Jazz Poems

FOUR BONGOS: TAKE THE A TRAIN for Vinnie

from Jazz Poems ~ Selected and Edited by Kevin Young

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The Final Tour: Copenhagen, March 24, 1960 ~ Miles Davis and John Coltrane | By Eddie Carter

In this morning’s discussion, I’m presenting an album by Miles Davis and John Coltrane from the library for your consideration. The Miles Davis Quintet performed at the distinguished Denmark venue, Tivolis Koncertsal, for the first time as part of The Spring 1960 Jazz at The Philharmonic European Tour. However, changes were on the way, as the album’s title suggests, The Final Tour: Copenhagen, March 24, 1960 (Columbia Legacy 88985498741). It would mark the end of an era as tenor saxophonist John Coltrane was looking to leave and start his group. The rhythm section, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums, would also leave to become The Wynton Kelly Trio.

Despite the underlying questions facing the trumpeter, the quintet’s three performances for the capacity audience that evening were brilliant and a highlight of the tour. To kick things off, Norman Granz, the master of ceremonies, introduced each man individually, with the crowd’s largest ovations reserved for Paul, John, and Miles. My copy is the 2018 European Mono Limited Edition reissue. With a few snaps of the leader’s fingers, the trio kicks off So What by Miles Davis with a short introduction segueing into Miles’ and John’s infectious melody, a captivating tune that immediately draws you in. Davis ignites the first solo with intense heat. John comes in next to dispense a bit of rhythmic fury, and then Wynton infuses the finale with jubilant enthusiasm ahead of the closing chorus and climax.

The pace slows to mid-tempo as the ensemble begins On Green Dolphin Street by Bronislaw Kaper and Ned Washington from the 1947 film Green Dolphin Street. The first part of this standard opens with the theme unfolding at a leisurely pace and Miles, on the muted horn, leading the way into a delightful opening statement. John soars cheerfully into a captivating, well-behaved performance. Part Two of On Green Dolphin Street starts on the second side, with Wynton cruising at a comfortable speed behind both horns in the following interpretation, as smooth as silk. Paul takes his first opportunity to solo with a brisk footnote on the closing statement that swings masterfully into the theme’s return and finale.

All Blues by Miles Davis affords the leader, John, and Wynton ample solo space. Paul gets things off to a good start with a concise introduction, leading to Miles’s carefree theme back on the muted horn. He removes it to begin the opening statement. John follows him with a relaxing interpretation that is as enjoyable as a day at the beach. Wynton sustains the easygoing pace with a gorgeous performance into the ending theme and soft summation. The closer is an incomplete take of Miles’ The Theme, a deliberate choice that signals the end of the set and album, lasting only thirty seconds until it fades to nothingness. The mastering of The Final Tour: Copenhagen, March 24, 1960, by Mark Wilder is a demonstration class and a great way to show off a mid-level or high-end audio system.

The vinyl is exceptionally quiet until the music starts, and the instruments have outstanding detail. This reveals an incredible soundstage with superbly presented music, thanks to jazz producer George Wein, Danish Radio and the Danish Programming Company, who originally recorded the shows for broadcast. This is my first LP from the We Are Vinyl series from Columbia-Legacy, and judging by its superb sound quality, it won’t be the last. If you’re a fan of either of these giants and are looking for a live jazz album where each musician is at the peak of their creativity. In that case, I enthusiastically invite you to check out The Final Tour: Copenhagen, March 24, 1960, by Miles Davis and John Coltrane. It’s an LP that merits serious consideration for any jazz fan’s library, and I am sure you’ll enjoy it!

~ On Green Dolphin Street – Source: JazzStandards.com

© 2024 by Edward Thomas Carter

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Jazz Poems

MELODY FORENSIC

If someone told me I only had one hour to live,

I’d spend it choking a white man. I’d do it nice and slow.

MILES DAVIS

Years in the gristle of knuckles. Thick muscle

at the palm’s base. Fingers squeezing,

digging valve keys to mold exhales. Some pain

pinched by the reed—would it wail

if you found a pink neck before leadpipe brass?

Forgive the epigraph. Don’t apologize,

your music may taste funny to someone

after reading this. But damn Miles (if I can call you

Miles) why do black men have to scream in art?

What wants off our tongue floats

in the same ether lungs feed wood-wind

(now you got me doing it). Listen

if “I hurt” falls deaf on their ears,

Kind of Blue is no different.

The black-sound congeals in mason jars

lined across the tops of rickety stoves.

We been frying our story, over-seasoned

with silences. Miles

(I’m calling

you Miles) you don’t want to play. Sweet indulgence—

let’s pretend we’re back at the Five Spot, the poem

just another stage light. Move it,

put the trumpet down. Where would you start?

Maybe there, Mr. Cool at the bar—hear lolling,

eyes wilted from you blow,

a coil of saliva in his throat so

sure he can swallow your blue note whole.

KYLE DARGAN 

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Sound Pieces ~ Oliver Nelson | By Eddie Carter

My next record from the library is by Oliver Nelson, one of jazz’s finest arrangers, composers, and multi-instrumentalists, which is too good to leave sitting on the shelf. Few performances on LP ever reached the heights of his 1961 release, The Blues and The Abstract Truth, producing his biggest hit, Stolen Moments. Sound Pieces (Impulse A-9129/AS-9129) is one that did, and in the process, became one of the best albums in Nelson’s discography. What sets Sound Pieces apart is its unique combination of a large ensemble for three works of orchestral jazz on Side One and a quartet in a more intimate setting on Side Two. My copy is the original 1966 US Stereo release.

The personnel on this date are an all-star ensemble. John Audino (tracks: A1 to A3), Bobby Bryant (A1), Conte Candoli, Oliver Mitchell (A1 to A3), Al Porcino (A2, A3) on trumpet; Bill Byers (A2, A3), Dick Noel (A1), Ernie Tack (A1 to A3) on trombone; Red Callender (A2, A3) on tuba; Bill Hinshaw, Richard Perissi (A1 to A3) on French horn; Gabriel Baltazar Jr. and Bill Green (A1 to A3) on alto sax; Plas Johnson, Bill Perkins (A1 to A3) on tenor sax; Jack Nimitz (A1 to A3) on baritone sax; Oliver Nelson (A1 to B3) on soprano sax; Gabriel Baltazar Jr., Bill Perkins (A2, A3) on clarinet; Steve Kuhn (B1 to B3), Mike Melvoin (A2, A3) on piano; Ray Brown (A2, A3), Ron Carter (B1 to B3) on bass; Shelly Manne (A2, A3), Grady Tate (B1 to B3) on drums.

Sound Piece For Jazz Orchestra is an unforgettable story of music told in two main themes: the first one is a calm state of tranquility. The second is a searing portrayal originally written for The Stuttgart Radio Dance Band in 1963. The song opens with the bass clarinets sounding a commanding call and an exceptional utilization of brass and winds to announce the majestic chorus with strong statements. Originally written for alto saxophone, Oliver is featured on soprano sax and is the song’s only soloist in both sections. When the pace slows down to a softer tempo, he delivers a thoughtfully sensitive interpretation, caressing each phrase with the clarinets and horns discreetly in the background, culminating in a tender finale. The rhythm section shifts the song back to uptempo for the orchestra to restate the melody, stepping aside for Nelson, who gives an intense workout on the closer before the stunning finale.

Flute Salad is an original by Oliver Nelson that, as the title suggests, places the flutes in front, leading the orchestra in the animated opening and ending melodies. Conte Candoli is the featured soloist, and his muted horn delivers an air of assurance that flows sonorously with the brass section in support. The Lady From Girl Talk by Oliver was written for Actress Virginia Graham, who hosted Girl Talk, a syndicated program using this tune as her theme. The trombones announce the introduction before evolving into the orchestra’s full-bodied melody. Mike Melvoin begins a taut opening solo of rhythmic joy, illustrating his nimble hands at work. Oliver follows, his soprano moving gracefully with soulful precision on the closer for a compelling reading that is especially impressive.

The Shadow of Your Smile by Johnny Mandel and Paul Francis Webster is also known as Love Theme From The Sandpiper. Steve, Ron, and Grady join Oliver in presenting a Bossa Nova version, opening with the introduction as if the quartet is playing the standard at a slow tempo. The mood moves upward to a medium beat for the melody with an energetic swing led by Nelson. Steve charges the opening statement with mild energy and agile phrases, exhibiting the cohesive harmony between himself, Carter, and Tate. Oliver closes with an affectionate performance of deep emotion, rich harmony, and warm phrasing that, to these ears, captures the essence of expressing the love the lyrics depict.

Patterns is an uptempo original that first appeared in Oliver’s 1966 Book, Patterns For Improvisation (Jamey Abersold), a collection of improvisational jazz patterns in various meters and feels that spells out some of the basic building blocks of the jazz language. It is the most adventurous and interesting tune on the album, beginning with a thematic statement that the quartet takes as far as it will go. The opening solo by Nelson is well-developed. Kuhn heightens the mood by supplying a scintillating closing presentation, held firmly by the always energetic foundation of Carter and Tate into the quartet’s reprise and climax.

The final track is Oliver’s Elegy For a Duck, which he recorded earlier in the year on Peter and The Wolf with organist Jimmy Smith. Based on the original work by Russian composer, conductor and pianist Sergei Prokofiev, Ron and Grady establish the introduction with a bouncy beat that is maintained throughout the entire song. Oliver and Steve join them for a bit of relaxed spontaneity on the theme. Then, the saxophonist settles in for a beautifully articulated opening statement that is brisk and merry. Kuhn closes with a refreshing performance of intriguing ideas, subtle moods, and impressions on each chorus, which is a deft musical portrayal.

The East Coast orchestra tunes were recorded by Bob Simpson of RCA Studios in New York, and the man behind the dials in the West Coast quartet sessions was Jim Lockert of Western Recorders. I was extremely impressed with each man’s work on Sound Pieces, and the sound quality is spectacular on both sides of the album. It is especially impressive during the orchestra tracks; Lockert accurately captures the brass, reeds, and drums and is as close to the real thing as I have heard. The highs are clear, the character of each instrument at midrange is crisp and natural, and there’s ample response in the bass region.

Oliver Nelson recorded six small group albums for Prestige, playing the alto and tenor sax, and nine more albums for Impulse, affirming his inspired leadership. He scored background music for films and television shows after moving to the West Coast in 1967. Oliver also recorded several excellent orchestra albums, including Afro-American Sketches in 1962 and Full Nelson in 1963, which are two of his finest LPs alongside The Blues and The Abstract Truth. He also arranged and produced records for some of the elite pop stars during the latter half of the sixties. It is no wonder why the Jazz and Pop communities mourned him deeply after his death from a heart attack at the age of forty-three on October 28, 1975!

I was fourteen when I first heard this album; it made quite an impression on me then, and I still find something new in the music each time I listen to it now. Impulse LPs also set a high standard for their releases with laminated gatefold covers, a distinctive spine color, incredible photography, knowledgeable liner notes, and great music. Sound Pieces is a tour-de-force of brilliant arrangements, incredible artistry, superb writing, and unparalleled listening pleasure by Oliver Nelson. A remarkable talent who, whether on record or in concert, always gave jazz fans exciting performances and albums that are still considered a must-have for any library!

~ Patterns For Improvisation – Source: Amazon.com

~ Afro-American Sketches (Prestige PRLP 7225/PRST 7225); Full Nelson (Verve Records V-8508/V6-8508); Peter and The Wolf (Verve Records V-8652/V6-8652); The Blues and The Abstract Truth (Impulse! A-5/AS-5); Bob Simpson, RCA Studios, Jim Lockert, Western Recorders – Source: Discogs.com

~ Sound Piece For Jazz Orchestra, The Stuttgart Radio Dance Band, Flute Salad, The Lady From Girl Talk, Patterns, Elegy For a Duck – Source: Album liner notes by Nat Hentoff

~ Girl Talk, Virginia Graham – Source: IMDB.com

~ Sergei Prokofiev – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Jazz Poems

Dexter Gordon’s tenor sax

plays “April in Paris”

inside my head all the way back

on the bus from Double Bay

Round Midnight, the ‘50s,

cool cobblestone streets

resound footsteps of Bebop

musicians with whiskey-laced voices

from a boundless dream in French.

Bud, Prez, Webster, & The Hawk,

their names run together riffs.

Painful gods jive talk through

bloodstained reeds & shiny brass

where music is an anesthetic.

Unreadable faces from the human void

float like torn pages across the bus

windows. An old anger drips into my throat,

& I try thinking something good,

letting the precious bad

settle to the salty bottom.

Another scene keeps repeating itself:

I emerge from the dark theatre,

passing a woman who grabs her red purse

& hugs it to her like a heart attack.

Tremolo. Dexter comes back to rest

behind my eyelids. A loneliness

lingers like a silver needle

under my black skin,

as I try to feel how it is

to scream for help through a horn.

YUSEF KOMUNYAKAA

from Jazz Poems ~ Selected and Edited by Kevin Young

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