Requisites

One Flight Up ~ Dexter Gordon | By Eddie Carter

This next entry from the library is an album I first heard in 1967 during one of my Saturday stops to Record Rendezvous in Cleveland, Ohio. It introduced me to tenor saxophonist Dexter Gordon who steps into the spotlight with his second LP recorded after moving abroad, One Flight Up (Blue Note BLP 4176). It follows an excellent 1963 quartet album titled Our Man In Paris.  Gordon was a staple on the jazz scene since the Bebop era in the forties while a member of Billy Eckstine’s Big Band and would become a major influence for two future giants, John Coltrane, and Sonny Rollins.

He chose to move abroad because he was treated much more fairly than here in the United States and was considered an equal rather than a second-class citizen. There was also plenty of work in some of the best jazz clubs Europe and France had to offer.  Dexter is assisted here by Donald Byrd on trumpet, Kenny Drew on piano, Neils-Henning Orsted Pedersen on bass, and Art Taylor on drums. My copy used in this report is the 1967 US Liberty Records Stereo reissue (BST 84176).

Side One opens with Byrd’s Tanya occupying the entire first side and giving Dexter, Donald, and Kenny plenty of solo space. The rhythm section charts its course with a brief introduction developing into a haunting theme led by both horns. Dexter works his magic on the opening chorus with nearly six-minutes of joyful bliss. Donald shows off his chops next with a brilliant-toned performance that keeps the listener’s interest throughout. Kenny turns in one of his very best performances on the finale with Neils-Henning and Art providing the articulate foundation into the out-chorus and gentle dissolve.

Side Two commences at a slightly faster beat than Tanya with Coppin’ The Haven by Drew. The trio makes a casual, laid-back introduction evolving into Byrd and Gordon’s comfortable groove on the theme. Dexter opens with a terrific performance, then Donald takes over for a reading as smooth as a sled on fresh snow. Kenny shows he’s perfectly at home on the closer with a sharp interpretation possessing a light, refreshing beat before the ensemble reassembles for the climax.

The album concludes with the 1939 standard, Darn That Dream by Jimmy Van Heusen and Eddie DeLange, introduced in the Broadway musical, Swingin’ The Dream. This is a beautiful quartet performance by Dexter and the trio who give an intimate introduction to the melody. Dexter is the centerpiece here and his lead solo is captivating. Kenny draws the listener further into the song’s spell on the closer with a tender climax.

The album was recorded by the French engineer, Jacques Lubin, and the sound quality is spectacular with a mesmerizing soundstage transporting your listening chair to the studio alongside the musicians. Gordon’s career lasted nearly forty years, making some amazing records for a host of labels including Bethlehem, Prestige, Savoy, and SteepleChase. However, it was the five years he recorded for Blue Note (1961-1966) that are among the most precious jewels in his rich discography. He passed away on April 25, 1990, at sixty-seven from kidney failure and cancer of the larynx.  If you’re a fan of Dexter Gordon or Donald Byrd, I highly recommend One Flight Up by Dexter Gordon, an album I feel is an essential addition for any jazz library that you shouldn’t miss!

~ Our Man In Paris (Blue Note BLP 4146/BST 84146) – Source: Discogs.com

~ Darn That Dream – Source: JazzStandards.com

~ Dexter Gordon – Source: Wikipedia.org

© 2020 by Edward Thomas Carter

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Requisites

The Magnificent Thad Jones | By Eddie Carter

My next entry from the library is the second of three albums released in 1956 by trumpeter, Thad Jones. The Magnificent Thad Jones (Blue Note BLP 1527) finds him in the company of Billy Mitchell on tenor sax, Barry Harris on piano, Percy Heath on bass, and Max Roach on drums. He comes from a musical family, his older brother is pianist Hank Jones and his younger brother, the dynamic drummer, Elvin Jones. Jones also taught himself to play the cornet, and French horn, becoming a professional musician at sixteen. Thad was also a member of some great big bands including Count Basie, Gil Evans, Quincy Jones, and Ernie Wilkins. Jones also led small groups as well and co-led The Jazz Orchestra with drummer Mel Lewis for twelve-years. He led The Danish Radio Big Band and the Count Basie Orchestra for a time after Basie’s death in 1984. His status as an accomplished arranger and composer has given the music world some of the most beautiful compositions ever written including what many consider his masterpiece, A Child Is Born. My copy used in this report is the 2016 Music Matters Jazz Mono audiophile reissue (MMBLP-1527).

April In Paris, written in 1932 by Vernon Duke and E.Y. Harburg begins our five-song journey.  It premiered in the Broadway musical Walk a Little Faster that year, later becoming a favorite song among jazz and pop musicians and vocalists.  Percy and Max introduce the tune softly, then the front line and piano enter for the melody with Thad dispensing a mellow tone from his horn.  Billy makes a brief comment during the opening and ending chorus.  Jones opens with a quote from the English nursery rhyme and children’s song, Pop Goes The Weasel.  His ensuing verses flow at a relaxing pace into the reprise and fadeout.

Thad’s Billie-Do is a blues characterized by the quintet’s carefree feeling from the brief introduction of the trio into the opening chorus providing a delightful treat of what’s to come. Everyone kicks back individually except Max who provides pleasant brushwork behind each soloist.  Jones begins the lead solo with a sweet-toned delivery, then Mitchell conveys a bluesy impression of playful relaxation with a down-home flavor. Harris swings easily on the third reading, then Percy illustrates his rhythmic ingenuity on an abbreviated closer before the quintet takes the song out.

If I Love Again, the 1932 ballad written by Ben Oakland and J.P. Murray ends Side One at an upbeat pace with the quintet delivering high-spirited energy on the melody. Barry opens the soloing with a jubilant performance, then Billy takes over for a vigorously brisk workout. Thad follows with a captivating reading, then Max closes with a clear, crisp attack providing some irresistible musical thrills swinging to the ensemble’s finale.

If Someone Had Told Me is a little-known ballad by Peter DeRose and Charles Tobias that I believe was written in 1952 because the two earliest vocals of the song were released that year. The first was by vocalist Dolores Gray, and the second was done by Sarah Vaughan. The version heard here is a quartet presentation and an attractive feature for Thad who is the only soloist with the trio providing an elegantly lush foundation under him. The trumpeter delivers a performance of beguiling warmth reflecting a bittersweet, poignant moment into a delicately tender finale as good as any you’ve ever heard or will hear.

Side Two closes with Thedia, a cheerfully joyful tune written for and named after Thad’s young daughter. The rhythm section makes a brief introduction for both horns to walk comfortably at an easy beat during the main theme. Billy takes the first solo, establishing a nice momentum in a meticulously conceived and well-executed performance. Barry is next in the spotlight, strolling and swinging to an intriguing beat. Perry grabs and holds the listener’s attention on the third interpretation with two brief choruses that’ll make him or her feel right at home. Thad takes a long, lengthy ride, soaring to the heights on the next statement seamlessly. Max shares the final spot with the leader in several exceptional exchanges ahead of the ensemble’s closing chorus and exit.  The sound quality on The Magnificent Thad Jones is positively stunning with an excellent soundstage and tonal balance between the highs, midrange, and bass that transports your sweet spot to the studio hearing the musicians at their best.

The MMJ reissues also include exceptional front and rear covers, high-definition gatefold photos and the pressings by RTI are on 180-gram Virgin Vinyl.  If you’re a fan of Hard-Bop or are just discovering Thad Jones, you’ll be delightfully surprised by The Magnificent Thad Jones. It’s jazz at its best and a title I’m certain you’ll enjoy for a very long time! During the fifties, Blue Note employed a sales strategy of giving distinguishing names to some of the artists on its label to spark the public’s interest in their albums and possibly boost their sales. Other examples of this are The Fabulous Fats Navarro, The Amazing Bud Powell, and The Incredible Jimmy Smith. In the cases of the artists listed above, the strategy succeeded beyond their expectations and the names stuck. Debut Records also used this method for The Fabulous Thad Jones in 1954!

~ April in Paris (Verve Records MG V-8012); The Fabulous Thad Jones (Debut Records DLP-12); If Someone Had Told Me (Decca Records 28051), (Columbia 4-39719, 39719) – Source: Discogs.com

~ April in Paris – Source: JazzStandards.com

~ If I Love Again – Source: MusicNotes.com

~ Thad Jones, Pop Goes The Weasel – Source: Wikipedia.org

©2020 by Edward Thomas Carter

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The Quarantined Jazz Voyager

With a surge in Covid cases after Thanksgiving travel, I am doubling down on maintaining my social distancing and wearing my mask when I have to go out, otherwise, I remain in quarantine. From the shelves of my jazz collection, I am placing on the turntable the 1971 recording of First Light by trumpeter Freddie Hubbard, his third release on Creed Taylor’s CTI label.

The string arrangements are by conductor Don Sebesky and features performances by Herbie Hancock, Eric Gale, George Benson, Ron Carter, Jack DeJohnette, Airto Moreira, and Richard Wyands. The album is part of a trilogy including his two previous records at the time, Red Clay and Straight Life. First Light won the 1972 Grammy Award for Best Jazz Performance by a Group.

1. First Light (Hubbard) ~ 11:05
2. Uncle Albert/Admiral Halsey (McCartney, McCartney) ~ 8:17
3. Moment to Moment (Mancini, Mercer) ~ 5:43
4. Yesterday’s Dreams (Martin, Sebesky) ~ 3:55
5. Lonely Town [from On the Town] (Bernstein, Comden, Green) ~ 7:00
6. Fantasy in D” (Walton) ~ 6:55

• Freddie Hubbard – trumpet, flugelhorn
• Jack DeJohnette – drums
• Ron Carter – bass
• Richard Wyands – piano
• George Benson – guitar
• Airto Moreira – percussion
• Herbie Hancock – Fender Rhodes piano
• Phil Kraus – vibraphone
• Hubert Laws – flute
• Wally Kane – flute, bassoon
• George Marge – flute, clarinet
• Romeo Penque – flute, English horn, oboe, clarinet
• Jane Taylor – bassoon
• Ray Alonge – French horn
• James Buffington – French horn
• Margaret Ross – harp
• David Nadien – violin
• Paul Gershman – violin
• Emanuel Green – violin
• Harold Kohon – violin
• Joe Malin – violin
• Gene Orloff – violin
• Matthew Raimondi – violin
• Tosha Samaroff – violin
• Irving Spice – violin
• Alfred Brown – viola
• Emanuel Vardi – viola
• Charles McCracken – cello
• George Ricci – cello

You all know I will be back flying around the globe just as soon as the world becomes safe again from this pandemic. In the meantime, stay safe and healthy.

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Requisites

I begin this morning’s discussion with a 1963 reissue of an album originally released in 1957 titled After Hours (Prestige 7118), one of the label’s excellent jam session records. Steamin’ (Prestige PRST 7278) features an all-star group led by Frank Wess on flute, tenor sax, and Kenny Burrell on guitar. Joining them are Thad Jones on trumpet, Mal Waldron on piano, Paul Chambers on bass, and Art Taylor on drums. Waldron composed all four tunes on the album, and my copy used for this report is the 1963 Mono reissue (Prestige PRLP 7278).

Steamin’ begins Side One with a swinging introduction by Art. Both horns present the melody in unison with Thad on the muted trumpet. Frank opens with an aggressive performance, then Kenny takes over for a hard-swinging reading. Thad creates a volcanic eruption on the third interpretation, and Frank takes a second solo, this time on flute and at breakneck speed. Wess and Jones take a few spirited riffs before Walton zips through the next reading. Taylor punctuates the final statement with a stinging bite in a momentary spotlight before the ensemble takes the song out quickly.

Blue Jelly begins at a laid-back pace, gradually ascending to midtempo as the sextet states the opening chorus. Jones solos first, his ideas flowing freely to a slowly unfolding beat. Thad, Kenny, and Frank (on flute) exchange short riffs, then Burrell settles into a comfortable tempo for the second solo. The three instruments repeat, then Wess serves up a stylish dish of blues. Walton follows the next exchange with a very satisfying statement. Chambers speaks easily on the finale with great skill ahead of the close. Count One opens Side Two and the sextet gets right to work with a lightly swinging introduction by Cedar.  Thad and Frank wail on the melody and everyone gets solo space except Art who keeps things in check with a driving backbeat.  Frank begins the opening statement with skillful dexterity, and Thad soars on the second solo with a riveting presence.  Kenny engages the ear delightfully on the next reading, then Cedar continues the bopping beat with an insistent swing.  Paul accentuates the final interpretation with two short verses that are flawless.

The album closes with a trip down an Empty Street at a slow, easy tempo opening with a wistful introduction in unison.  Jones leads the opening march on the muted trumpet, and the first solo by Burrell is superbly interpreted with a soothing timbre and sensitivity.  Wess follows on flute with a thoughtfully pleasant reading that’s one of the most beautiful moments on the album.  Jones sounds each note of the next performance tenderly and with the utmost clarity.  Walton comes in next with a dreamlike, poignant presentation of sensual beauty, and Chambers wraps up the record with a rather beautiful and deeply moving interpretation before the sextet reassembles for the reprise and coda.  Although, Steamin’ is credited to Frank Wess and Kenny Burrell, this album and its original title After Hours should have been released under Mal Waldron’s name in my opinion.  His spirit pervades these four tunes with incredible passion and perfect pacing in his playing, complemented by the rhythmic energy and consummate musicianship of his bandmates.

That issue aside, Steamin’ serves as an excellent starting point for those who are just discovering the music of Mal Waldron or the other albums by the group who was also known as The Prestige All-Stars.  The album has a brilliant soundstage across the highs, midrange, and low end that places you in the studio alongside the musicians as they’re playing.  If you’re a fan of Hard-Bop and enjoy a good jam session, I invite you to audition Steamin’ by Frank Wess with Kenny Burrell or After Hours by The Prestige All-Stars.  Either version should make a welcome addition to any fan’s library!

© 2020 by Edward Thomas Carter

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Requisites

Inner Urge ~ Joe Henderson | By Eddie Carter

Superb artistry is the name of the game whenever one listens to the music of Joe Henderson. A proficiently skilled bandleader, composer, and tenor saxophonist who made some of his most important jazz contributions as a leader and sideman recording for Blue Note from 1963 to 1968. The subject of this morning’s discussion is his 1965 album, Inner Urge (BLP 4189/BST 84189).  Here, he leads an outstanding quartet session with McCoy Tyner on piano, Bob Cranshaw on bass, and Elvin Jones on drums. My copy used in this report is the 2019 Music Matters Jazz SRX Stereo reissue (MMBST-84189).

The album opens with Inner Urge, a swiftly paced composition that cooks from the first notes of the melody. The walloping tones of Cranshaw’s bass start the soloing with an impressive presentation. The leader charges into the next reading enthusiastically. Tyner takes no prisoners as he slices through the third solo vigorously. Jones shows off his musical gifts with a breathless dash, then Henderson adds a few more soulful explorations preceding the song’s climax.

Isotope is a lightly swinging blues by the saxophonist paying a compliment to pianist Thelonious Monk and the humor in his music. The quartet begins with a distinctive angularity as Joe leads them on the theme. Henderson’s opening solo is excitingly direct and incisive. McCoy illustrates his ability to swing with lots of energy next, then Elvin puts together a remarkable performance for the finale, exchanging sprightly thoughts with Joe into the reprise and ending.

El Barrio, Henderson’s third original starts Side Two with the distinguished character of a Spanish influence due to him growing up in an international neighborhood in Lima, Ohio.  Utilizing two chords, B major and C major 7 with a Flamenco flavor to build the melody, Joe makes one of his most adventurous, personal statements through a rich palette of colors and moods on the unaccompanied introduction and lead solo.  McCoy draws the listener into the magical rapport of the trio on the next interpretation with a noteworthy performance capturing the breathtaking beauty of the tune with uncompromising honesty.

You Know I Care is a very pretty ballad by Duke Pearson. The composer recorded the song two years later on the album, Honeybuns. The quartet introduces the song elegantly. Joe begins the opening solo with a quiet fire exhibiting a great deal of passion. McCoy follows with a short solo that’s incisive, subtle, and very easy on the ear thanks to the tender warmth of Bob’s bass and Elvin’s delicate command of the brushes. The album ends on an upbeat note with Night and Day, the 1932 jazz standard by Cole Porter. It’s one of his most recorded songs and made its debut in the Broadway musical, Gay Divorce. The quartet’s brisk melody puts the listener in a happy frame of mind, riding down the highway on a warm sunny day with the top down and music rocking. Henderson steps up first with a scintillating solo of dynamic energy. Tyner follows, keeping things moving with a convincing workout on the piano. Joe wraps up the album with a few more sweet sounds into a swinging fadeout and fitting end to this very satisfying album.

The remastering of Rudy Van Gelder’s original analog tapes was done by Kevin Gray and Ron Rambach at Cohearant Audio, and the reissue was pressed at Record Technologies, Inc. Their work here is an amazing sit-down and listening experience with a wide soundstage that’s accurately recreated throughout the treble, midrange, and bass. If you’re a fan of Joe Henderson, Post-Bop or Modal Jazz, and don’t already own an original Mono or Stereo LP, or Liberty reissue, I submit for your consideration the SRX 33 1/3 LP of Inner Urge by Joe Henderson. It’s a delightful album of straight-ahead jazz at its best by one of the quintessential tenor men, and a title that would be a great addition to any LP library!

~ Honeybuns (Atlantic 3002/SD 3002) – Source: Discogs.com

~ Night and Day – JazzStandards.com, Wikipedia.org

© 2020 by Edward Thomas Carter

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