Jazz Poems

WE REAL COOL THE POOL PLAYERS SEVEN AT THE GOLDEN SHOVEL We real cool. We Left school. We Lurk late. We Strike straight. We Sing sin. We Thin gin. We Jazz June. We Die soon. GWENDOLYN BROOKS

from Jazz Poems | Selected and edited by Kevin Young

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Requisites

The Rat Race Blues ~ Gigi Gryce | By Eddie Carter

Multi-instrumentalist Gigi Gryce was one of the most exciting jazz musicians during the hard-bop era. In addition to the alto sax, he also played the flute and clarinet. He was also known as a brilliant arranger and composer. This morning’s record from the library, The Rat Race Blues (Prestige New Jazz NJLP 8262), is a splendid 1960 session that was one of the best records he recorded between 1955 and 1960. It’s the quintet’s second appearance together following their previous release, The Hap’nin’s. The ensemble consists of Richard Williams on trumpet, Gigi Gryce on alto sax, Richard Wyands on piano, Julian Euell on bass, and Mickey Roker on drums. My copy is the 1983 U.S. Original Jazz Classics Mono reissue (Prestige New Jazz OJC-081).

Side One opens with The Rat Race Blues by Gigi Gryce. A fiery uptempo smoker that begins with a scintillating introduction by Gigi and Richard soaring over the rhythm section. Wyands begins the first solo with his fingers flying fiercely over the keys. Williams opens the throttle on the muted trumpet next, and Gryce heightens the excitement in the finale. Strange Feelin’ by Sam Finch slows the speed to a medium pace for the ensemble’s relaxing melody. Williams steps up first for a carefree solo. Gryce gets into something good in the following reading. Wyands concludes with a charming interpretation, leading to a perfect climax.

Boxer’s Blues by Gigi Gryce begins with a two-instrument dialogue between Richard and Wyands. Gigi, Julian, and Mickey join them for a mellow theme. Gigi starts the solos with a lovely melodic line. Williams lays down the next elegant groove. Wyands takes over to give a graceful performance ahead of the reprise and slow fade. Blues In Bloom by Norman Mapp begins Side Two with a soft-voiced bass solo by Euell that segues into the quintet’s melody. Gryce goes to work first with an exceptionally tender tone, and then Williams carefully caresses the second reading with sensitivity. Richard delivers the closer with plenty of heart and soul into the theme’s restatement.

Monday Thru Sunday, also by Norman Mapp, is a slow blues that reaches a medium beat for the ensemble’s melody. Gigi solos first with a beautifully conceived interpretation. Williams maintains the therapeutic tempo in the second reading. Wyands is entirely at ease in the third statement, and Euell makes an impeccably polite comment during the ending theme. Esmond Edwards supervised The Rat Race Blues, and Rudy Van Gelder was the recording engineer. Gary Hobish mastered this Original Jazz Classics reissue. The album’s sound quality is excellent, with a superb soundstage placing the listener’s sweet spot in the center, surrounded by the quintet as they’re playing.

The Rat Race Blues is the next to last record Gigi Gryce would make before leaving the music scene to become a beloved music teacher in the Bronx. He continued teaching until just before his death at age fifty-seven on March 14, 1983. Of the eleven albums he recorded in those five years, The Rat Race Blues by Gigi Gryce is one of the gems that hard-bop fans shouldn’t miss on their next record shopping trip. It’s also a superb listening experience I’m sure you won’t be able to listen to just once!

~ The Hap’nin’s (Prestige New Jazz NJLP 8246) – Source: Discogs.com © 2024 by Edward Thomas Carter

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Jazz Poems

JAZZ BAND Play that thing, you jazz mad fools! Boil a skyscraper with a jungle Dish it to ‘em sweet and hot— Ahhhhhhhhh Rip it open then, sew it up, jazz band! Thick bass notesfrom a moon faced drum Saxophones moan, banjo strings hum High thin notes from the cornet’s throat Trombone snorting, bass horn snorting Short tan notes from the piano And the short tan notes from the piano Plink, plank, plunk a plunk Plink, plank, plunk a plunk Chopin gone screwy, Wagner with the blues Plink, plank, plunk a plunk Got a date with Satan—ain’t no time to lose Plink, plank, plunk a plunk Strut it in Harlem, let Fifth Avenue shake it slow Plink, plank, plunk a plunk Ain’t goin’ to heaven nohow— crowd up there’s too slow Plink, plank, plunk a plunk Plink, plank, plunk a plunk Plunk Do that thing, jazz band! Whip it to a jelly Sock it, rock it; heat it, beat it; then fling it at ‘em Let the jazz stuff fall like hail on king and truck driver queen and laundress, lord and laborer, banker and bum Let it fall in London, Moscow, Paris, Hongkong, Cairo, Buenos Aires, Chicago, Sidney Let it rub hard thighs, let it be molten fire in the veins of dancers Make ‘em shout a crazy jargon of hot hosannas to a Fiddle-faced jazz god Send Dios, Jehovah, Gott, Allah, Buddha past in a high stepping cake walk Do that thing, jazz band! Your music’s been drinking hard liquor Got shanghied and it’s fightin’ mad Stripped to the waist feedin’ ocean liner bellies Big burly bibulous brute Poet hands and bone crusher shoulders Black sheep or white? Hey, Hey! Pick it, papa Twee twa twee twa twa Step on it, black boy Do re mi fa so la ti do Boomp boomp Play that thing, you jazz mad fools!

FRANK MARSHALL DAVIS

from Jazz Poems | Selected and edited by Kevin Young

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The Eternal Triangle ~ Freddie Hubbard and Woody Shaw | By Eddie Carter

Freddie Hubbard and Woody Shaw enter this morning’s spotlight with a superb 1987 sextet album, The Eternal Triangle (Blue Note B1-48017). I’m a long-time fan of both trumpet players and have been listening to their albums recently. The Eternal Triangle is their second collaboration after Double Take, recorded and released two years earlier. Freddie is heard on the left channel, and Woody is heard on the right channel. Returning from the earlier session are Kenny Garrett on alto sax, Mulgrew Miller on piano and Carl Allen on drums. Ray Drummond takes over on bass for this date. My copy is the original U.S. Stereo release.

Down Under by Freddie Hubbard starts Side One with the rhythm section’s infectious introduction to the sextet’s danceable theme. Freddie kicks off the opening line with a strong tone. Mulgrew continues the effortless swing in the following reading. Woody makes quick work of the third solo, and then Kenny has a fine spot ahead of the ensemble’s return that fades out slowly. The Eternal Triangle by Sonny Stitt comes at you fast and furious from the sextet’s rapid-fire melody. Hubbard takes us for a high-speed ride first, and then Garrett heats things up in the second statement. Shaw steps up next for an aggressive reading. Miller gives a spirited presentation, and Carl ends the solos with a brisk workout into the reprise and quick stop.

The Moontrane by Woody Shaw takes off with him leading the ensemble in a lively melody. Woody is the first soloist, and he comes out swinging. Kenny gives a brisk reading in the second spot. Freddie adds a bit more fuel to the fire in the following statement, and Mulgrew leads us to a swinging conclusion with an inspired interpretation. Side Two gets underway with the sextet keeping its foot on the gas for Calling Miss Khadija by Lee Morgan. It begins with the rhythm section’s introduction; then, the front line joins in for the melody. Shaw ignites the song’s first brightly burning flame. Miller whets our appetite further in the second statement, and then Hubbard has a few memorable moments next. Garrett comes in to give a sizzling solo, and Carl gets the last word in a vigorous finale before the ensemble returns.

I first heard Freddie Hubbard’s Nostrand and Fulton on an earlier album, Here To Stay. The song’s title comes from a Brooklyn intersection, and the sextet begins the melody vibrantly. Freddie dives into the opening solo and wails, then Kenny follows with some heated sax play. Woody tackles the next reading with passionate fire, and Mulgrew closes with a very enthusiastic statement ahead of the theme’s reprise and conclusion. Tomorrow’s Destiny by Woody Shaw is off to the races from the sextet’s opening chorus. Miller is up first with a solo of high-spirited delight. Shaw goes to work next on a swift reading, then comes Hubbard’s exhilarating statement. Garrett builds the song’s final interpretation into an impressive conclusion preceding the ensemble’s ending theme and exit.

Michael Cuscuna and Don Sickler produced The Eternal Triangle. The recording engineer was Rudy Van Gelder. It is a full digital recording that emerges from your speakers with a stunning soundstage. The musicians are transported to your listening room with excellent fidelity. The pressing is also quite good, and the record is noticeably quiet until the music starts. If you are a fan of Freddie Hubbard and Woody Shaw, I hope you will consider The Eternal Triangle on your next record shopping trip. In my opinion, it’s one of the best albums in both musician’s discographies and a terrific release worthy of a spot in any jazz lover’s library!

~ Double Take (Blue Note BT-85121), Here To Stay (Blue Note BST-84135) – Source: Discogs.com © 2024 by Edward Thomas Carter For the serious collector of jazz… #Jazz #Classic #Collectible #Music #Notorious

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Jazz Poems

HOMAGE TO LITERATURE When you imagine trumpet-faced musicians blowing again inimitable jazz no art can accuse nor canonadings hurt, or coming out of your dreams of dirigibles again see the unreasonable cripple throwing his crutch headlong as the headlights streak down the torn street, as the three hammerers go One, Two, Three on the stake, triphammer poundings and not a sign of new worlds to still the heart; then stare into the lake of sunset as it runs boiling, over the west past all control rolling and swamps the heartbeat and repeats sea beyond sea after unbearable suns; think poems fixed this landscape: Blake, Donne, Keats. MURIEL RUKEYSER

from Jazz Poems | Selected and edited by Kevin Young

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