Requisites

Joanne Grauer Trio ~ Joanne Grauer | By Eddie Carter

I love piano trios, and I was listening to a little-known title after dinner a few nights ago, which became the inspiration for this morning’s column. Joanne Grauer Trio (Mode Records MOD-LP-113) marks the debut of a young pianist named Joanne Grauer, whose musical education began at age five. Her brother and dad were professional musicians, and she started classical training at age twelve. Her musical education took a turn towards jazz while studying with Sam Saxe, a West Coast piano instructor who broadened her knowledge of the challenging dynamics of jazz piano. Listening to Hampton Hawes, Horace Silver, and Johnny Williams further moved her toward a career as a jazz pianist.

On her first date, she is joined by Buddy Clark on bass and Mel Lewis on drums. My copy is the 1988 US Mono reissue on VSOP Records (VSOP #58). The opener is an original by  Joanne titled Mood for Mode. The trio introduces the song at a relaxing tempo that continues through the melody and is sure to get the listener’s toes tapping. Joanne is up first and swings so easily, while Buddy and Mel’s exemplary support follows her like a shadow. Buddy has the next solo and makes his point by generating a good feeling. Joanne returns for a few concluding thoughts before the theme’s return dissolves slowly into nothingness.

The pace picks up for Richard Rodgers and Lorenz Hart’s, Have You Met Miss Jones? The trio begins with a lively introduction and melody, leading to Joanne’s vivaciously spirited opening statement. Buddy and Mel engage in a short, joyous conversation until the threesome’s closing chorus takes the song out. Invitation by Bronislaw Kaper and Paul Francis Webster is given a regal treatment by Joanne, who performs the song alone. She brings out the jazz standard’s sensitivity and delicacy in a beautifully romantic rendition that is sure to linger in the listener’s mind and heart long after it is over.

The first side finale, Happy Is the Sheepherder by Marv Belew, is full of good spirits from the start of the ensemble’s cheerfully sunny melody. Joanne takes the reins and gives an optimistic, upbeat interpretation ahead of the restatement of the theme, during which Buddy makes a brief comment before the ending. Side Two takes off at a fast clip with I’ll Remember April by Gene de Paul, Patricia Johnston, and Don Raye. The trio swings with authority in the brisk opening chorus. Joanne sets a jubilant mood in the opening solo, then shares a spirited exchange of ideas with Mel ahead of the trio’s reprise and fadeout.

Dancing Nitely by Bill Holman takes the trio’s foot off the accelerator with a soothing introduction that gets into a simpler groove on the melody. Joanne leads off with a carefree, light-hearted performance, followed by Buddy, who eases into the second statement. The leader has a few more things to say preceding the trio finishing it out. I’m Glad There Is You by Jimmy Dorsey, and Paul Madeira is a beautiful love song from the forties. Joanne brings the song to life with a gorgeous solo introduction segueing into the trio’s tender melody. As the song’s only soloist, she delivers an intimately delicate interpretation, with Buddy and Mel complimenting her every note into the peaceful ending.

The Song Is You by Jerome Kern and Oscar Hammerstein II ends the album on an upbeat note with the trio in perfect harmony on the energetic melody. Joanne takes flight in the song’s only solo with a vigorous performance that’s thrilling from start to finish into the reprise and climax. Red Clyde supervised The Joanne Grauer Trio, and Dayton Howe was the recording engineer. The album has a superb soundstage that transports the musicians to your listening room with stunning fidelity. Joanne Grauer’s next release wouldn’t hit stores until seventeen years later, and she has only a few titles in her discography.

But if what I heard on this album is an indication, I’ll certainly be on the lookout for those other releases. If you’re a fan of piano jazz as I am and are in the mood for an album to help you unwind after a long day or week. I invite you to check out The Joanne Grauer Trio on your next record shopping trip. It’s a delightful album that would make a terrific complement to your day or evening’s listening and become a welcome addition to your jazz library!

~ Joanne Grauer – Source: Album liner notes by Joe Quinn ~ I’m Glad There Is You, Have You Met Miss Jones, The Song Is You – Source: JazzStandards.com © 2023 by Edward Thomas Carter

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Jazz Poems

Jazz Band In A Parisian Cabaret

Play that thing,

Jazz band!

Play it for the lords and ladies,

For the dukes and counts,

For the whores and gigolos,

For the American millionaires,

And the school teachers

Out for a spree.

Play it,

Jazz band!

You know that tune

That laughs and cries at the same time.

You know it.

May I?

Mais oui.

Mein Gott!

Parece una rumba.

Play it, jazz band!

You’ve got seven languages to speak in

And then some,

Even if you do come from Georgia.

Can I go home wid yuh, sweetie?

Sure.

LANGSTON HUGHES 

from Jazz Poems ~ Selected and Edited by Kevin Young

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Requisites

Starting Time ~ Clifford Jordan | By Eddie Carter

Clifford Jordan enters the spotlight to begin November with a wonderful 1961 quintet date called Starting Time (Jazzland JLP 52/JLP 52S). It was the tenor saxophonist’s seventh album as a leader and second on the label following A Story Tale. He was born in Chicago, Illinois, and early in his career, played with Max Roach and Sonny Stitt and was also a member of a few rhythm and blues groups. Clifford recorded three albums at Blue Note after moving to New York in 1957. Here, he is joined by Kenny Dorham on trumpet, Cedar Walton on piano, Wilbur Ware on bass, and Albert Heath on drums. My copy is the 1984 US Original Jazz Classics Stereo reissue (Jazzland OJC-147).

The opener, Sunrise in Mexico by Kenny Dorham, first appeared on the trumpeter’s album, Whistle Stop. The front line begins the introduction in unison, segueing into the quintet’s mid-tempo melody. Clifford is up first, and then Cedar has a satisfying statement. Wilbur and Albert share a brief comment before the group’s closing chorus fades out slowly. Extempore is a blues by Clifford Jordan that gets underway with the ensemble’s inviting theme. Jordan opens with a solo as smooth as velvet, and then Dorham glides through the second statement leisurely. Ware continues this bluesy trip in the following reading, and Walton speaks briefly ahead of the melody’s return and climax.

Down Through the Years is a very pretty ballad by the leader that the quintet begins with a delicately gentle melody. Clifford opens with a thoughtfully polite reading. Kenny takes a beautiful romantic interpretation next. Cedar closes with an elegantly serene performance preceding the ensemble’s tender reprise and conclusion. Quittin’ Time is the saxophonist’s lively way to end the first side with the group’s brisk theme. Jordan goes first with a spirited statement, and then Dorham keeps things rolling. Walton enters the next solo swiftly, and Heath swings comfortably in the closer, leading to the theme’s restatement and exit.

Side Two starts with One Flight Down, a funky blues by Cedar Walton that the quintet has some fun with. Cedar takes charge first with an infectiously laid-back solo. Kenny gets the next nod, and Jordan takes over for a short, satisfying statement leading to the closing chorus. Windmill by Kenny Dorham also comes from Whistle Stop and is a speedster from the quintet’s opening chorus. Dorham fires the first shot with an electrically charged interpretation. Jordan soars into an enthusiastic performance next, and then Walton shifts into high gear on the third reading. The leader has a vigorous exchange with Heath before the reprise and summation.

Don’t You Know I Care by Duke Ellington and Mack David is a quartet performance by Clifford and the rhythm section. The saxophonist is the featured soloist and begins with a warm tone on the melody and a beautifully phrased opening solo. Cedar shines briefly in a concise comment until Clifford reappears to take the song out tenderly. Mosaic by Cedar Walton became the title tune of an album by Art Blakey and The Jazz Messengers. The quintet begins with Dorham leading the way on the Eastern-flavored melody. Jordan takes the first statement, and then Dorham makes a profound impression next. Walton takes us into the ensemble’s reprise with a splendid solo.

Orrin Keepnews produced Starting Time, and Ray Fowler was the recording engineer. The sound quality of this OJC reissue is wonderful, with a soundstage that places the listener’s sweet spot in the studio as the musicians are playing. Clifford Jordan recorded thirty-six albums as a leader, and as a sideman, he appeared with some of the greatest musicians in jazz. For those fans of the tenor sax who enjoy a great hard-bop album, I invite you to check out Starting Time by Clifford Jordan on your next record-shopping trip. It’s a terrific record that I highly recommend as a welcome addition to any jazz library!

~ A Story Tale (Jazzland JLP 40/940S), Mosaic (Blue Note BLP 4090/BST 84090), Whistle Stop (Blue Note BLP 4063/BST 84063) – Source: Discogs.com © 2023 by Edward Thomas Carter

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Requisites

The Waiting Game ~ Tina Brooks | By Eddie Carter

Tina Brooks enters this morning’s spotlight with what would be his final album, The Waiting Game (Blue Note TOCJ-66075). He recorded exclusively for Blue Note over three years as a leader and sideman, but only one of his records, True Blue, would be released during his lifetime. This morning’s album initially hit the Japanese stores in 1999 as a CD album and reached the US a few years later. Joining the tenor saxophonist is a superb supporting cast: Johnny Coles on trumpet, Kenny Drew on piano, Wilbur Ware on bass, and Philly Joe Jones on drums. My copy is the 2021 Blue Note Tone Poet Series Stereo audiophile reissue (BST-40536).

Side One starts with Talkin’ About, the first of five tunes by Tina Brooks. The rhythm section’s introduction segues into the quintet’s easygoing melody. Johnny has the first relaxing solo; and then Tina delivers the next message comfortably. Kenny follows with a laid-back reading, and Wilbur goes for an easy stroll into the ensemble’s reprise. One For Myrtle picks up the pace significantly from Philly’s brief introduction to the group’s brisk theme. Tina launches the solos; then Johnny shows his energetic exuberance next. Kenny follows with a sizzling reading. Wilbur is up next with a quick flight, and Philly turns in an exciting finale ahead of the theme’s restatement and abrupt ending.

Dhyana opens with the ensemble swinging easily on the danceable melody. Tina gets things going with a splendid opening statement. Johnny follows with a delightful reading, and Kenny closes with an exceptional solo. The quintet’s closing chorus features a brief comment by Wilbur just before the climax. Side Two comes to life with the front line and Philly collaborating in the introduction to David The King ahead of the quintet’s Middle Eastern theme. Johnny takes the song’s first stirring solo. Tina sails smoothly into the second statement. Kenny delivers a dazzling reading of his own, and Wilbur takes a short, satisfying walk toward the song’s conclusion.

Stranger In Paradise by Chet Forrest and Robert Craig Wright begins with a brief introduction by Philly that blossoms into Tina and the rhythm section stating the melody. Johnny steps up first with an impressive statement. Tina swings skillfully next, and Kenny glows brightly on the closer, leading to the reprise and gentle fadeout. The Waiting Game kicks off with the ensemble’s invigorating beat to the melody. Tina blows with feeling in the first solo spot, paving the way for Johnny’s spontaneous ideas that flow constantly. Kenny ends with a few marvelously executed ideas before the theme’s restatement and abrupt halt.

Alfred Lion produced the original session, and Rudy Van Gelder was the recording engineer. Joe Harley produced the audiophile reissue, and Kevin Gray mastered this album. The reissue’s sound quality is amazing, with a stunning soundstage and excellent dynamics. The pressing is extremely quiet until the music starts. The gatefold photos are breathtaking and worthy of hanging on your wall. The front and rear covers are gorgeous, and the use of 180-gram audiophile vinyl is the icing on the cake. If you’re in the mood for an excellent album by one of the best, underrated tenor saxophonists, I invite you to check out The Waiting Game by Tina Brooks on your next record-shopping trip. It’s a great album if you love jazz and are a hard-bop fan that’s highly recommended for a spot in your library!

~ True Blue (Blue Note BLP 4041/BST 84041) – Source: Discogs.com ~ Stranger In Paradise – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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Requisites

Peer Pressure ~ Brian Lynch Sextet | By Eddie Carter

This morning’s discussion is about a flugelhorn (track: B2) and trumpet (tracks: A1 to A3, B1, B3) player named Brian Lynch, who I first heard on Chippin’ In by Art Blakey and The Jazz Messengers. Peer Pressure (Criss Cross Jazz 1029) by The Brian Lynch Sextet is Lynch’s debut, and he was born in Urbana, Illinois. He grew up in Milwaukee and got a degree from the Wisconsin School of Music. Brian’s played with quite a few jazz greats and currently is a faculty member of New York University, the North Netherlands Conservatory, and the University of Miami. The other members of the ensemble are Jim Snidero (tracks: A1, A3, B2, B3) on alto sax, Ralph Moore (A1, A3, B1, B2) on tenor sax, Kirk Lightsey on piano, Jay Anderson on bass, and Victor Lewis on drums. My copy is the 1987 Netherlands Stereo release.

Side One starts with the trio’s carefree introduction to Thomasville by Tommy Turrentine. The horns take over to deliver the melody in unison. Jim is up first with a delightfully cheerful solo; then Brian takes a comfortable stroll. Ralph takes care of business next, and Victor concludes with an exchange with each horn ahead of the reprise and ending. Benny Golson’s Park Avenue Petite is a quartet highlight that opens with Lightsey’s introduction, segueing into Lynch’s elegantly touching theme and opening statement. Lightsey follows with a sensuously tender interpretation before Lynch infuses the finale with sentimental warmth, leading to a gentle, nostalgic ending.

The title tune, Peer Pressure by Brian Lynch, takes off at a fast clip from the sextet’s brisk introduction and theme. Brian opens with a lively statement, and then Jim takes a high-spirited romp. Ralph swings with authority next. Kirk follows with an excellent reading and shares the finale with Victor, preceding the ending theme and exit. The Outlaw by Horace Silver begins Side Two with the ensemble easing back the throttle in their introduction and melody. Lynch gets busy on the opening statement. Moore adds a bit of joy in the second interpretation, and Lightsey has a few things to say preceding the theme’s return.

Brian Lynch’s Change of Plan shows off the leader’s softer side and features him on flugelhorn for the sextet’s pretty melody. Brian opens with an eminently disciplined solo. Jim and Ralph share the next statement; then Jay gives a beautiful reading. Kirk has the last word with a tasteful comment into the reprise and soft conclusion. Lynch’s ‘Nother Never closes the album at a breakneck pace from the start of the ensemble’s melody. Snidero tears into the opening solo vigorously; then Lynch moves like a whirlwind in the following statement. Lightsey takes an exhilarating turn next, and Lewis engages in a rapid exchange with the front line before the close.

Gerry Teekens produced Peer Pressure, and Rudy Van Gelder was behind the dials of this digital recording. The sound quality is excellent, with a stunning soundstage throughout the highs, midrange and bass that isn’t thin or harsh. Brian Lynch recorded twenty-one albums as a leader and collaborated with Eddie Palmieri on eleven others. If you’re seeking an album with excellent musicians and enjoyable tunes, I invite you to audition Peer Pressure by The Brian Lynch Sextet on your next record shopping trip. It’s quickly become a favorite of mine and will feel right at home in your library with each listen!

~ Chippin’ In (Timeless SJP 340) – Source: Discogs.com
~ Brian Lynch – Source: Album liner notes by Mike Hennessey, Wikipedia.org
© 2023 by Edward Thomas Carter

CD Bonus Track: I Concentrate On You

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