Requisites
Joy Spring ~ Joe Pass Quartet | By Eddie Carter
One of my favorite guitarists, Joe Pass, enters this morning’s spotlight with a 1964 live date that sat in the vault for seventeen years. Joy Spring (Blue Note Classic LT-1103) by The Joe Pass Quartet showcases their February 6 performance at the Encore Theatre. Joe is joined on stage by Mike Wofford on piano, Jim Hughart on bass, and Colin Bailey on drums. My copy is the original 1981 US Stereo release. Side One opens with the title tune Joy Spring by Clifford Brown. The quartet establishes the theme leisurely, paving the way for Joe to take a happy strut on the first reading. Mike cruises comfortably through the following statement, then Jim concludes with a laid-back walk toward the finale and the crowd’s ovation.
Some Time Ago by Sergio Mihanovich begins with a beautiful introduction by Wofford. Pass leads the quartet in an exceptionally gentle melody, then devotes an equal degree of care to the first interpretation. Wofford makes the subsequent point with an affectionate touch ahead of the guitarist’s thoughtfully tender climax. The tempo moves upward for the ensemble’s spirited theme to The Night Has A Thousand Eyes by Buddy Bernier and Jerry Branin. Joe takes the first solo spot and swings with an intensity that builds excitement as it unfolds. Mike keeps the beat going with a brisk workout complemented by Jim and Colin’s lively accompaniment ahead of the quartet’s reprise and disappearance to the audience’s applause.
Side Two starts with Relaxin’ at Camarillo by Charlie Parker. The title refers to Parker’s six-month recovery from alcohol and drug addiction at the California State Hospital. The quartet sets the mood for what follows in an easy-swinging theme. Pass is given considerable space for an enjoyable opening statement, then Wofford has something to say in an impressive performance. Hughart takes a jaunty stroll in the closing reading into the theme restatement. There Is No Greater Love by Isham Jones, and Marty Symes begins with a guitar and piano duet, segueing into the ensemble’s blissful melody. Joe opens with a very engaging statement, then Mike delivers a charming presentation. Jim puts an exclamation point in the closing interpretation preceding the quartet’s soft summation.
Richard Bock produced Joy Spring, and Dino Lappas recorded the quartet’s performance. The sound quality is excellent, with an exquisite soundstage. Everyone is in top form, and the ensemble never fails to satisfy during this set of irresistibly enticing music. In a career lasting five decades, Joe Pass was regarded by critics and fans alike as one of the most gifted musicians in jazz. His discography as a leader and a sideman is extensive, and he always brought something unique to each session. Joe’s solo albums and work with Ella Fitzgerald and Oscar Peterson have also stood the test of time. He died from liver cancer at age sixty-five on May 23, 1994. If you like jazz guitar and are a fan of Joe Pass, I invite you to check out Joy Spring by The Joe Pass Quartet on your next vinyl hunt. It’s a beautiful live performance that’s easy on the ears and merits sincere consideration for any jazz library!
~ The Night Has a Thousand Eyes; There Is No Greater Love – Source: JazzStandards.com ~ Joy Spring, Relaxing at Camarillo – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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The Jazztet At Birdhouse ~ The Jazztet | By Eddie Carter
This morning’s subject is a recent addition to my library by The Jazztet. The group was co-founded by Art Farmer and Benny Golson in 1959. The Jazztet At Birdhouse (Argo LP 688/LPS 688) is a 1961 live release documenting the sextet’s performance at the Chicago jazz club. It was their first live album and their fourth as an ensemble. The first three are Meet The Jazztet (1960), Big City Sounds, and The Jazztet and John Lewis (1961). The personnel is Art Farmer on flugelhorn (tracks: A3, B2), trumpet (A1, A2, B1 to B3), Thomas McIntosh on trombone, Benny Golson on tenor sax, Cedar Walton on piano, Thomas Williams on bass, and Albert Heath on drums. My copy is the 1975 Japanese Stereo Reissue (Cadet MJ-1011) by Victor Musical Industries.
Side One opens with Junction by Benny Golson, beginning leisurely with the sextet’s collective melody. The saxophonist begins the first reading comfortably, then gradually builds to an aggressive conclusion. Art takes over and is equally effective in the second statement, with the front line complimenting him ahead of the theme’s restatement and finale. The ensemble presses the pedal to the floor in the uptempo cooker, Farmer’s Market. They quickly begin the melody in unison, stepping aside for Benny, who blows fire in the opening solo. Art swings rapidly into the second reading, then Albert illustrates his energetic brushwork briefly. Cedar vigorously delivers the song’s final solo before the sextet reconvenes to end the song abruptly.
Art puts the flugelhorn to work on the jazz standard, Darn That Dream, by Jimmy Van Heusen and Eddie De Lange. He makes the song his own with a tender rendition of the theme. As the song’s only soloist, he gives an elegant interpretation supported gently by the front line preceding a peaceful finale. The pace picks up again to start Side Two with Shutterbug by J.J. Johnson. The song flies fast from the opening notes of the sextet’s vigorous melody. Art’s back on trumpet for the opening solo, and he’s going at breakneck speed. Benny follows him furiously in the second interpretation, then Albert applies the finishing touches with enthusiastically agile brushwork leading to an exuberant ending.
Art returns to the flugelhorn for a gorgeous rendition of ‘Round Midnight by Thelonious Monk, Bernie Hanighen, and Cootie Williams. The jazz standard receives a regal treatment beginning with the flugelhorn leading the front line through the melody. Benny joins in briefly; then, the ensemble sets the scene for Golson to give a hauntingly beautiful statement. Art is up next and switches to the trumpet for a tender performance. Cedar indulges in a bit of nostalgia in the closer leading to the climax. Thomas McIntosh’s November Afternoon starts with the sextet’s lively theme. Art takes the lead with a vibrant opening statement; then, Tom cooks briefly on his only interpretation. Benny gets the spotlight last with an exceptionally satisfying reading preceding the group’s exit.
Kay Norton, the group’s manager, produced The Jazztet at Birdhouse, and Ron Malo was behind the dials of the recording. This album highlights Benny Golson’s capabilities as an arranger; he arranged all the tunes except November Afternoon, which was arranged by Thomas McIntosh. The sound quality is good for the period, and the band’s exhilarating energy comes through on every track. The Jazztet at Birdhouse is a lesser-known album in their discography, but an overlooked gem deserving broader recognition and should be considered the next time you’re vinyl shopping. It should also be a welcome addition to any jazz library, especially if you enjoy excellent Hard-Bop or are an Art Farmer and Benny Golson fan!
~ Big City Sounds (Argo LP 672/LPS 672), Meet The Jazztet (Argo LP 664/LPS 664), The Jazztet and John Lewis (Argo LP 684/LPS 684) – Source: Discogs.com ~ Darn That Dream, ‘Round Midnight – Source: JazzStandards.com © 2023 by Edward Thomas Carter
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It’s A Blue World ~ The Red Garland Trio | By Eddie Carter
The Red Garland Trio enters the spotlight to begin this discussion with It’s A Blue World (Prestige PRLP 7838/PRST 7838), an excellent 1958 trio session that didn’t hit the stores until 1970. It was Red’s tenth release for Bob Weinstock’s label, and he’s working with a stellar rhythm section, Paul Chambers on bass, and Arthur Taylor on drums. My copy is the 1972 US Stereo reissue (Prestige PRT-7838). Side One starts with This Can’t Be Love by Richard Rodgers and Lorenz Hart from the 1938 musical, The Boys From Syracuse. The trio opens the song at a medium tempo with the pianist’s light touch stating a charming melody. Paul goes first and takes a pleasant walk with the bass; then Red entertains us with a highly satisfying reading while Art’s brushwork keeps them moving into the reprise and close.
The pace slows slightly for Buddy Johnson’s beautiful ballad Since I Fell For You. The album’s longest song allows Garland and the rhythm section a broader canvas on which to work as they cruise through the theme. Red opens with a relaxing interpretation as enjoyable as a day at the beach, and Paul takes a carefree stroll in the closing solo preceding the climax. Crazy Rhythm by Irving Caesar, Joseph Meyer, and Roger Wolfe Kahn begins Side Two at a lively tempo for the trio’s melody. It comes from the musical, Here’s Howe and was initially heard on his 1962 album, Dig It! Red’s opening solo is full of energy, then Paul has a few crisp choruses next, and Art delivers a stirring performance preceding the finale.
In their rendition of the jazz standard, Teach Me Tonight, by Gene De Paul and Sammy Cahn, the trio offers the listener a delightful treat. Garland leads off with a delicately tender opening chorus into a graceful interpretation. Chambers follows with an exquisitely beautiful solo, and then Red returns for a few final thoughts just before the theme’s restatement and a quiet ending. It’s A Blue World by Robert Wright, and George Forrest picks up the pace one final time and closes the album on an upbeat note. The mood is jubilant from the opening notes of the melody. Red starts the solos with a vibrant performance, then steps aside for Paul to walk briskly. Art shares the finale with Red in a lively conversation ahead of the closing chorus.
Bob Weinstock supervised It’s A Blue World, and Rudy Van Gelder was behind the dials of the recording. Despite the album’s stereo being electronically remastered, it’s a solid recording with a splendid soundstage that emerges from your speakers vibrantly. If you’re a fan of Red Garland and enjoy jazz piano trios, as I do, I invite you to consider It’s A Blue World on your next vinyl shopping trip. It’s an excellent album, perfect for listening to any time of day or evening, and it should also make an excellent addition to any jazz library!
~ Dig It! (Prestige PRLP 7229/PRST 7229) – Source: Discogs.com
~ Crazy Rhythm, Since I Fell For You, This Can’t Be Love – Source: JazzStandards.com
~ Teach Me Tonight – Source: Wikipedia.org
© 2023 by Edward Thomas Carter
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Scope ~ Buck Hill Quartet | By Eddie Carter
This week’s choice from the library is from Buck Hill, the wailing mailman from Washington, D.C. He delivered mail during the day and performed at night in the city’s jazz clubs. The Buck Hill Quartet enters the spotlight of this discussion with Scope (SteepleChase Records SCS-1123). It was his second album as a leader, and the follow-up to This Is Buck Hill, his debut from a year earlier. Buck’s capabilities as a composer are also on display as the tenor saxophonist wrote all the tunes. His bandmates again are Kenny Barron on piano, Buster Williams on bass, and Billy Hart on drums. My copy is the original 1979 Danish Stereo pressing.
Side One starts at a speedy clip with the title tune, Scope. Buck and company begin the melody quickly; then, the saxophonist flies out of the gate in a rapid opening solo. Kenny follows with an electrically charged reading while Buster and Billy propel them toward a brisk climax. Ballad Repeter slows the tempo down for the foursome’s tender theme, which is repeated with melodic beauty. Barron takes the lead with a delicately pretty reading that’s beautifully structured. Hill continues this serene sequence with warmth and sensitivity in the following interpretation, matched by the charming compliment of Williams and Hart into the saxophonist’s passionately elegant reprise and ending.
Blue Bossa, a Latin-flavored original, ends the first side on an upbeat note and grabs the listener from the start of the quartet’s infectious melody. Buck kicks off the solos with a festive presentation, then Kenny provides a happy showcase on the subsequent reading ahead of the closing chorus. Side Two gets underway with Beast Beautiful. It’s taken at a lively pace, and the saxophonist steps up first to give an energetic performance. Barron meets the challenge in the following interpretation with a youthful spirit and feeling. Williams significantly contributes to the final reading preceding the song’s abrupt climax.
The Sad Ones is a gorgeous ballad with a haunting poignancy in Buck’s delivery of the melody. The opening solo by Buck is a stunning showcase of warmth and tenderness that beautifully illustrates his creativity as a ballad composer. Kenny compliments the saxophonist with an emotionally moving presentation sustained by Buster and Billy’s gentle accompaniment into Buck’s delicate finale. Funk Dumplin’ is a blues that comes to life with the ensemble’s brisk theme. Hill starts the opening solo with a spicy flavor, then Barron spreads his wings in the following reading. Williams takes an exhilarating walk next, and Hart delivers a fascinating finale leading to the ensemble’s exit.
Nils Winther produced Scope, Elvin Campbell recorded the album, and Freddy Hansson was the mixing engineer. The sound quality is so good the listener will think they’re in the studio as the musicians are recording. The soundstage is stunning, and the record is silent until the music starts. If you’re a fan of Buck Hill or enjoy the tenor sax, I happily recommend and invite you to check out Scope by The Buck Hill Quartet on your next vinyl excursion. It’s an excellent album that will appeal to any novice or seasoned jazz fan and whet their appetite to hear more by the wailing mailman from Washington, D.C.
~ This Is Buck Hill (Steeplechase Records SCS 1095) – Source: Discogs.com
© 2023 by Edward Thomas Carter
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Barry Harris At The Jazz Workshop | By Eddie Carter
This morning’s subject is one of my favorite albums from the library. Barry Harris at The Jazz Workshop (Riverside RLP 326/RLP 1177) is a 1960 live date capturing the pianist in performance with two-thirds of Cannonball Adderley Quintet’s rhythm section, Sam Jones on bass, and Louis Hayes on drums. It was his debut on the label and his second release as a leader. My copy is the 1976 Riverside Original Recording Series Japanese Stereo reissue (SMJ-6123) by Victor Musical Industries. The album opener, Is You Is or Is You Ain’t My Baby by Louis Jordan and Billy Austin, begins with the trio cruising comfortably in the melody. Barry swings easily into the opening solo; then Sam enhances the appeal of the song’s lyrics in a splendid performance before Barry reappears to end the song softly.
Up next is Curtain Call, the first of three tunes by Barry Harris. After the trio states the theme, the pianist takes off for a speedy ride in the opening statement. Louis comes in next to have a short conversation with Harris leading to the closing chorus. The ensemble infuses Star Eyes by Gene de Paul and Don Raye with an infectious Latin-flavored melody and ending theme. In between them, Barry illustrates his melodic ideas efficiently while Sam and Louis collaborate tastefully in support. Charlie Parker’s Moose The Mooche begins with the trio’s easy-going theme. Harris sets the mood with a cheerful opening solo. Jones takes over for some leisurely walking, and Hayes puts his best foot forward in an exchange with Harris preceding the song’s climax.
Side Two gets underway with Lolita, a pretty song by Barry Harris with a toe-tapping tempo that gives the pianist the spotlight for the song’s only solo. Barry offers a smartly paced performance with exquisite accompaniment by Sam and Louis preceding a gorgeous finale. Morning Coffee, the leader’s third original, is what many of us drink to begin our day. Hayes introduces this tune, segueing into the ensemble’s lively melody. Harris kicks off the solos with an enjoyable romp; Sam contributes to the fun in the second reading. Louis sparkles in an exchange with Harris ahead of the exit. Don’t Blame Me by Jimmy McHugh and Dorothy Fields is a ballad highlight for Barry, who gives a sensuously beautiful performance supplemented by the gentle accompaniment of Sam and Louis, leading to a gorgeous ending.
Woody ‘n’ You by Dizzy Gillespie takes off briskly from the trio’s melody. Harris gets busy immediately on the opening statement; next, Jones takes an enthusiastic walk with the bass. Hayes gets the last word and heightens the group’s energy in a vigorous exchange with Harris before the conclusion and appreciative applause from the club crowd.
Orrin Keepnews produced Barry Harris at The Jazz Workshop, and Wally Heider was the recording engineer. Victor Musical Industries has done an excellent job remastering this reissue. The sound quality is gorgeous, transporting the listener to the club among the audience. If you’re a fan of Barry Harris or enjoy a good jazz trio, I highly recommend checking out Barry Harris at The Jazz Workshop the next time you’re out vinyl shopping. It’s a superb concert recording by one of the best pianists in jazz and is worthy of a spot in your library!
~ Don’t Blame Me, Star Eyes, Woody ‘n’ You – Source: Discogs.com ~ Is You Is or Is You Ain’t My Baby, Moose The Mooche – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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