Requisites

Something In Common ~ Sam Jones | By Eddie Carter

Up next from the library is a 1978 album by bassist Sam Jones titled Something In Common (Muse Records MR5149). If you’re unfamiliar with him, he’s recorded as a leader for East Wind, Interplay, Riverside, SteepleChase, and Xanadu. For five years, he was an essential member of the quintet and sextet of Cannonball Adderley. He’s also appeared on some of the most important jazz LP’s ever recorded and worked with Nat Adderley, Gene Ammons, Donald Byrd, Al Cohn, Arnett Cobb, Lou Donaldson, Kenny Dorham, Red Garland, Dizzy Gillespie, Johnny Hodges, Clifford Jordan, Duke Jordan, Yusef Lateef, Thelonious Monk, Sonny Stitt, and Bobby Timmons among others. For this date, Jones assembled an excellent quintet, Blue Mitchell on trumpet; Slide Hampton on trombone; Bob Berg on tenor sax; Cedar Walton on piano and Billy Higgins on drums. My copy used in this report is the original US Stereo release.

The briskly paced Slide Hampton tune, Every Man Is A King kicks off Side One with Sam presenting a gentle solo introduction that evolves into a swinging affair on the melody. The solo order is Hampton, Mitchell, Berg, Walton, Higgins, and the front line’s strength is in evidence on three exhilarating readings. Cedar kicks it up a notch when his turn comes, followed by Billy who makes a brief closing comment. For All We Know is a jazz and pop standard that was written in 1934 by Fred Coots and Sam Lewis. The ensemble begins with a very pretty melody reminiscent of the cool jazz sound Miles Davis, Gil Evans, and Gerry Mulligan achieved on the LP, Birth of The Cool. Sam shapes the opening statement thoughtfully into an elegant interpretation. The beat moves upward for a brief reading by Blue into the ensemble’s soothing coda.

Mitchell’s Blue Silver ends the first side with the group taking the main theme at a speedy velocity. Blue takes flight first with a joyously, happy lead solo. Bob, Slide, and Cedar follow with three brief energetic interpretations, then Higgins takes the final bow exchanging short riffs with all four soloists preceding the out-chorus. Something In Common is the first of two tunes from Cedar’s pen and starts Side Two swinging from the melody with the sextet showing off their chemistry. Walton opens with an aggressive solo, then Berg shines on a marvelous statement that’sa knockout. Mitchell responds to the saxophonist with exuberant energy next. Hampton follows, making an authoritative entrance into the fourth presentation with passionate emotion. Higgins delivers the final performance with aggressive incisiveness, providing the perfect counterpoint to each artist.

Bolivia, one of Cedar’s most famous compositions made its debut on the 1975 album, Eastern Rebellion with Jones, Higgins, and George Coleman joining the pianist. Blue is featured during the robust melody and end theme but does not solo here. Slide jumps out the box first with enthusiastic authority, then Cedar gives a fiery display on a jubilant statement. Bob makes a bold statement of robust wailing on the next reading. Sam completes the solos with luminous intensity ahead of the ensemble’s reprise and fadeout. Jones’ Seven Minds is the longest track on the album, affording solo opportunities for everyone except Mitchell and Higgins. Sam opens auspiciously with an extended solo vamp, developing into the sextet’s expedient theme. Walton opens with a fiercely, exciting first statement. Hampton demonstrates the tools of a master craftsman with a cooking reading next. Berg follows, producing incandescent heat, then Jones culminates the set with a delightful improvisation.

This release was recorded by one of the best engineers in the business, Chuck Irwin whose list of credits includes many albums across several genres. The LP also has a fine tonal balance of treble, midrange, and bass with superb sound quality as though we’re in the studio with the musicians, eavesdropping. If you’re a fan of Hard-Bop, or Post-Bop, or are looking for an album showcasing superb bass, I offer for your consideration and also recommend Something In Common by Sam Jones. It’s a great set of excellent jazz that should become an essential addition to any library!

~ Birth of The Cool (Capitol Records T-762); Eastern Rebellion (Timeless SJP 101) – Source: Discogs.com

~ For All We Know – Source: Wikipedia.org © 2020 by Edward Thomas Carter

As you listen to this version of the album, be mindful that three songs, Shoulders, One for Amos, and You Are the Sunshine of My Life, have been added to the compact disc release of this album that are not included on the original release. For what reason I am not aware.

More Posts: ,,,,,,,

Requisites

Night Flight To Dakar ~ Al Cohn, Billy Mitchell, Dolo Coker, Leroy Vinnegar, Frank Butler | By Eddie Carter

Submitted for your consideration this morning is the second of two albums recorded during The Xanadu All-Stars’ first tour in Senegal, West Africa.  Night Flight To Dakar (Xanadu Records 185) was released in 1982 after the first LP, Xanadu In Africa hit the stores a year earlier.  The personnel consists of Al Cohn and Billy Mitchell on tenor sax; Dolo Coker on piano; Leroy Vinnegar on bass and Frank Butler on drums.  My copy used in this report is the original release.  On the four quintet tunes, Cohn is heard on the left channel and Mitchell on the right channel.

The album opens with the title tune, Night Flight To Dakar was composed by Coker as a tribute to his bandmates and in honor of the ensemble’s trip to Africa.  It’s a tune the group has fun on with a vigorous beat by both horns in unison leading the trio on the melody.  Al opens with a scintillating groove of spirited wailing as refreshing as a cold drink on a hot summer day or evening.  Billy makes his point next with innovative energy on a superb statement.  Dolo digs into the finale with a tasty reading before the front line shares the final two choruses into the reprise and close.

Don’t Let The Sun Catch You Crying was written by Joe Greene in 1946 and showcases the trio in a gorgeous performance.  Dolo tenderly presents the melody and approaches the song’s only solo with delicate respect, sustained by Leroy and Frank’s gentle foundation.  It’s back to a blowing session for the quintet’s first side finale with an uptempo version of Blues Up and Down by tenor saxophonists Gene Ammons and Sonny Stitt.  This jazz favorite was written in 1950, making its first appearance on a Prestige 78-rpm single and reissued a year later on the LP, Battle of The Saxes.

The song is charged with electricity from the opening notes of the melody.  Billy begins the fireworks with an exciting exhibition of musical virtuosity.  Cohn comes right on his heels with a blistering heatwave of his own.  Coker swings into a bouncy, happy groove on the next interpretation.  Vinnegar steps up next with a rousing chorus shadowed by Butler, then swings swiftly on the next five verses.  Butler makes a crisp contribution, exchanging the final statement with both saxes into a most satisfying conclusion.

Sweet Senegelese Brown by Billy Mitchell is dedicated to a woman from Georgia.  This song opens Side Two built on the chords of the 1925 standard, Sweet Georgia Brown by Ben Bernie, Maceo Pinkard, and Kenneth Casey.  Al and Billy provide the first two exemplary readings, but the showcase here belongs to Frank who has the longest solo at 5 ½ minutes.  It’s not a bad performance, but his readings on Blues Up and Down and The King are better in my opinion. Dolo and Leroy don’t solo themselves but provide the propulsive power on the opening and closing themes and behind both saxophonists.  The finale is by Count Basie and became a signature song for Illinois Jacquet.

The King is an uptempo cooker allowing everyone solo space and opens with a high-voltage melody collectively.  Billy soars first into a fiercely, heated lead solo, then Al attacks the next one with the quick motion of a whirlwind.  Dolo executes the next reading with rapid-fire agility, then Leroy takes a joyful excursion next.  Frank exchanges a few riffs with Al and Billy, taking the ensemble home on a high note.

Night Flight To Dakar was recorded by American engineer Paul Goodman and he delivers an album with good sound quality.  I say good because the one area that fails as you’re listening is when a musician is talking.  You can barely make out what anyone is saying until the very end of The King when one of the guys says Merci Beaucoup to the crowd.  That issue aside, the ensemble delivers a solid live performance with excellent musicianship and a soundstage from the instruments that’s good enough to provide excellent playback on any mid-fi or high-end audio system.  I’m intrigued enough to start looking for the first album Xanadu In Africa for a serious listen and enjoyed the music on Night Flight To Dakar enough to recommend it for fans of Al Cohn, Billy Mitchell, Dolo Coker, Leroy Vinnegar and Frank Butler.

~ Blues Up and Down, Battle of The Saxes (Prestige PRLP 107); Don’t Let The Sun Catch You Cryin’ (Prestige 877); Xanadu In Africa (Xanadu Records 180) – Source: Discogs.com ~ Sweet Senegelese Brown – Source: Album liner notes by Don Schlitten © 2020 by Edward Thomas Carter

More Posts: ,,,,,,,,

Requisites

JAMES II ~ JAMES LEARY | BY EDDIE CARTER

This morning’s column begins with the second album by James Leary on David Manley’s audiophile record label VTL.  James II (VTL-The Vital Sound 005) is a stellar 1992 quartet session released a year after his first album for Vital Records, James. The personnel for this two-record set is Eddie Harris on tenor sax (tracks: A2, C1, D1, D2), and vocals (track: B1); Billy Childs on acoustic piano; Leary on acoustic bass and Ralph Penland on drums. My copy used in this report is the original Stereo release.

The album gets underway with the opening number, Joshua. This is a Victor Feldman composition originally made famous by Miles Davis on Seven Steps To Heaven (1963) and two live albums, Miles Davis In Europe (1964) and ‘Four’ & More (1966). Billy kicks off the album with a breathtaking melody, then rips into the opening solo with searing intensity. James follows with a fascinating study of vivacity and sprightliness, then Ralph executes a brief finale of impeccable brushwork before the coda.

Have You Met Miss Jones? The popular standard by Richard Rodgers & Lorenz Hart first appeared in the 1937 musical comedy, I’d Rather Be Right. Eddie Harris makes his debut here and the quartet takes the melody at a relaxed beat. Billy picks up the pace on the opening solo with a compelling improvisation.  Eddie’s first reading finds full rein of expression with a full-bodied tone you can’t help but enjoy. James puts together a very effective closing statement ahead of the ending theme.

A Flower Is a Lovesome Thing by Billy Strayhorn was composed in 1944.  It opens Side Two with a hauntingly delicate introduction to the melody by the quartet utilizing Harris’ voice scatting along with the trio. Leary tells a deeply poignant story on the lead solo that’s a reminder of the passing of time. Childs delivers the second statement with the sweetness of a scented summer breeze after a light rain. Harris makes the final reading his own with a sublimed moody feeling that floats gently into the climax.

Seven Steps To Heaven by Miles Davis and Victor Feldman brings Record One to a close with a brief unaccompanied introduction by the bassist segueing into an invigorating theme.  Leary swings from the outset on the first statement, then Childs gives an energetic workout next. Penland speaks last with a fierce intensity leading to an exuberant closing chorus. John Coltrane’s Spiral creates an infectious midtempo melody from the opening notes of the introduction into a swinging first interpretation by Eddie. Billy brings his own brand of excitement to the second reading and James provides some good cooking on the finale.

Leary’s Laugh, Laugh Again is a trio performance beginning with a bowed introduction by the bassist preceding the lovely opening chorus. Childs starts the first reading tenderly, revealing the essence of the song with a delicate interpretation that’s rich and atmospheric. Leary wraps up the solos with a tender, sweet performance.

Oleo by Sonny Rollins begins the final side with Leary providing a repeating bass figure reoccurring underneath each reading. Billy starts with a muscular groove that really cooks, then Eddie swings with an exciting restlessness on the second statement. James follows with a scintillating solo and Ralph ends in fine form on a dynamically propulsive presentation. Leary’s Hold My Hand is a simple ballad that opens elegantly with Harris in front of the foursome on the lyrically beautiful theme. The first solo is affectionately handled by Harris who gives a presentation of intimate lyricism. Childs wraps up the album with a thoughtfully delicate reading.

David Manley, VTL’s (Vacuum Tube Logic of America) founder produced and engineered this album in a state-of-the-art studio utilizing the company’s tube technology.  The soundstage is extraordinary throughout the highs, midrange, and bass.  The result is James II by James Leary is not just an excellent album, but a treat for any jazz fan to enjoy!

~ ‘Four’ & More (Columbia CL 2453/CS 9253); James (Vital Records ViTaL 003); Miles Davis In Europe (Columbia CL 2183/CS 8983); Seven Steps To Heaven (Columbia CL 2051/CS 8851) – Source: Discogs.com ~ Oleo, Have You Met Miss Jones? – Source: JazzStandards.com ~ Seven Steps To Heaven – Wikipedia.org © 2020 by Edward Thomas Carter

More Posts: ,,,,,,,,

Requisites

Blue Hour ~ Stanley Turrentine With The Three Sounds | By Eddie Carter 

In the hands of Stanley Turrentine, the tenor saxophone was an instrument of soulful creativity and immense power.  From his 1960 debut, Look Out to his biggest hit, Sugar in 1971, Turrentine’s credentials were second to none as a giant of Hard-Bop, Modal, and Soul-Jazz.  This morning’s choice from the library joins him with Gene Harris on piano; Andrew Simpkins on bass and Bill Dowdy on drums who were collectively known as The Three Sounds.  Blue Hour (BLP 4057/BST 84057) was released in 1961 and is the second record where The Three Sounds backed a saxophonist, the other is 1959’s LD + 3 with Lou Donaldson.  My copy used in this report is the 2015 Music Matters 33 1/3 Stereo audiophile reissue (MMBST-84057).  I Want A Little Girl, written by Murray Mencher and Billy Moll in 1930 starts Side One.  This infrequently heard ballad opens with an angelic introduction illustrating Harris’ attentiveness to the lyric and melody.  Stanley brings a beautifully expressive sound and delicate sincerity to the opening chorus, then adds a graceful sensitivity to his solo.  Gene’s interlude is brief but lovely and the closing by the quartet is captivating.

Gee Baby, Ain’t I Good To You was written in 1929 by Don Redman and Andy Razaf.  Its first recording was by The King Cole Trio in 1943 and a year later, it became a hit for Nat King Cole and a jazz standard with numerous recordings to its credit.  The Three Sounds provide a respectful treatment with a pensive introduction, allowing Turrentine to deliver the evocative theme with warm and affectionate feelings.  The saxophonist also weaves a reverent spell of subtle lyricism on the opening solo.  Harris is up next for the closer with a thoughtfully tender interpretation that speaks to the soul.  The only original on the album ends the first side, Gene Harris’ Blue Riff takes the tempo to a medium beat during the first statement moving with a finger-popping, toe-tapping groove.  The threesome states the melody, then Stanley takes over for a jubilant solo of vivacious spontaneity.  Gene takes the next turn for a bouncy, bright presentation with a youthful spirit.  Stanley returns for a few final compulsive choruses before the pianist takes the threesome into the fade-out.

Since I Fell For You by Buddy Johnson opens Side Two.  He composed both the music and lyrics, introducing it in 1945 with his sister Ella on vocals.  The Three Sounds start the song with a stylishly soft, slow-paced introduction as natural as if it was written for this quartet exclusively.  This segues into a soothing opening melody by Turrentine who solos twice, putting his stamp on both interpretations displaying tranquil restraint on the first and closing statements.  Harris contributes a tender reading that’s lovingly stated, anchored by Simpkins and Dowdy’s voluptuous foundation.  Willow Weep For Me, written by Ann Ronell in 1932 begins with the exquisitely mellow tone of Stanley’s tenor sax having an intimate conversation with the rhythm section on the opening chorus.  Gene’s first solo is elegant and laid-back, revealing its true beauty with gorgeous verses preceding an alluring climax.  Stanley’s closing performance is soulful and bluesy like a leisurely walk on a warm summer evening with the trio proving the ideal companion to take the tune into a luscious coda.

Gene Harris, who was known for his gospel jazz style formed The Three Sounds in 1956 with Andy Simpkins and Bill Dowdy.  The group became a hit with the public and when Blue Hour was recorded, the trio was amid a four-year run (1958-1962) recording a total of twelve albums for Blue Note including four in 1960 alone.  The other three are Feelin’ Good, It Just Got To Be, and Moods.  I believe that’s why Alfred Lion didn’t release the additional eight songs of this session on another album.  The Three Sounds’ were together until 1970 when Harris left to embark on a successful solo career.  Stanley Turrentine was a veteran of the Soul-Jazz style since the fifties and he recorded a total of seventeen LP’s for the label as a leader, plus several as a sideman with Donald Byrd, Kenny Burrell, Jimmy McGriff, Ike Quebec, Horace Parlan, Duke Pearson, Shirley Scott (who he was married to at the time), Jimmy Smith, and Art Taylor.

In his liner notes, noted author, jazz historian and journalist Ira Gitler offers one definition of the Blue Hour as that early morning time “when you reach across the pillow where your Baby used to lay” and find him (or her) not there.  The sound quality is stunning, the remastering of Rudy Van Gelder’s original tapes by RTI Record Technology Incorporated is superb and the gatefold photos of each musician during the session compliments the music marvelously.  This record is nearly thirty-nine minutes of enjoyable jazz by Stanley Turrentine and The Three Sounds that adds weight to any jazz library.  It’s well worth auditioning for a spot in your library and an LP that’s perfect to enjoy any time of the day, evening, or early morning during the Blue Hour.

~ Feelin’ Good (Blue Note BLP 4072/BST 84072); Gee Baby, Ain’t I Good To You (Capitol 169); It Just Got To Be (Blue Note BLP 4120/BST 84120); LD + 3 (Blue Note BLP 4012/BST 84012); Look Out (Blue Note BLP 4039/BST 84039); Moods (Blue Note BLP 4044/BST 84044); Sugar (CTI Records CTI 6005) – Source: Discogs.com

~ I Want A Little Girl, Gee Baby, Ain’t I Good To You, Since I Fell For You, Willow Weep For Me – Source: Wikipedia.org

© 2020 by Edward Thomas Carter

More Posts: ,,,,,,,,,,,

Requisites

Trumpet and flugelhorn jazzman Freddie Hubbard steps into the spotlight with his first Hard-Bop album since his 1970 CTI Records debut, Red Clay. Back To Birdland (M & K Realtime Records RT-305) has Hubbard leading a sextet featuring Ashley Alexander (tracks: A1, A2, B1 to B3) on double trombone; Richie Cole (tracks: A1 to A3, B1), Med Flory (track: B3) on alto sax; George Cables on piano; Andy Simpkins on bass and John Dentz on drums.  Before this release, Freddie recorded a series of LP’s for CTI and Columbia exploring the styles of Jazz-Funk, Jazz Fusion, Smooth Jazz, and Soul-Jazz.

My copy used in this report is the original 1981 US Digital Stereo Audiophile release. Shaw ‘Nuff by Dizzy Gillespie and Charlie Parker begins the album with the front-line blowing fire on the melody.  Freddie starts wailing on a hard-driving, opening chorus, then Richie energizes the second solo with the high-voltage current.  Ashley brings a swift, brassy attitude to the next reading, then George’s fingers fly with quicksilver speed and John fills the closer with radiant intensity.

Star Eyes by Gene de Paul and Don Raye debuted in the 1943 musical-comedy, I Dood It!  The song became a jazz standard after Charlie Parker recorded it for Mercury Records in 1951.  The ensemble states the first chorus, then Hubbard takes over on flugelhorn for the next verse.  He begins the first solo, conveying a light mood that’s joyously happy and relaxed.  Cole takes over in low gear, then builds steadily into a very satisfying groove. Cables puts a vibrant personality into the third statement and Vinnegar wraps up things with a succinct solo. Lover Man is a revered standard from 1941 by Jimmy Davis, Roger Ramirez, and Jimmy Sherman that was written for Billie Holiday. Richie Cole gets the spotlight here and crafts an indelible portrait on the melody and opening statement capturing the beauty of the lyrics perfectly. Freddie has a stylish flugelhorn performance that’s nicely detailed and beautifully paced; he’s also featured on the main theme and ending.

For B.P., a Hubbard creation is one of the most interesting tunes on the album featuring interchanges of cross-rhythms within different time signatures. This song is a tribute to Bebop pianist, Bud Powell and was introduced on the 1968 LP, High Blues Pressure. The leader takes charge of the introduction and vigorous theme, then Cables initiates the first of two thrilling solos. Hubbard follows with a sizzling performance that makes stunning use of the rhythm section’s sterling support. Cables then prepares a tasty musical brew with a spicy flavor on the finale ahead of a mesmerizing climax.

Stella By Starlight by Victor Young and Ned Washington offers Ashley Alexander the spotlight in a quartet setting. This romantic ballad was the main title song during the opening credits and throughout the 1944 film, The Uninvited.  Ashley introduces the song slowly but picks up the pace to a sprightly tempo for the melody and first reading. George gives a zesty performance next, then Leroy closes with a velvety smooth finale.

Hubbard’s uptempo Byrdlike was originally recorded on the 1962 release, Ready For Freddie. Everyone gets solo space except Vinnegar and Med Flory takes over on alto, soloing twice. This speedster gets underway with a collective melody by the ensemble. Cables takes the reins first, delivering an adrenaline rush of great speed. Hubbard raises the temperature on the second solo to a ferocious velocity. Flory fuels the first of two readings with exhilarating vitality, then Alexander tells his story with swift acceleration. The altoist returns on the second reading blazing and Dentz makes a clever comment on the closing solo with an entertaining kick at the end.

Back To Birdland is a sonic tour de force with a superb soundstage. Scott Simon and Ken Kreisel are the men behind the dials; the label took the utmost care in preparing their records for the jazz lover, utilizing the very purest vinyl available and imported pressings made in West Germany. If you’re a Freddie Hubbard fan and are seeking an album recalling the Hard-Bop spirit of Goin’ Up, Open Sesame, and Ready For Freddie from his Blue Note years, I highly recommend Back To Birdland! It’s an excellent album from a first-rate sextet that would make a great addition to any jazz library!

~ Goin’ Up (Blue Note BLP 4056/BST 84056); High Blues Pressure (Atlantic SC 1501); Open Sesame (Blue Note BLP 4040/BST 84040); Ready For Freddie (Blue Note BLP 4045/BST 84045); Red Clay (CTI Records CTI 6001); Star Eyes (Mercury Records 11087) ~ Source: Discogs.com ~ Shaw ‘Nuff, Stella By Starlight – Source: JazzStandards.com ~ Star Eyes – Source: Wikipedia.org ~ For B.P. – Source: Album Liner Notes by Dr. Herb Wong © 2020 by Edward Thomas Carter

More Posts: ,,,,,,,,

« Older Posts       Newer Posts »
© Notorious Jazz 2026