Requisites

Mulligan Meets Monk ~ Thelonious Monk and Gerry Mulligan | By Eddie Carter

This morning’s record from the library, Mulligan Meets Monk (Riverside RLP 12-247/RLP 1106), is an excellent quartet date that brings together two giants, Gerry Mulligan and Thelonious Monk, for their only collaborative album. Their influence on bop and cool jazz is immeasurable. It hit the stores in 1957, and the personnel are Gerry Mulligan on baritone sax, Thelonious Monk on piano, Wilbur Ware on bass and Shadow Wilson on drums. My copy is the 1975 Victor Musical Industries Japanese Stereo reissue (Riverside SMJ-6107).

‘Round Midnight by Thelonious Monk, Cootie Williams, and Bennie Hanighen is one of The Great American Songbook’s most beautiful and recorded jazz tunes. It opens the first side with the quartet’s elegantly tender theme. Gerry delivers a mesmerizing first solo. Thelonious is next and gives a beautifully constructed reading ahead of the theme’s reprise and climax. Thelonious Monk’s Rhythm-a-ning picks up the pace with a lively introduction by Wilson segueing into the foursome’s spirited melody. Mulligan is up first with a statement of dynamic energy; then Monk speaks assertively in the second reading. Gerry returns with an excellent improvisation ahead of the theme’s restatement.

The group’s unique and refreshing approach to Sweet and Lovely by Gus Arnheim, Jules LeMare, and Harry Tobias starts with Gerry and Thelonious’ delicately graceful theme. Monk shows a considerable amount of respect in the opening solo. Mulligan’s exquisite softness in the closer precedes a gorgeous conclusion. Decidedly by Gerry Mulligan begins Side Two with a two-instrument dialogue between Gerry and Shadow, extending into the quartet’s brisk theme. Mulligan functions most effectively in the opening statement. Monk unwraps a pleasant surprise next. Wilbur takes a short, impressive walk, Gerry takes over briefly, and Shadow wraps things up before the close.

Straight, No Chaser is one of Thelonious Monk’s perfectly structured originals. The foursome’s bluesy theme sets up Gerry’s inspired opening statement. Wilbur’s bass goes to work next in a short reading, and then the pianist sums everything up nicely before the closing chorus and finale. I Mean You by Thelonious Monk and Coleman Hawkins begins with the pianist’s introduction, leading to the ensemble’s opening chorus. Monk steps into the spotlight first, cruising comfortably, and then Mulligan puts together a few good ideas in the second solo. Ware rounds out things with a breezy walk before the group reassembles to take the song out.

Mulligan Meets Monk was produced by Orrin Keepnews and recorded by Jack Higgins. The album’s sound quality is top-notch, with a superb soundstage that makes it feel like the quartet is performing right before you. Whether you’re a bop or cool jazz fan or new to the music of Gerry Mulligan and Thelonious Monk, Mulligan Meets Monk is a must-listen on your next record-shopping trip. It’s a delightful addition to both musicians’ discographies, showcasing their talents in a way that might make it a favorite in your library!

~ ‘Round Midnight, Straight, No Chaser, Sweet and Lovely – Source: JazzStandards.com

© 2024 by Edward Thomas Carter

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Jazz Poems

HERE WHERE COLTRANE IS

Soul and race

are private dominions

memories and modal

songs, a tenor blossoming,

which would paint suffering

a clear color, but is not in

this Victorian house

without oil in zero degree

weather and a forty-mile-an-hour wind;

it is all a well-knit family:

a love supreme.

Oak leaves pile up on walkway

and steps, catholic as apples

in a special mist of clear white

children who love my children.

I play”Alabama”

on a warped record player

skipping the scratches

on your faces over the fibrous

conical hairs of plastic

under the wooden floors.

Dreaming on a train from New York

to Philly, your hand out six

notes which become an anthem

to our memories of you:

oak, birch, maple,

apple, cocoa, rubber.

For this reason Martin is dead;

for this reason Malcolm is dead;

for this reason Coltrane is dead;

in the eyes of my first son are the browns

of these men and their music.

MICHAEL S. HARPER | 1938 ~ 2016

from Jazz Poems ~ Selected and Edited by Kevin Young

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Requisites

The Modern Touch ~ Benny Golson Sextet | By Eddie Carter

The jazz world mourned the loss of an icon when Benny Golson passed away on September 21, 2024. His departure left a void that can never be filled. Benny was an excellent musician, arranger and composer. He co-founded the Jazztet with Art Farmer. His extensive discography as a leader and his collaborations with elite jazz musicians as a sideman are a testament to his unique talent. My mother was a fan of his, and her love for his music inspired this morning’s discussion. The Modern Touch (Riverside RLP 12-256), released in 1958, is his second album as a leader and first for the label. He’s joined by Kenny Dorham on trumpet, J.J. Johnson on trombone, Wynton Kelly on piano, Paul Chambers on bass, and Max Roach on drums. My copy is the 1974 Victor Musical Industries Japanese Mono reissue (Riverside SMJ-6070M).

Out of The Past by Benny Golson opens the album with the sextet’s leisurely melody, setting the mood for the saxophonist’s relaxing opening solo. Kenny steps into the spotlight next. He is followed by J.J., who expresses his thoughts in the following statement. Wynton gives a captivating interpretation; then Paul walks with a steady beat. Max adds the finishing touches with a short solo ahead of the reprise. Reunion by Gigi Gryce begins with the front line’s introduction to the ensemble’s upbeat melody. Golson gets right to work first and wails. Johnson takes over and is especially impressive in an inspired interpretation. Dorham follows with a superb solo, ahead of a brief comment by Roach that gives way to Chambers telling a fascinating story. Kelly sustains the excitement in the following reading, and the drummer has an exchange with the front line into the closing chorus that slowly dissolves into nothingness.

Venetian Breeze by Benny Golson takes us on a musical journey inspired by the saxophonist’s travels over the Venetian Causeway from Miami to Miami Beach. The tempo shifts to mid-tempo for the three horns in unison to drive the sextet’s theme. J.J. takes the first solo and moves with ease into a fine groove. Kenny takes over like a refreshing drink on a hot day to give a relaxing performance. Benny swings straight from the heart next, and then Wynton holds our attention leading to the theme’s restatement. Hymn To The Orient by Gigi Gryce is a happy-blowing vehicle. It starts the second side with the sextet’s upbeat theme. Kelly takes the opening chorus and gives an energetic reading. Golson is at his most effective on the subsequent interpretation. Johnson has an outstanding solo next; then Roach gives his drums a short workout before the song’s conclusion.

The pace slows down for a beautiful rendition of Namely You by Gene DePaul and Johnny Mercer. The group sets the mood with a lovely introduction, segueing into Benny’s gentle, deeply emotional melody. In the solo showcase, the saxophonist applies a little tenderness and romantic beauty before the sextet reappears for a soft summation. Blues on Down by Benny Golson is a blues affording everyone a solo opportunity. It brings the album to a close, beginning with the sextet’s leisurely melody. Dorham begins the blowing with an easy-going solo. Golson continues to communicate a laid-back feeling in the following reading. Johnson steps into the spotlight next with a breezy interpretation; then Kelly offers a mellow flow of ideas in the fourth statement. Chambers gets the nod and takes a soulful walk, and Roach takes us home in the finale, ahead of the theme.

>Orrin Keepnews produced The Modern Touch, and Jack Higgins was the recording engineer behind the dials. The album has an excellent sound and is beautifully engineered. The listener will feel like the musicians are playing for them in their listening room. Benny Golson was one of the significant contributors to hard bop jazz as an arranger, composer and musician. I had the pleasure of seeing him perform live and meeting him during the nineties when he was the leader and musical director of The Jazz Messengers during a concert in Cleveland, Ohio. He couldn’t have been more gracious and down to earth. We talked for quite a while after the group’s performance, and I consider it a highlight of my life. His career lasted just over seven decades; he was ninety-five when he died.

Anyone who’s already a fan of Benny Golson and in the mood for an excellent hard-bop album should consider The Modern Touch on your next record-shopping trip. It’s a terrific release that offers a glimpse into one of the best multi-talented jazz musicians, and a record I happily recommend for a spot in your library!

Postscript: The Modern Touch was reissued in 1962 as Reunion on Jazzland (AM 85/AS 985).

© 2024 by Edward Thomas Carter

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Jazz Poems

FOR OUR LADY

billie if someone

had loved u like u

shud have been loved

ain’t no tellen what

kind of songs

u wud have swung

gainst this country’s wite mind

or what kind of lyrics

wud have pushed us from

our blue / nites

yeh billie

if some blk / man

had reallee

made u feel

permanentlee warm

ain’t no tellen

where the jazz of yo/songs

wud have led us.

SONIA SANCHEZ

from Jazz Poems ~ Selected and Edited by Kevin Young

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Requisites

In The Vanguard ~ Bobby Hutcherson | By Eddie Carter

This morning’s discussion arose because I’ve been listening intensely to several great vibraphonists in my library recently, leading me to an underrated live album by Bobby Hutcherson. In The Vanguard (Landmark Records LLP-1513) hit the stores in 1987 and documents excerpts of his performance over two December nights the year before at the Village Vanguard. Bobby was the first artist Orrin Keepnews signed for his new record label; this was his third release. The quartet consists of Bobby Hutcherson on the vibraphone and marimba, Kenny Barron on piano, Buster Williams on bass, and Al Foster on drums. My copy is the original U.S. Stereo album.

The opener, Little Niles by Randy Weston, is a jazz waltz. The quartet gets things off to a spirited start with their melody. Bobby opens the soloing with an infectiously swinging groove. Kenny keeps the lyricism intact with a compelling case ahead of the theme’s restatement and close. Estaté by Bruno Martino and Bruno Brighetti is up next. Williams and Hutcherson set the song in motion with a pretty introduction. Barron and Foster enter next to add sensitive warmth to the gorgeous melody. Bobby’s opening solo is beautiful; then Kenny articulates his ideas tenderly while Buster and Al hold everything together into the quartet’s graceful climax.

Well, You Needn’t by Thelonious Monk and Mike Ferro opens with Bobby’s introduction before the ensemble’s theme takes off quickly. Bobby is out of the gate first with an exhilarating reading. Kenny steps up next to play with exciting urgency. Buster and Al share a moment in the closer, preceding the foursome’s return with a quick resolution. Side Two starts with Some Day My Prince Will Come by Frank Churchill and Larry Morey. The ensemble establishes the song with a quaint melody that moves upward for Hutcherson’s opening solo. Barron turns in an exquisite performance next, and Williams provides a superbly conceived finale, one of the album’s highlights before the reprise and ending.

Witchcraft by Cy Coleman and Carolyn Leigh begins with a two-instrument dialogue between Bobby and Buster, segueing into the quartet’s lovely melody. Bobby kicks off the solos with a stream of imaginative ideas. Kenny takes the reins, gliding to the rhythm section’s buoyant beat ahead of the song’s conclusion. I Wanna Stand Over There by Bobby Hutcherson is off to the races during the quartet’s upbeat theme. Barron comes right out of the gate, bristling with energy. Hutcherson follows with a hard-driving interpretation; then Foster provides the album’s final fireworks in a short solo ahead of the theme’s restatement and climax.

In The Vanguard is a digital recording produced by Orrin Keepnews and Tom Mark, the recording engineer. George Horn mastered the album, and Danny Kopelson provided the digital transfer, editing and sequencing at Fantasy Studios. The album’s sound quality is exceptional, capturing the live energy and ambiance of the Village Vanguard. The listener becomes a part of the audience as the musicians perform with crystal-clear fidelity. Despite its high-quality performance and recording, this album is often overlooked in Bobby Hutcherson’s discography. But please don’t let that discourage you from checking out In The Vanguard by Bobby Hutcherson the next time you’re out record shopping. It’s a jazzy treat for your ears and an absolute pleasure to listen to, especially if you enjoy live jazz albums!

Postscript: Estaté is listed on the Side One label and back album cover with two composers, Bruno Martino, and Bruno Brighetti. I have no idea why this happened, but they are the same man, Bruno Martini. He was an Italian composer, pianist, singer, and songwriter. Estaté was his best-known composition; many jazz musicians and vocalists have recorded it since its first appearance in 1960. Martino’s career lasted fifty-five years; he died on June 12, 2000, at age seventy-four.

~ Bruno Brighetti, Bruno Martino – Source: Discogs.com

~ Some Day My Prince Will Come – Source: JazzStandards.com

~ Little Niles, Witchcraft – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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