Requisites

Live! ~ Brother Jack McDuff | By Eddie Carter

Three cherished family members inspired this morning’s discussion. My mom, Merlyn Carter, introduced my sister and me to Brother Jack McDuff during our Sunday dinners when we were younger; my uncles, Benjamin and Emmanuel Curry, often featured this album at their weekend jazz gatherings. Offered now for your consideration is his 1963 release and first concert performance, Live! (Prestige PRLP 7274/PRST 7274). (Prestige PRLP 7274/PRST 7274). This album captures the organist igniting a lively crowd at The Front Room in Newark, New Jersey, joined by his stellar quartet: Red Holloway on flute (track B1) and tenor sax (tracks A1 to A3, B2, B3), George Benson on guitar, and Joe Dukes on drums. My copy of the album is the 1964 U.S. stereo reissue.

The announcer’s introduction gets the set off to a roaring start with Rock Candy by Jack McDuff. The quartet’s infectiously spirited theme segues into Red’s vigorous opening statement. A swinging interlude is succeeded by George’s lively solo ahead of the foursome’s second interlude. Brother Jack states his case in fine form before the theme’s closing chorus, and Jack speaks to the crowd. The tempo eases as the foursome takes on George and Ira Gershwin’s It Ain’t Necessarily So. Benson and Dukes’ soulful warmth paves the way for McDuff’s down-home melody that whets the appetite for more. George pays his respects in the opening solo, then Red compliments him with a bluesy, slow-cooked groove, preceding McDuff’s theme reprise fading softly into Jack’s introduction of the next tune.

The group ushers us into Jack McDuff’s Sanctified Samba, launching the soulful gathering with an irresistible, bossa-nova tinged beat that calls the congregation to worship. George begins with a lively, melodic progression that builds to a satisfying climax. Jack delivers a stream of inventive ideas with characteristic ease next. Red wraps up the readings, blending bluesy flair with smooth, expressive lines before the group unites for a rousing conclusion. Side Two starts with Whistle While You Work, by Frank Churchill and Larry Morey from Disney’s “Snow White and the Seven Dwarfs.” Red opens the whimsical melody on flute, then steps aside for McDuff to take two happy solos with Benson’s cheery statement sandwiched in between them, leading back to the ending theme.

Jack shares the story behind his blues, A Real Good’un, and then the organist’s introduction segues into the quartet’s home cooking during the melody. Benson comes to the table first, serving up a platter of appetizing notes. After the first of several short interludes, Holloway brings the musical equivalent of red beans and rice to the table. McDuff adds a generous helping of fried chicken and mac and cheese before the group wraps up the song on a tasty note. The set concludes with Undecided, by Sid Robin and Charlie Shavers. The ensemble’s brisk introduction and catchy melody open the door for McDuff to deliver a swinging solo. Holloway maintains the momentum in a peppy interpretation. Benson plays with energetic finesse, then Dukes has the last word preceding the spirited closing chorus.

>Produced by Lew Futterman and Peter Paul, this live session captivates listeners from the very first note. Though the identity of the recording engineer remains a mystery, the album’s sound places listeners right in The Front Room, giving them the sense of being part of the lively crowd. The energy of the performances is infectious, and it’s nearly impossible not to snap your fingers, tap your feet or get up and dance along. Throughout his career, Jack McDuff masterfully fused hard bop, R&B, and soul jazz, drawing out the best from his fellow musicians at every turn. If you’re a jazz organ fan seeking an album that’s vibrant and uplifting, Live! by Brother Jack McDuff is a top recommendation for your library. It’s the perfect soundtrack to relax after a busy day or week, and is guaranteed to brighten your mood!

~ It Ain’t Necessarily So, Whistle While You Work – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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On The Bookshelf

52nd St. The Street of Jazz | Arnold Shaw

Back in the thirties and forties, when New York City was the capital of the jazz world-you could hail a cab, ask the driver to take you to “The Street,” and find yourself on 52nd Street between Fifth and Sixth Avenues. Musicians, jazz lovers, college students, big businessmen, everybody knew that this was “The Street that Never Slept,” the Street where every night was New Year’s Eve, the Street that Variety editor Abel Green so aptly dubbed “America’s Montmartre.” 

Here, for the price of a drink or two, you could walk through the whole history of jazz. Hot jazz was born and raised on The Street, as were the big swing bands of the thirties and the modern “cool” jazz combos of the forties. Comics like Alan King and Joey Adams got their start on the Street, as did musicians like Erroll Garner, Jack Teagarden, and Coleman Hawkins. Bessie Smith performed on the Street, and so did Count Basie, Charlie “Bird” Parker, Dizzy Gillespie, Billie Holiday, Art Tatum, Sarah Vaughn, the Dorsey Brothers, Artie Shaw, and other jazz greats.

Arnold Shaw was there as musician, composer, PR man, and just plain listener. He recreates for us the three swinging decades that were the history of the Street: its birth in Prohibition-era speakeasies, where musicians jammed for gin or just for the fun of it; its post-Repeal blossoming as the center of the jazz universe, lined up and down on both sides with tiny, smoke-filled rooms where black and white musicians played to capacity crowds; its postwar decline as the Street became a tawdry tenderloin of strip and clip joints.

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Requisites

Images ~ Ralph Moore | By Eddie Carter

Ralph Moore enters this morning’s spotlight with Images (Landmark Records LLP-1520). He was born in Brixton in South London, England, and took up the trumpet and various instruments at the age of fourteen before deciding on the tenor saxophone. In the early 1970s, he relocated to Santa Maria, California, and later to Boston, Massachusetts, where he began performing locally while studying at Berklee College of Music. Unfortunately, his studies were interrupted by a home invasion that left him seriously injured and unable to complete his degree. Joining him on this date are Terence Blanchard on trumpet (tracks: A1, A3, B1, B3), Benny Green on piano, Peter Washington on bass, Kenny Washington on drums, and Victor See-Yuen on congas (A3). My copy of the album is the 1988 U.S. stereo release.

Side One commences with an energetic trip on the Freeway by Ralph Moore. From the rhythm section’s introduction, the quintet swings with an invigorating theme. Ralph has the first solo spot and swiftly navigates the trio’s interplay to a satisfying conclusion. Terence follows with an energetic interpretation, then Benny dives into a jubilant performance, culminating in the exuberant closing chorus and climax. The mood shifts to a slower tempo for a beautiful quartet rendition of Enigma by J.J. Johnson. Moore exudes grace and politeness in the opening melody, then proceeds with a richly detailed and tender presentation. Green’s short solo is filled with melodious sweetness, like the taste of a well-aged vintage wine before the close.

The trio’s infectious Latin-influenced introduction begins with Episode From a Village Dance by Donald Brown. The quintet’s danceable theme gets things off to a good start. Ralph leads the way with a happy groove. Terence steps up to give a jaunty reading, then Benny adds to the festive mood in the closing interpretation, ahead of the ensemble’s theme reprise and climax. The quintet takes the beat upward to begin the second side with This I Dig of You by Hank Mobley. The rhythm section’s introduction sets up the ensemble’s rhythmic attack in the melody. Blanchard opens the door with a spirited solo, then Moore brings the heat in the second reading. Green soars ahead next, and the front line mixes it up with Washington preceding the quintet’s closing chorus and exit.

Ralph Moore’s Blues For John is his upbeat tribute to John Coltrane. A spirited two-instrument dialogue between Moore and Washington segues into the quartet’s brisk melody. Benny rolls out the opening statement effortlessly, then the leader soars through the following interpretation with terrific momentum. Peter takes his first solo of the date and delivers an inspired reading, leading to a short theme restatement and abrupt stop. The quintet returns to begin Punjab by Joe Henderson with a bluesy introduction and melody. Peter goes for a leisurely stroll in the opening statement. Ralph follows with a delightful interpretation, then Terence steps for a well-crafted solo that’s marvelously executed. Benny has the last word, then hands it over to the ensemble, who close the song as they began.

Elmo Hope’s One Second, Please, raises the intensity one final time for the trio’s introduction, leading to the quartet’s rapid melody. Ralph launches into the opening statement with electrifying energy. Benny succeeds him with a series of exhilarating ideas that flow seamlessly. Ralph and Kenny add a vigorous footnote before the ensemble wraps up the song. Orrin Keepnews produced Images, with Rudy Van Gelder as the recording engineer. George Horn mastered this release, utilizing a Mitsubishi X-80 digital tape recorder, which enabled direct recording and mastering from two-track digital tape. The album’s sound quality is splendid, with a crystal-clear soundstage that not only allows each instrument to shine but also makes it feel as though the musicians are playing right in front of you.

Ralph Moore is a tenor saxophonist whose music, deeply influenced by John Coltrane, is both personal and easily recognizable. His professional journey began with a 1979 tour of Scandinavia. After moving to New York City a year later, he collaborated with numerous musicians, including as a member of Kevin Eubanks’ band on “The Tonight Show.” “Images” is Moore’s fourth album as a leader, and despite his relatively small discography as both a leader and sideman, each album reveals his energetic and vibrant style. For fans of the tenor saxophone, I invite you to consider “Images” by Ralph Moore for a spot in your library on your next record hunt. It’s a terrific album that showcases Moore’s growing mastery and passion for hard bop, and it should not be missed!

© 2025 by Edward Thomas Carter

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On The Bookshelf

JAZZ COVERS | JOAQUIN PAULO 

This striking collection of jazz record covers shows the designs that defined a sound. Containing covers from the 1940s to the early 1990s, each reproduction is accompanied with essential background information. Spanning photographic and illustrative works, these album artworks match music and design in a remarkable history of jazz.

Part design history, part trip down musical memory lane, this anthology of jazz album artwork is above all a treasure trove of creative and cultural inspiration. Spanning half a century, it assembles the most daring and dynamic jazz cover designs that helped make and shape not only a musical genre but also a particular way of experiencing life.

From the 1940s through to the decline of LP production in the early 1990s, each chosen cover design is distinct in the way it complements the energy of the album’s music with its own visual rhythms of frame, line, text, and form. To satisfy even the most demanding of music geeks, each record cover is accompanied by a fact sheet listing performer and album name, art director, photographer, illustrator, year, label, and more.

Joaquim Paulo is a consultant for major labels and directs a number of radio stations in Portugal. He started collecting vinyl at the age of 15, and flew to London, Paris, New York, and São Paulo to enrich his collection of over 25,000 LPs. He lives and works in Lisbon and dedicates his free time to recovering old and rare recordings.

The Editor

Julius Wiedemann studied graphic design and marketing and was an art editor for newspapers and design magazines in Tokyo before joining TASCHEN in 2001. His titles include the Illustration Now! and Record Covers series, as well as the infographics collection and books about advertising and visual culture.

Jazz Covers

Taschen: Hardcover, 11.5 x 11.5 in., 9.21 lb, 552 pages

ISBN 978-3-8365-8525-5

Edition: Multilingual (English, French, German)

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Requisites

Three Quartets ~ Chick Corea | By Eddie Carter

Chick Corea embarks on a captivating exploration of jazz through the lens of Baroque, Classical, Impressionist, and Romantic traditions in Three Quartets (Warner Bros. BSK 3552). He began learning the piano at the age of four and later took up the drums by the age of eight. Corea also became proficient with other keyboards and the vibraphone. His professional career began when he performed with Mongo Santamaria in 1962. Over the years, he contributed to several landmark jazz albums and collaborated with numerous artists. He also formed several groundbreaking groups, including Circle, the Chick Corea Akoustic and Elektric Bands, Five Peace Band, Origin, The New Trio, and Return to Forever. These ensembles cemented his reputation as one of jazz’s most innovative, revered, and versatile musicians.

The pianist is joined by an ensemble of highly skilled musicians: Michael Brecker on tenor sax, Eddie Gómez on double bass, and Steve Gadd on drums. Corea not only composed but also arranged all the songs, and my copy of the album is the 1981 U.S. Stereo release. Side One gets underway with the trio’s effervescent introduction to Quartet No. 1, setting the stage for an adventurous melody powered by the foursome’s rock-inspired rhythm. Michael’s entrance amplifies the energy aggressively in the opening statement. Eddie has the spotlight next and takes an invigorating stroll, then Chick’s closing interpretation comes vibrantly alive, leaving the listener’s ears sizzling, ahead of the song’s closing moments.

Quartet No. 3 takes matters a step further in terms of character and expression. The ensemble’s introduction is slow and deliberate, gradually building momentum as the melody unfolds. Brecker opens with a bold statement that explores the edges of avant-garde jazz and post-bop. Gómez comes in for a brief interlude, then Corea delivers one of his most inventive solos. Gómez shines once more in an excellent reading before Brecker guides the quartet into the out-chorus. Quartet No. 2 (Part 1) is a ballad that’s dedicated to Duke Ellington, beginning with a lengthy piano introduction, which develops into Michael’s tender theme. Eddie starts things off with a graceful solo, then Chick makes a polite point next. Michael wraps things up with a sweet-toned delivery in the lead-up to the tranquil climax.

The closer, Quartet No. 2 (Part II), dedicated to John Coltrane, welcomes us to Gadd’s crisp introduction, which segues into the group’s upbeat theme. Corea launches into the opening statement with swift and electrifying lines. Gómez steps in next with a nimble reading. Brecker follows with a fiery performance, before Gadd steps in for a brief workout. Corea returns for a short solo, leading to a thrilling finish. Chick also wore the producer’s hat on this date, and Bernie Kirsh was behind the recording dials, as well as handling the mixing. The album possesses a superb soundstage, with no harshness in the highs, midrange, or low end, allowing the quartet to come through your speakers with a clarity that will make you feel like they are in your listening room.

Expressing what “Three Quartets” means to me is no easy task. I first encountered the album at the Record Theatre in Norwood while living in Cincinnati, Ohio. It played a crucial role in helping me navigate through a profoundly difficult period in my life. Each time I revisit it, I discover something new and extraordinary in its depths. Chick Corea received an impressive seventy-two Grammy Award nominations, and he won the award twenty-seven times. He was also honored as a Down Beat Hall of Famer and a NEA Jazz Master. On his seventy-fifth birthday, he performed alongside more than twenty groups at the Blue Note Jazz Club in Greenwich Village. Corea passed away at seventy-nine in Tampa, Florida, on February 9, 2021, due to a rare form of cancer.

If you’re a long-time fan of Chick Corea or just starting to explore the incredible body of work in his catalog, “Three Quartets” should be considered the next time you’re visiting your favorite record shop. It’s a rewarding and thought-provoking listening experience, showcasing the pianist’s exceptional artistry and the collective brilliance of his Ensemble!

© 2025 by Edward Thomas Carter

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