Requisites

The Griffith Park Collection ~ Stanley Clarke, Chick Corea, Joe Henderson, Freddie Hubbard, Lenny White | By Eddie Carter

This morning’s record from the library unveils a unique jazz collaboration. The Griffith Park Collection (Elektra Musician E1-60025) is the second of two studio albums recorded over four days with an all-star ensemble: Freddie Hubbard on flugelhorn (tracks: A3, B3) and trumpet (A1, A2, B1), Joe Henderson on tenor sax (A1 to A3, B1, B3), Chick Corea on piano, Stanley Clarke on upright bass, and Lenny White on drums. Their first record was Echoes of An Era, an album of jazz standards with Chaka Khan. This was a rare reunion for Corea, Clarke, and White, who had not played together since they were members of Return to Forever. My copy is the 1982 U.S. Stereo release.

The opener is L’s Bop by Lenny White. The quintet’s lively theme takes off at a brisk pace, leading to Joe’s swinging opening solo. Freddie maintains the vigorous intensity in the second reading; then Chick skillfully navigates the third statement into a short exchange with Lenny until the theme’s reprise and fade out. The pace slows down slightly for Why Wait by Stanley Clarke, a medium-tempo blues that opens with the ensemble’s theme. Joe gets this grooving affair going in the first solo. Freddie answers him with an exceptional performance; then Chick provides the exclamation point preceding the group’s return for the closing chorus and exit.

October Ballade by Chick Corea begins with the pianist’s soothing introduction ahead of Freddie’s tender melody. Joe has the first solo and builds each chorus gently with deep emotion until Chick takes over for a brief, lovely interpretation. The quintet wraps up things with a poignantly touching reprise and finale. Side Two gets underway with Happy Times by Freddie Hubbard, a cheerful tune that the group takes to heart in the theme. Joe greets the opening statement joyfully, and then Freddie comes in for a bright and bubbly solo. Chick adds to the festive atmosphere in the second interpretation. Lenny delivers a finale that is quite enjoyable before the close.

Remember, by Steve Swallow is a beautiful waltz that opens with the trio’s thoughtfully polite introduction and theme. Chick carefully cultivates the lead solo with delicate notes. Stanley’s reply is an affectionately warm interpretation as Lenny’s drums softly compliment him until the ensemble’s theme restatement. Guernica by Lenny White is a musical portrait of Pablo Picasso’s Spanish Civil War painting. It is a haunting song and the album’s most adventurous tune with a melancholy theme. Joe begins the opening solo with an airy, nostalgic tone. Freddie emerges next with a breathtaking reading; then Chick delivers an enthusiastic statement preceding the group’s return for the climax.

Lenny White produced The Griffith Park Collection and Bernie Kirsh was the recording engineer. The album’s sound quality is good, with a softer soundstage in the highs, midrange, and bass. At just under forty minutes, it is a hidden gem that flows with a beat and does not disappoint. If you are in the mood for an excellent album with remarkable chemistry and exceptional performances. In that case, I invite you to check out The Griffith Park Collection by Stanley Clarke, Chick Corea, Joe Henderson, Freddie Hubbard, and Lenny White on your next record shopping trip. It is a wonderful album that I highly recommend for your library, and I am sure it will reward your purchase for years to come!

~ Echoes of An Era (Elektra E1-60021) – Source: Discogs.com © 2024 by Edward Thomas Carter

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Jazz Poems

FOUR BONGOS: TAKE A TRAIN

for Vinnie

The drummer wears suspenders to look like 

an old-timer, and plays a salsa

“Caravan,” bad boy from the panyard with 

an evil, evil beat. The conga man 

chants Yoruba and shakes his sweat loose on 

a girl up front. His hand worries the drum 

like a live fish thrashing. Call the bassist 

“Pops,” with his grizzly goatee, his Banshee 

yelp, his rhumba step. Tha hall is fluorescent.

“Take a Train,” Lawrence Welk called that tune, 

and played. Ellington, hovers above this group 

like changeable weather, in gabardine.

ELIZABETH ALEXANDER | 1962

from Jazz Poems ~ Selected and Edited by Kevin Young

SUITE TABU 200

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Requisites

The very first time I heard Shirley Horn sings and play piano was in the 1970s at the Bohemian Caverns in Washington, D.C. and I fell in love with her voice and style. By then she had recorded five albums and when I was on the radio she became a part of my regular playlist. Here’s To Life is a studio album recorded in September 1991 by the vocalist, and released in 1992. The album was arranged by Johnny Mandel who composed three of the songs on the album. He  also received a Grammy Award for Best Instrumental Arrangement Accompanying Vocals on this album. It’s a quiet album of ballads that once again showcases Shirley’s talent. Johnny Mandel arranged and conducted the recording session for the Verve label.

The album opens with the title track with Here’s To Life which became her signature song. The music was written by Artie Butler and the poignant lyrics were written by Phyllis Molinary. The lyric, known world-wide as one of her finest works and the song is considered a modern day jazz standard. She followed with a medley of Come A Little Closer/Wild Is the Wind. The former song is about New Yorkers, the city and the cell phone that disputes a couple’s marriage. The song is paired with Wild Is The Wind which was written as the theme song for the 1959 film of the same name and recorded by Johnny Mathis. It was nominated for an Oscar for Best Song.

How Am I to Know? by Jack King and Dorothy Parker takes the third slot on the album. A Time for Love was written for the 1966 film An American Dream. The Begman/ Mandel tune, Where Do You Start tells the story of a couple breaking up and undecided about what belongs to whom. The next song You’re Nearer is a Lorenz Hart/Richard Rodgers composition for the Broadway musical Too Many Girls. Our next entry in Return to Paradise was written for the 1953 film of the same name by Dimitri Tiomkin and Ned Washington. Isn’t It A Pity was composed by the Gershwins for the unsuccessful 1933 musical Pardon My English, however, the song became a part of the Great American Songbook.

Quietly There is taken from the noir film Harper that starred Paul Newman as a detective. If You Love Me is an English adaptation of the popular French song “Hymne à l’amour of Hymn To Love. The album closes with Summer is the first English version of the Italian standard Estate. She ordered English lyrics after hearing Joao Gilberto’s version, which spread the song to worldwide fame.

Shirley Horn sings and plays piano and is joined by bassist Charles Ables and dummer Steve Williams as her core trio. She invited trumpeter Wynton Marsalis – to play on A Time For Love and Quietly There. Richard Todd plays the French horn on the title track. Reminding me of how precious life is and how much we should live and love, this has become my favorite album by this vocalist. I hope you enjoy it just as much as I.



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Jazz Poems

ELEGY FOR THELONIOUS

Damn the snow

Its senseless beauty pours a hard light through the hemlock. Thelonious is dead. Winter drifts in the hourglass; notes pour from the brain cup. Damn the alley cat wailing a muted dirge off Lenox Ave. Thelonious is dead. Tonight’s a lazy rhapsody of shadows swaying to blue vertigo & metaphysical funk. Black trees in the wind. Crepuscule with Nelly Plays inside the bowed head. “Dig the Man Ray of piano!” O Satisfaction, hot fingers blur on thosewhite rib keys. Comingon the Hudson. Monk’s Dream. The ghost of bebop from 52nd Street, footprints in the snow. Damn February. Let’s go to Minton’s & play “modern malice” till daybreak. Lord, there’s Theloniou wearing that old funky hat pulled down over his eyes.

Yusef Komunyakaa | 1947

from Jazz Poems ~ Selected and Edited by Kevin Young

SUITE TABU 200

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Requisites

A DAY IN THE LIFE | WES MONTGOMERY

One of my favorite jazz albums that I first heard during my freshman year in college was the 1967 album A Day In The Life by Wes Montgomery. It was recorded on June 6 & 26, 1967 at the Van Gelder Studio in Englewood Cliffs, New Jersey and released on the A&M/CTI label later that year in September.

The 34:21 minute album is filled with covers of rock and pop songs selected by the guitarist who opens Side One with the title track, A Day In The Life by John Lennon and Paul McCartney, originally released on their Sgt. Pepper’s Lonely Hearts Club Band. It’s a great opener that builds from a quiet start into a cavalcade of strings by its end. Watch What Happens is from the 1964 musical romantic drama film The Umbrellas of Cherbourg written and directed by Jacques Demy, with music by Michel Legrand.

The Calvin Lewis and Andrew Wright #1 tune When a Man Loves a Woman is the third addition to the side and first recorded by Percy Sledge in 1966. California Nights is a song written by Marvin Hamlisch and Howard Liebling and recorded by Lesley Gore in 1967. The final song is Angel and is the only composition contributed by Montgomery.

Side Two is opened by another Lennon/McCartney song, Eleanor Rigby. One premise is that the inspiration for the title is the actress Eleanor Bron who starred in the Beatles movie Help!. Rigby came from the name of a store in Bristol, Rigby & Evens Ltd. Next up is Willow Weep For Me, that once again accounts the inspiration for the song is that Ann Ronnell, while at Radcliffe College, had been struck by the loveliness of the willow trees on campus, and this observation became the subject of an intricate song.

Windy, another No. 1 tune recorded by The Association, and was composed by Ruthann Friedman. Trust In Me was composed by Milton Ager, Jean Shwartz and Ned Wever and was made popular in 1937 by Mildred Bailey. Closing out the session is The Joker, a song by Leslie Bricusse and Anthony Newley, and is taken from the 1964 musical The Roar of the Greasepaint – The Smell of the Crowd. It’s a lament of a person, seen by the outside world as a jester and a comedian especially when they fail.

The recording session was produced by Creed Taylor, was arranged and conducted by Don Sebesky, the engineer was Rudy Van Gelder and the principal photography was performed by Pete Turner.

The guitarist did little more than play the melody using his distinctive octaves. A Day in the Life  is a collaboration of guitar and strings. For these ears it was a  pleasurable listening experience.

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