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

SUITE TABU 200

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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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Jazz Poems

BLACK AND BLUE

(WHAT DID I DO TO BE SO BLACK AND BLUE)

VERSE

Out in the street,

Shufflin’ feet,

Couples passin’ two by two,

While here am I,

Left high and dry, black, and ‘cause i’m black I’m blue.

Browns and yellers

All have fellers,

Gentlemen prefer them light.

Wish I could fade,

Can’t makee the grade,

Nothin’ but dark days in sight.

REFRAIN

Cold empty bed,

Springs hard as lead,

Pains in my head,

Feels like old Ned,

What did I do

To be so black and blue?

No joys for me,

No company,

Even the mouse

Ran from my house,

All my life through

I’ve been so black and blue.I’m white

Inside,

It don’t help my case

‘Cause I

Can’t hide

What is on my face,ooh!

I’m so forlorn,

Life’s just a thorn,

My heart is torn,

Why was I born?

What did I do

To be so black and blue?

REFRAIN

Just ‘cause you’re black,

Folks think you lack,

They laugh at you

And scornyou too,

What did I do

To be so black and blue?

When you are near,

They laugh and sneer,

Set you aside

And you’re denied,

What did I do

To be so black and blue?

How sad I am

Each day I feel worse,

My mark of Ham

Seems to be a curse, ooh!

How will it end?

Ain’t got a friend,

My only sin

Is in my skin,

What did I do

To be so black and blue?

ANDY RAZAF | 1895~1973

MUSIC BY THOMAS “FATS” WALLER

from Jazz Poems ~ Selected and Edited by Kevin Young

SUITE TABU 200

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Crossings ~ Red Garland, Ron Carter and Philly Joe Jones | By Eddie Carter

It happened like this: after hearing Introducing Carl Perkins, I spent the remainder of the evening listening to several other trio albums while reading when I heard a title I hadn’t played in a while, which inspired this morning’s discussion. Crossings (Galaxy GXY-5106) is a 1978 release bringing together a dream team to record their first trio album. Red Garland is on piano, Ron Carter is on bass, and Philly Joe Jones is on drums. All three were members of the Miles Davis Quintet and have given jazz fans many incredible albums throughout their careers as leaders and sidemen. My copy is the original U.S. Stereo release.

Side One starts with a brief trio introduction, setting the stage for the melody of Solar by Chuck Wayne and Miles Davis. Red leads the way with a statement that sparkles with energy. Ron delivers precisely articulated choruses in the second solo. The pianist and Philly share the finale in an inspired interpretation, leading to the theme’s reprise. Railroad Crossing by Ron Carter is a smooth, easy-flowing tune. The bassist sets the tone with a concise introduction that seamlessly transitions to the trio’s melody. Carter begins with a leisurely opening statement; then, Garland gets into a down-home groove on the following solo ahead of the bassist’s return for the ending theme.

Never Let Me Go is a beautiful Jay Livingston and Ray Evans song. It was featured in the 1956 film noir The Scarlet Hour. Red opens with a short unaccompanied introduction that segues into the trio’s gorgeous theme. The pianist goes first with a delicately sultry performance, then hands the torch to Ron, who delivers a heart-warming presentation before the close. Oleo by Sonny Rollins gets underway with a short workout by Jones, leading to the ensemble’s quick theme. Garland ignites the fire in the first solo, and then Carter keeps the fires burning next. Jones adds more heat in the closer, preceding a captivating conclusion.

George and Ira Gershwin introduced But Not For Me in the 1930 Broadway musical Girl Crazy. The jazz standard starts Side Two with Ron leading the trio through the melody. The bassist masterfully manages the opening statement before making room for Red, who swings in the following reading. Ron returns to converse briefly with Philly ahead of the finish. Cole Porter’s classic Love For Sale begins with a lengthy solo piano introduction before the trio steps on the gas for the lively theme. Garland ignites the first solo with fiery choruses. Carter steps into the spotlight next and slows things down, and Garland returns for a vigorous exchange with Jones into the climax.

Orrin Keepnews produced Crossings, and Bruce Walford recorded and mixed the album at Fantasy Studios. David Turner mastered the album. The record’s sound quality possesses a vibrant soundstage, placing the musicians in your listening room with excellent fidelity. If you’re a fan of these jazz giants and enjoy a good piano trio album, I invite you to check out Crossings by Red Garland, Ron Carter, and Philly Joe Jones. The group’s musicianship shows three masters’ at work, and the six selections complement each other perfectly. The result is an album you can sit back, listen to and enjoy from the first note to the finale!

~ But Not For Me, Love For Sale, Oleo – Source: JazzStandards.com

~ Solar – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Jazz Poems

JAZZ

It starts with an alto horn, and a young 

boy who’d grown faster than he should have, and 

who’d become great before he should have, and 

who sought for the source of the feeling deep in-

side before he should have. He stood in his room 

and started with a short burst of notes, and then 

sought the tone he’d felt inside him, but which 

he couldn’t match he couldn’t match by blowing. 

He blew, fast, and beautifully; seeking the right 

burst of notes, notes blown so fast that only God’s 

perfection would be a match for it. He tried for 

a tone that he’d never heard, but which he knew 

as a sensation of mystery, of greatness, a feeling 

that he was bigger than he seemed to be, could 

blow faster than his fingers were letting him,

could cry out the tone that cried within him. All 

this strained inside him, strained and drove him, 

pushed him and made him whip his fingers upon 

the valves of his horn until they hurt. And his 

lungs seemed to bleed inside; his eyes ran water,

and he kept blowing, and blowing, with his eyes 

closed to the white of the daytime and the touch 

of the wind and the sound of the fists banging 

at the door, and the bark of the voices outside

his door, shouting: Open up! It’s the police!

What’s going on in there?

FRANK LONDON BROWN

from Jazz Poems ~ Selected and Edited by Kevin Young

SUITE TABU 200

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