embraceable You, opening with a gorgeous melody. Art begins with the first of two exceptionally gentle interpretations, showing off his sentimental side. Lou follows with a short solo filled with warmth and sensitivity. Art returns with a thoughtfully graceful reading, leading back to the soothing theme. Blue Minor by Sonny Clark brings the ensemble back for a medium-tempo melody. Frank sets the pace with a wailing opening statement. Art takes the wheel next and continues with a jubilant reading. Lou has the last word and neatly wraps up the solos before the theme returns.
I Remember You by Victor Schertzinger and Johnny Mercer begins with Lou’s lovely introduction, which segues into the quintet’s lively melody. Art is in top form first, with a good-hearted swing. Frank works out a few intriguing ideas next, then Lou’s piano flows like cool water in a relaxing river stream. Art and Frank share a brief conversation into the closing chorus. Don’t Blame Me by Jimmy McHugh and Dorothy Fields is a beautiful ballad from the thirties that begins elegantly, with Frank and the rhythm section’s melody moving like a couple’s Sunday evening stroll. He continues approaching the song’s only solo from the heart, anchored by the trio’s subtle support, into a gorgeous reprise and ending.
Sonny Clark’s Cool Struttin’ brings the set to a close with the ensemble’s collective midtempo theme, setting a good tone. Lou comes in first and skillfully navigates the rhythm section. Art takes the next spot on muted trumpet with carefree enthusiasm. Frank sparkles next with steady sureness, and Eric delivers a delightful finale before the group’s theme restatement earns the audience’s approval. Helen Keane produced Central Avenue Reunion. Danny Kopelson managed the recording console, and George Horn mastered the album. The sound quality is exceptional, placing the listener in the audience as the musicians perform.
If you’re searching for an exhilarating hard-bop live session to listen to after a long day, evening, or week, I invite you to join Art Farmer, Frank Morgan, Lou Levy, Eric Von Essen, and Albert “Tootie” Heath for a Central Avenue Reunion the next time you’re out record shopping. It’s a lively, spirited performance of standards and originals, with thoughtful arrangements and inspired solos that offers many hours of listening enjoyment and shouldn't be missed for a spot in your library!
~Donna Lee, Don’t Blame Me, Embraceable You, I Remember You, Star Eyes – Source: JazzStandards.com © 2026 by Edward Thomas Carter
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Requisites
Another Monday Night at Birdland ~ Hank Mobley, Billy Root, Curtis Fuller, Lee Morgan | By Eddie Carter
This morning’s choice from the library brings us back to The Jazz Corner of The World for another live set by Lee Morgan on trumpet, Curtis Fuller (tracks: A2, B1, B2) on trombone, Hank Mobley, Billy Root on tenor sax. Another Monday Night at Birdland (Roulette R 52022/SR 52022) is the companion album to Monday Night at Birdland. Rounding out the septet is Ray Bryant on piano, Tommy Bryant on bass, and “Specs” Wright on drums. “Symphony Syd” Torin is the Master of Ceremonies, and my copy used in this report is the 1988 Spanish Mono reissue (Fresh Sound Records FSR-632).
Side One starts with an exhilarating rendition of It’s You Or No One, written in 1948 by Jule Styne and Sammy Cahn. Lee leads the ensemble on the melody before Hank opens the solos energetically. Lee lays down some spirited energy on the second statement, then Billy states his case with a vigorous finale leading to the climax and Syd’s introduction of the next tune. Jamph was written by Curtis Fuller, and I first heard it on the album, Big Six (1958). The septet begins the theme at mid~tempo collectively, then Mobley soars into the lead solo with some energetic blowing. Fuller greets the next statement enthusiastically, followed by Morgan who wails mightily on a vigorous reading. Root keeps the beat on the fourth interpretation with a scene-stealing performance. Bryant takes care of business on the closer with an aggressive solo into the out chorus.
Side Two starts with Syd’s announcement of the next tune, Nutville by Lee Morgan with inspired playing by the septet on the infectious melody. Hank launches into a swinging improvisation that’s a delight. Lee exhibits his skills on a joyful excursion next. Billy comes after him with a stellar statement that made me sit up and take notice. Curtis wraps up the solos with a delightful interpretation that brings so much pleasure ahead of the ensemble’s exit and group introductions. Wee by Denzil Best is an uptempo cooker that flies out of the gate with a high-voltage melody in unison. Mobley steps into the spotlight first with a heated solo. Morgan uses a mute for the second statement and attacks with the speed of a whirlwind. Root displays some lightning-fast chops on the third presentation, and Bryant covers plenty of ground motoring in rapid-fire fashion on the next reading. Wright gets a concise comment during the theme’s reprise into the septet’s lively finale.
Another Monday Night at Birdland was produced by Rudy Taylor and like the first album, the soundstage is excellent for a live recording. This is a four-star blowing session that I’m sure any fan of Hank Mobley, Billy Root, Lee Morgan, and Curtis Fuller would dig. If you’re a fan of Hard-Bop, this album is a terrific addition to any jazz library and one of the best in the Birdland Series!
~ Big Six (Riverside Records RLP12-273), Monday Night at Birdland (Roulette R-52015/SR-52015) – Source: Discogs.com © 2021 by Edward Thomas Carter
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