Requisites

Star Highs ~ Warne Marsh | By Eddie Carter

Warne Marsh enters the spotlight with Star Highs (Criss Cross Jazz 1002), an outstanding 1982 quartet album, his second release on the Dutch label. It was recorded two days after the tenor saxophonist’s performance at the NOS Jazz Festival in Amsterdam. Marsh, a talented musician who studied under pianist Lennie Tristano and later joined his group, is a notable figure in the Cool Jazz school. His collaborations with Lee Konitz and the jazz group Supersax have further solidified his reputation. He is accompanied here by the exceptional rhythm section of Hank Jones on piano, George Mraz on bass, and Mel Lewis on drums. My copy is the original Netherlands Stereo album.

The first side opens with Switchboard Joe, the first of four originals from the pen of Warne Marsh. The saxophonist guides George and Mel through a brief introduction to the quartet’s brisk theme. Marsh sets the tone with his opening statement, followed by a solo from Hank that answers him. Marsh then leads a brief conversation with George before the theme’s reprise. The ensemble then shifts to the title tune, Star Highs, starting with a relaxed groove for the melody. Marsh goes first with a beautifully constructed statement, followed by a concise comment from Jones leading to the closing chorus.

Hank Jones introduces his composition Hank’s Tune, a leisurely paced blues that gets into a happy mood from the quartet’s melody. Warne delivers the opening solo with a simplicity and melodic charm. Hank follows with a thoroughly delightful reading, and then George walks with a sense of fulfillment next. Warne gets the last word before the close. Charlie Parker’s Moose The Mooche gets underway with the quartet’s lively melody. Marsh takes off first with a robust opening statement, followed by Jones’s spirited solo. Mraz takes a short walk with authority. Lewis has the final say in a brief workout ahead of the climax.

Side Two opens to a brisk clip for the ensemble’s quick melody of Victory Ball by Lennie Tristano. Warne soars into the opening solo, with the rhythm section’s driving accompaniment. In the following interpretation, Hank is inspired to greater heights; then, Warne and Hank chase each other through the third reading. Lewis has a moment to shine before the theme returns. Marsh’s Sometimes starts with the trio’s tender introduction and a seductive lead solo by Jones. The saxophonist illustrates elegance and sensitivity in the second statement. Mraz rounds out the readings briefly, moving toward the gentle repeat of the theme.

One For The Band begins with a carefree theme. Warne takes the spotlight first, offering an endearing reading. Hank responds with a dreamy, satisfying statement before the quartet wraps things up. Gerry Teekens produced Star Highs, and Max Bolleman was the recording engineer. The album’s sound quality is superb, with a vibrant soundstage that emerges from your speakers as clearly as Waterford Crystal. Whether you’re a cool jazz fan or enjoy the tenor saxophone, Star Highs by Warne Marsh is a gem you should not miss on your next record-shopping trip. It’s a great introduction to a jazz giant that should appeal to any jazz lover and become a welcome addition to any library!

~ Moose The Mooche – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Jazz Poems

THE SYNCOPATED CAKEWALK

In it, I see Miss Hand and her Five Daughters

rubbing myback and the backs of my legs

Nat King Cole provides the music and the words

It’s 1949, Finished with them, I take off

on a river boat, down the Mississippi, looking for work.

On deck the got the Original Dixieland Jazz Band

doing “Big Butter and Egg Man.”

A guru haas the cabin next to mine and everybody

who visits him whimpers something terrible!

Stood on deck after dinner watching the clouds

form faces and arms. The Shadow went

by giggling to himself.

An Illinois Central ticket fell from his pocket.

Snake Hips picked it up, ran.

Texas Shuffle, who sat in with the Band last night,

this morning, dropped his fiddlecases

in the ocean and did the Lindy all the way

to the dinning room

I got off at Freak Lips Harbor.

Boy from Springfield said he’d talk like Satch for me

for a dime. I gave him a Bird,

and an introductory note to the Duke of Ellington.

Found my way to the Ida B. Wells Youth Center.

Girl named Ella said I’d have to wait to see Mister B.

Everybody else was out to lunch.

In the waiting room got into a conversation

with a horse thief from Jump Back. Told him:

My past life is a Saturday morning cartoon.

In it, I’m jumping Rock Island freight cars, skipping

Peoria with Leadbelly; running from the man,

trying to prove my innocence. Accused of being

too complex to handle.

Meanwhile, Zoot, Sassy, Getz, Prez, Cootie, everybody

gives me a hand.

Finally, Mister B comes in. Asks about my future.

All I can say is, I can do the Cow Cow Boogie

on the ocean and hold my own in a chase chorus

Fine, says Mister B, you start seven in the morning!

CLARENCE MAJOR

from Jazz Poems ~ Selected and Edited by Kevin Young

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Requisites

Rifftide ~ Al Cohn | By Eddie Carter

Submitted for your approval this morning is an excellent album by Al Cohn. Rifftide (Timeless Records SJP 259) was recorded during the tenor saxophonist’s 1986 European tour. He’s joined on this date by three Danish musicians: Rein De Graaff on piano, Koos Serierse on bass, and Eric Ineke on drums. My copy is the 1987 Netherlands Stereo release. Side One opens with a popular song by Kurt Weill and Ogden Nash, Speak Low. The trio takes off with a lively introduction leading to the quartet’s theme. Al gets everybody in the mood with a spirited opening statement. Rein swings into action next with an energetic reading. Eric has a vigorous conversation with the saxophonist ahead of the theme’s restatement and fadeout.

Blue Monk by Thelonious Monk is a slow blues that was the pianist’s favorite and one of his most recorded songs, a testament to its enduring appeal. The foursome begins the melody gently, leading to Cohn’s gorgeous interpretation. De Graaff is equally graceful on the following solo, and then Serierse shows his tender side in a pretty presentation preceding the reprise and finale. The tempo for the quartet’s quick melody moves upward to begin the 1945 jazz standard, Hot House by Tadd Dameron. Al takes the lead and crafts an exciting solo. Rein meets the challenge with a fiery passion in the following interpretation. Al reappears for the closing chorus and leads the group to the finish line.

The Thing by Al Cooper starts the second side with the foursome’s medium melody. Cohn cruises comfortably into the opening interpretation. De Graaff follows with a silky smooth statement, and then Serierse provides the exclamation point until the closing chorus. We’ll Be Together Again by Carl T. Fischer, and Frankie Laine is a beautiful ballad from the forties, and the group begins with a gentle melody. The saxophonist opens his first of two solos with an intimate story. Rein caresses each note of the following solo with tranquil tenderness. Al returns for his second reading, complemented by the rhythm section’s hauntingly beautiful support before the song’s summation.

The album ends with the title tune Rifftide by Coleman Hawkins. It’s a pretty tune that the quartet opens at a slow tempo for the melody. Cohn’s opening solo is particularly stirring; De Graaff has the next spot and draws the listener into the second statement. Serierse has a short reflective moment closer, leading to the theme restatement and climax. Al’s career, which lasted nearly five decades, was marked by numerous achievements. He recorded thirty-five albums as a leader, including fourteen years co-leading a quintet with Zoot Sims. He was also a successful arranger for several big bands and worked on Broadway. Al Cohn passed away from liver cancer on February 15, 1988, at age sixty-two.

Wim Wigt produced Rifftide, and Max Bollerman, who owns and still operates Studio 44, was the man behind the dials of the recording. The album’s sound quality is stunning, with a stellar soundstage transporting the quartet to your listening room with crystal-clear fidelity. If you’re a fan of cool jazz and post-bop, I invite you to check out Rifftide by Al Cohn the next time you’re on a record-shopping trip. It’s a terrific album that’s sure to please even the most discriminating jazz fan, and I highly recommend it for a spot in your library!

~ Blue Monk, Speak Low, We’ll Be Together Again – Source: JazzStandards.com

~ Al Cohn – Source: Wikipedia.org

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Jazz Poems

FOR SIDNEY BECHET

That note you hold, narrowing and rising, shakes

Like New Orleans reflected on the water,

And in all ears appropriate falsehood wakes,

Building for some a legendary Quarter

Of balconies, flower-baskets and quadrilles,

Everyone making love and going shares–

Oh, play that thing! Mute glorious Storyvilles

Others may license, grouping round their chairs

Sporting-house girls like circus tigers (priced

Far above rubies) to pretend their fads,

While scholars manqués nod around unnoticed

Wrapped up in personnels like old plaids.

On me your voice falls as they say love should,

Like an enormous yes. My Crescent City

Is where your speech alone is understood,

And greeted as the natural noise of good,

Scattering long-haired grief and scored pity.

PHILIP LARKIN

from Jazz Poems ~ Selected and Edited by Kevin Young

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Requisites

Blues In Trinity ~ Dizzy Reece | By Eddie Carter

Last night, I listened to one of my mom’s favorites, Blues In Trinity (Blue Note BLP 4006/BST 84006) by Dizzy Reece, which inspired this discussion. It was his second album as a leader and first for Alfred Lion’s label. Reece was born in Kingston, Jamaica, and began playing the baritone sax at eleven. He took up the trumpet at fourteen and later got the nickname Dizzy. At sixteen, he started playing professionally and worked with some of the best musicians in England, France, and the United States. Donald Byrd (tracks: A3, B1) and Dizzy Reece (A1 to B2) on trumpet, Tubby Hayes (A1, A3, B1 to B3) on tenor sax, Terry Shannon on piano, Lloyd Thompson on bass, and Art Taylor on drums are the musicians. My copy is the 1983 King Record Company Japanese Mono reissue (Blue Note BLP 4006 – K18P 9245).

The title tune and first of four originals by Dizzy Reece, Blues In Trinity, gets the first side off to a good start with the quintet’s medium theme. Dizzy jumps out front with a bright lead solo, then Tubby blows a set of wailing choruses. Terry takes charge next with a stunning short performance until the trumpeter and tenor saxophonist exchange riffs preceding the theme’s return. I Had The Craziest Dream by Harry Warren and Mack Gordon is a beautiful song from the 1942 film Springtime In The Rockies. Reece and the rhythm section reveal the song’s sensual beauty in an elegantly tender presentation. He also delivers a heartfelt solo as the only soloist.

Close-Up opens with a relaxing ensemble melody. Dizzy takes the lead, making each note look effortless. Tubby takes an exciting turn next, then Donald sinks his teeth into an aggressive statement. Terry follows with a solo of absolute joy. The front line takes the final flight in an exchange, leading to the sextet’s reprise and finale. Shepherd’s Serenade starts Side Two at a burning beat with the sextet’s rollicking theme. Reece launches into the opening statement with pure fire. Hayes continues with a shower of fiery notes from his tenor sax. Donald follows, blowing fierce heat in his second and final presentation, and then Art converses with the front line before the theme’s reprise and close.

Color Blind eases the throttle back to medium for the quintet’s finger-popping opening chorus. Dizzy goes right to work on the opening solo with plenty of feeling. Tubby takes the baton and builds the following interpretation effectively. Teddy maintains the mellow mood in the third performance, and the front line shares the finale in a short exchange before the theme’s restatement and climax. ‘Round About Midnight by Thelonious Monk, Cootie Williams and Bernie Hanighen ends the album as a feature for Tubby Hayes and the rhythm section. The saxophonist combines the elements of elegance, restraint, and tenderness in a gorgeous performance that culminates softly.

Tony Hall produced the initial session of Blues In Trinity, and Rudy Van Gelder is credited as the recording engineer. However, he only re-recorded the initial session. The sound quality of this King reissue is sensational, with a superb soundstage that emerges from your speakers as if the musicians are playing right in front of your listening chair. This album holds a special place in my heart, as it was a staple during our Sunday jazz dinners with my mom and sister when I was younger. If you’re a hard bop fan, I offer Blues In Trinity by Dizzy Reece for consideration on your next record-shopping trip. It’s an underrated, excellent album by one of the best musicians most may not know, and I highly recommend it for a spot in your library!

~ ‘Round About Midnight – Source: JazzStandards.com

~ I Had The Craziest Dream – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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