Requisites

A Tribute To Cannonball – Don Byas and Bud Powell | By Eddie Carter

This next album from the library was recorded in 1961 but remained shelved until its release in 1979, four years after the death of the musician it honors. A Tribute To Cannonball (Columbia Contemporary Master Series JC 35755) brings together Don Byas on tenor sax and Bud Powell on piano for a program of standards and two original tunes. Completing the ensemble are Idrees Sulieman (tracks: A5, B1, B2, B4) on trumpet, Pierre Michelot on bass, and Kenny Clarke on drums. My copy used in this report is the 1979 US Stereo album.

The quartet begins Side One with the Cole Porter classic, Just One of Those Things that made its debut in the 1935 musical comedy, Jubilee. The trio opens with a scintillating conversation in the opening chorus. Don adds some fierce dialogue on the second verse, then continues traveling at breakneck speed on the first solo. Bud’s nimble fingers fly over the keys at a brisk pace on the finale towards the quartet’s enthusiastic ending.

Jackie My Little Cat is a pretty ballad by Pierre Michelot that slows the tone to a softer tempo. From the first phrase of the elegantly tranquil theme, the quartet creates a warmly affectionate atmosphere for Byas who infuses the lead statement with tasteful subtlety. Powell also produces a reading of extraordinary tenderness that compliments the rhythm section’s graceful groundwork into a sensuous finale.  Cherokee, also known as Indian Love Song, was written in 1938 by Ray Noble as the first movement of his five-part Indian Suite. It became a hit for bandleader Charlie Barnet in 1939 and a jazz standard after Charlie Parker’s blistering rendition in 1941 with The Kansas City Band.  The song begins with a brisk duet by Don and Pierre on the introduction, then proceeds with a lightning-fast melody. Byas begins his first solo with a sizzling performance, then Powell flexes his muscles with incredible virility. The saxophonist is completely energized on the closer with fiery intensity before the out-chorus.

I Remember Clifford by Benny Golson is a 1957 jazz standard honoring Clifford Brown who perished in an auto accident the year before with pianist Richie Powell and his wife Nancy. It became a huge hit for Golson after appearing on the albums, Jazz Lab and Lee Morgan, Volume 3 (1957), and Jon Hendricks wrote lyrics for it the same year. The quartet is beautifully disciplined on the melody, and Don taps a well of serenity, bringing out the most intimate feelings in every note of the lead solo.  Bud closes with a warmly affectionate reading leading to a tender finale. Good Bait is by Tadd Dameron and Count Basie and was written in 1944.  It became a significant part of Basie’s repertoire and Idrees Sulieman makes his first appearance.  Kenny’s drums make the introduction, and the front line leads the quintet to establish the melody.  Don starts the solos with long, flowing tenor phrases.  Idrees follows with a fierce flow of notes from his trumpet.  Bud comes next with a deliciously spry statement.  Pierre makes a brief reading with an unrestrained flow of bass lines in between a few final remarks by both horns.

Side Two starts with the 1960 jazz standard, Jeannine by Duke Pearson. A brief workout by Clarke introduces the tune, segueing into the ensemble’s medium-fast melody. Don digs into the lead statement with a smoldering groove of vibrant verses. Idrees’ sentimental choruses on the second solo are tightly voiced and executed smoothly.  Bud flies high on the third reading with a muscular drive. Kenny delivers a satisfying finale before the horns return to drive Jeannine home. All The Things You Are by Jerome Kern and Oscar Hammerstein II was originally written in 1939 for the unsuccessful Broadway musical Very Warm For May that year. The song survived, becoming one of Kern’s most cherished and recorded compositions. Byas and Sulieman exchange a peppy dialogue with the trio on the melody. Idrees says something special with a firm tone on the first solo. Don delivers the next message confidently in an authoritative manner. Bud also displays his virtuosity in an invigorating reading. Both horns split the next few choruses and Clarke provides a passionate showcase on a brief statement ahead of the coda.

Let me stop for a moment to describe this next tune.  On the Side Two label, track three is listed as Jackie by pianist Hampton Hawes.  It isn’t Hawes’ tune at all, it’s actually an alternate take of Pierre Michelot’s Jackie My Little Cat.  Like the song on Side One, it’s a quartet piece with Byas and Powell as the featured soloists. After a beautiful theme statement, Don delivers an absolutely gorgeous opening solo. Bud follows with a haunting melodic interpretation ahead of the compassionate climax. The album ends with the second original by bassist Michelot, Myth is a cheery little tune full of fun and good spirits as evident by the sprightly introduction by the trio, ahead of the front line’s opening chorus. Byas starts the solos with a compelling performance that holds your attention from start to finish. Sulieman follows with a beautifully articulated presentation. Powell swings with exhilarating verses on the closing statement that bounces happily to the superb foundation by Michelot and Clarke.

A Tribute To Cannonball was produced by Cannonball Adderley and the engineer was Russ Payne who worked on many other Columbia LP’s. The music is excellent, and the sound quality is superb with the musicians surrounding your sweet spot providing some amazing jazz. The only issue I have with this album has nothing to do with the music, but the cover design. To read the liner notes by Gary Giddins, you need a high wattage light bulb or a well-lighted room because the words are small and dark blue on a red background. This is particularly notable on the back cover where the picture of Bud Powell is. Whoever thought this was a good idea, I hope they’ve never been allowed to design another record cover. That issue aside, I hope you’ll seek out A Tribute To Cannonball by Don Byas & Bud Powell on your next vinyl hunt. If you’re a fan of Hard-Bop, it’s an overlooked jewel that’s worthy of your consideration for a spot on your shelf!

~ Jazz Lab (Columbia CL 988); Lee Morgan, Volume 3 (Blue Note BLP 1557) – Source: Discogs.com

~ Cherokee, Indian Love Song, I Remember Clifford, All The Things You Are – Source: JazzStandards.com

~ Just One of Those Things – https://www.youtube.com/watch?v=9Gg0Md1geMw

~ Jackie My Little Cat – https://www.youtube.com/watch?v=9JmZCGKjrc0

© 2020 by Edward Thomas Carter

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Tenor and Flute ~ Bobby Jaspar | By Eddie Carter

Bobby Jaspar steps into the spotlight for this morning’s discussion with his 1957 album, Tenor and Flute (Riverside RLP 12-240). I first heard him on two records he made with Herbie Mann, Flute Flight, and Flute Soufflé (1957).  Bobby was born in Liège, Belgium, and began playing the piano at eleven and the clarinet at sixteen. He later switched to the flute and tenor saxophone, and in 1950 began working with French pianists Henri Renaud and Bernard Peiffer. Jaspar was also a member of the Bop Shops band and played and recorded with Toshiko Akiyoshi, Chet Baker, Kenny Burrell, Donald Byrd, John Coltrane, Miles Davis, Milt Jackson, J.J. Johnson, Hank Jones, John Rae, and Wynton Kelly. He was married to jazz pianist and singer Blossom Dearie.  His supporting cast is Idrees Sulieman on trumpet (tracks: A1, B1, B2), George Wallington on piano, Wilbur Little on bass, and Elvin Jones on drums. My copy used in this report is the 1976 Japanese Mono reissue (Riverside SMJ-6156M).

The opener, Seven Up is Bobby’s easy blowing vehicle beginning with everyone laid-back on the melody.  Idrees starts the song in a nice happy mood on the first interpretation, then Bobby takes over for an outstanding solo as solid as the Rock of Gibraltar.  George follows with some carefree cruising that’s a treat for the ears and Wilbur is rhythmically infectious on a short statement ahead of the ensemble’s breezy climax.

Jaspar changes to flute for My Old Flame, written in 1934 by Arthur Johnston and Sam Coslow. It appeared in the film, Belle of The Nineties that year. He embraces the jazz standard lovingly on the melody and paints a compassionate portrait on the opening statement.  The second presentation by Wallington is tenderly expressed, then the leader gives a second performance that’s delicately pretty and Jones offers some beautifully shaped brushwork on the closer ahead of a tranquil ending.

Bobby returns to tenor sax for a spirited quartet rendition of All of You, Cole Porter’s 1954 jazz standard that first appeared in the 1955 Broadway musical, and 1957 film, Silk Stockings. The quartet gives a lift to this timeless classic with a briskly paced theme treatment. The saxophonist displays a lively intensity on the lead solo, then George adds a bouncy effervescence to the second reading.  Wilbur and Elvin split the third statement for a short, incisive comment, followed by Bobby and Elvin who guide us into the reprise with an expressive exchange.  Idrees Sulieman’s Doublemint is an energetic companion to his blues, Juicy Fruit, heard on The Hawk Flies High (1957). It opens Side Two with a collective infectious melody. Jaspar cooks vivaciously on the first statement, then Sulieman breaks into a robust reading. Wallington moves in next for a scintillating solo and Jones finds something good to say on the closing chorus sharing notes with the front line.

George Wallington wrote the final two tunes on Tenor and Flute beginning with his tenderly passionate ballad, Before Dawn. It starts slowly with a breathtakingly beautiful theme by Bobby and the rhythm section.  Jaspar then creates a mood of ecstasy on the first performance, then Idrees delivers a fine solo punctuated with delicate lyricism. George follows, sharing a brief moment of intimacy before Bobby adds a few additional affectionate remarks preceding the ensemble’s sultry coda.

Jaspar and the rhythm section take Sweet Blanche for a brisk ride on the finale with the leader back on flute. The quartet opens with a cheerfully pleasant theme and Jaspar excels with vigorous flair on the first interpretation. Wallington heads into the second reading expressing considerable delight, then Jaspar and Jones take us home sparring with each other into a satisfying climax. Tenor and Flute was produced by Orrin Keepnews, and the man behind the dials was Jack Higgins.

I was pleasantly surprised with the sound quality, the instruments produce an exceptional soundstage across the highs, midrange, and low end that’s right on the money. The analog Mono transfer by Victor Musical Industries from the original tapes has been gorgeously remastered and transports the listener to the studio alongside the musicians during the session. During 1961 & 1962, Jaspar formed a quintet with guitarist René Thomas and performed in a series of concerts and several recordings including appearing on Chet Is Back (1962). He passed away from a heart attack at age thirty-seven on February 28, 1963. I’ve enjoyed listening to this album and am happy to have it in my library.  If you aren’t familiar with Bobby Jaspar, are a fan of Hard-Bop or tenor sax, I hope you’ll seek Tenor and Flute out during your next vinyl hunt.  It’s a perfect album to get into jazz and the music is sure to make you tap your foot!

~ Chet Is Back (RCA Victor PML-10307); Flute Flight (Prestige PRLP 7124); Flute Soufflé (Prestige PRLP 7101); The Hawk Flies High (Riverside RLP 12-233) – Source: Discogs.com

~ My Old Flame ~ Source: JazzStandards.com

~ All of You, Bobby Jaspar ~ Source: Wikipedia.org

© 2020 by Edward Thomas Carter

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Requisites

Bags’ Opus ~ Milt Jackson | By Eddie Carter

Milt Jackson steps into the spotlight to begin this morning’s discussion with one of my favorite albums from 1959, Bags’ Opus (United Artists UAL 4022/UAS 5022). This is my album to listen to when reading or relaxing because the music is so soothing, I can listen to it endlessly. Here, the vibist is leading an exceptional sextet consisting of Art Farmer on trumpet, Benny Golson on tenor sax, Tommy Flanagan on piano, Paul Chambers on bass, and Connie Kay on drums. My copy used in this report is the 1976 Japanese Stereo reissue (United Artists GXC-3135), and the album opens with the leader in ballad mode on Ill Wind by Harold Arlen and Ted Koehler. It was written in 1934 and performed by vocalist Adelaide Hall in their final show at The Cotton Club. Milt’s vibes are delicately discreet on the melody and as the featured soloist, he tells an exquisitely tender story matched by the sensitive accompaniment of the rhythm section into a gorgeous finale.

Blues For Diahann is Jackson’s tribute to actress, model, singer, Diahann Carroll, and the only original of the session. It opens with a jubilant intro by the rhythm section and a collective theme by the sextet. Golson takes off first with some straightforward blowing.  Farmer doesn’t let up the pace on the next reading with a spirited solo. Flanagan follows with a dazzling display of his virtuosity, and Chambers gives a spicy performance that’s worth the wait. Kay begins the next reading with some brisk brushwork in a shared statement with Jackson. The leader wraps up everything with a short workout ahead of the close. Afternoon In Paris by John Lewis was written in 1949 and was first recorded by Phineas Newborn Jr. on the album, Here Is Phineas-The Piano Artistry of Phineas Newborn Jr. (1956). Lewis made it the title song for his 1957 release with guitarist Sacha Distel, and the group takes this tune for an easy ride with five soulful statements by Milt, Benny, Art, Tommy, and Paul.

Benny Golson’s timeless 1957 jazz standard, I Remember Clifford, was written to honor the memory of trumpet player Clifford Brown who alongside pianist Richie Powell and his wife Nancy perished in an auto accident a year earlier. It opens Side Two delicately with the front line featured on the melody and reprise. Bags gives this evergreen all the poise and elegance it deserves on a sublimely beautiful performance backed by the trio.  Thinking of You was composed by Harry Ruby and Bert Kalmar in 1927, and debuted in the Broadway show, The Five O’Clock Girl that year. It was also featured in the 1950 film, Three Little Words. Art takes the lead on the gentle opening chorus with Milt and the rhythm section providing the lush background. He continues on the first solo with an intimately moving interpretation. Bags comes in next to add a touch of sensuous beauty to the closing statement ahead of Art’s return for the tenderly expressive coda.

Benny Golson wrote Whisper Not in 1956 while a member of Dizzy Gillespie’s Big Band.  It’s one of his most popular tunes and has been a signature song of Golson’s since its inception.  Leonard Feather wrote lyrics for Anita O’Day who recorded it in 1962.  The sextet begins the melody at an easy beat with an irresistible toe-tapping melody.  Jackson cruises at a comfortable speed with impeccably-crafted lines.  Farmer works the next solo using his mute with a firm tone and relaxing informality. Golson gets the next nod for an infectious groove that just won’t stop, and Flanagan sparkles on the final reading before the sextet reassembles to take the song out. Bags’ Opus was produced by Jack Lewis and engineered by Tommy Nola whose work can also be found on Argo, Atlantic, Blue Note, Cadet, Contemporary, Jazztime, Mercury, Riverside, and Verve to name a few. The album has a solid soundstage with an excellent definition from each instrument bringing the musicians from your speakers into your listening room.

Milt Jackson was one of the extraordinary musicians of jazz whose consistency on record is unequaled. He played and recorded with Cannonball Adderley, Ray Charles, Miles Davis, Dizzy Gillespie, Coleman Hawkins, Wes Montgomery, and countless others as a leader, sideman, and on many records as a member of The Modern Jazz Quartet.  He was given the nickname Bags by a Detroit bass player, referring to the bags under his eyes. I’ve been a huge fan of his ever since seeing him live in 1972. On Bags’ Opus, Jackson and his colleagues offer an album of easy listening jazz that any fan of Post-Bop should consider a must-have for their library!

~ Afternoon In Paris (Atlantic 1267); Anita O’Day and The Three Sounds (Verve Records V-8514/V6-8514); Here Is Phineas-The Piano Artistry of Phineas Newborn Jr. (Atlantic 1235/SD 1235) – Source: Discogs.com

~ Ill Wind, I Remember Clifford – Source: JazzStandards.com

~ Afternoon In Paris, Thinking of You, Whisper Not – Wikipedia.org

~ © 2020 by Edward Thomas Carter

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The Sixth Sense ~ Lee Morgan | By Eddie Carter

Mention trumpeter Lee Morgan during his years at Blue Note and one of seven albums usually comes to mind. Blue Train (1957), Art Blakey and The Jazz Messengers (1958), Leeway (1961), The Sidewinder and Search For The New Land (1964), Cornbread (1967), and The Gigolo (1968). All are considered choice selections for any library featuring the talented bandleader and composer. Lee was the youngest musician in Dizzy Gillespie’s orchestra, joining the band at age eighteen and further honed his skills with The Jazz Messengers from 1958 to 1961.

Drug addiction temporarily derailed his career from 1961 to 1963, but he emerged stronger and got his life back on track, recording prolifically as a leader and sideman. The Sidewinder became his biggest-selling album and greatest success, changing all Blue Note releases that followed. The Sixth Sense (Blue Note BST 84335) hit the stores in 1969 featuring one of his best groups. Jackie McLean on alto sax, Frank Mitchell on tenor sax, Cedar Walton on piano, Victor Sproles on bass, and Billy Higgins on drums complete the ensemble.  My copy used in this report is the 1969 Liberty Records Stereo album.

The Sixth Sense, the first of four tunes by the leader kicks off Side One with a relaxing drum introduction by Billy, segueing into an intriguing Bossa Nova styled melody led by the front line. Lee solos first, pacing himself at an easy swing with plenty of feeling. Frank displays his inventive ability with a passionately frisky tone next, then Jackie takes flight on a solo full of tasty grooves. Cedar comes next, conveying an abundance of youthful energy, and Billy exchanges a spirited conversation with Lee leading to the ensemble’s closing chorus and fadeout.

Short Count, the second Morgan tune takes an aggressive uptempo approach to the melody vigorously. McLean charges out of the gate, almost stealing the show with incandescent intensity anchored by Lee and Frank on his final verse.  Morgan raises the temperature a few more degrees to a level of feisty assertiveness on the next reading. Mitchell applies some high voltage to the third interpretation.  Walton delivers the final enthralling statement before the quintet takes the song out.

Morgan’s Psychedelic will set your body in motion and have you dancing from the rhythm section’s leisurely flowing introduction to the infectious theme. Lee establishes the relaxing atmosphere on the opening chorus with bluesy lines. Frank shows some improvisational creativity on the next performance. Jackie takes over for some fine blowing and Cedar keeps things interesting with nimble fingers until the ensemble’s fadeout.

Afreaka is Cedar Walton’s contribution to the album, starting Side Two with an Afrobeat flavor possessing a very interesting rhythm that’s also danceable.  Morgan, McLean, Mitchell, and Walton are the principal soloists providing plenty of musical inspiration. Anti-Climax, the final tune from the trumpeter’s pen begins with a brief bass introduction by Victor preceding the sextet’s upbeat theme treatment.  Lee opens the first solo with inspired agility, then Jackie charges into the second statement with a dazzling improvisation.  Frank infuses the next presentation with strong-lined lyricism, and Cedar finishes with an aggressive reading preceding the ending.

The Cry Of My People by trumpeter Cal Massey ends the album with a gorgeous quartet number by Morgan and the trio.  Lee begins the melody with a hauntingly elegant-muted performance, picking up the pace gradually for his exceptionally pretty opening statement.  Cedar gets a brief moment to share his thoughts with evocative softness, then Lee returns with so much sensitivity and feeling, it’ll bring tears to your eyes.  The sound quality on The Sixth Sense is superb with all six instruments full of body, presence, and a vibrantly, clear sound.

Lee Morgan was an exceptional composer and musician who possessed an exciting, relentless drive.  He recorded twenty-five albums for Blue Note as a leader and appeared as a sideman on countless others, elevating each record to something special.  But changes were on the way as AllMusic.com reviewer Michael G. Nastos describes.  “The appropriate title Sixth Sense presents a transition between one of the most intriguing sextets during the last years of post-bop and Morgan’s final ensembles that saw him reaching higher and higher before, like Icarus, falling from grace”.

Lee would die tragically from a gunshot wound by his common-law wife Helen Morgan on February 19, 1972, after an altercation while performing at jazz club Slug’s Saloon in New York City.  He left an incredible body of music also recording for Savoy, Vee-Jay, and Jazzland that still amazes and thrills fans around the world.  At just over thirty-nine minutes, The Sixth Sense by Lee Morgan is an excellent album that you’ll play again and again, and a must-have for any Hard-Bop fan’s library!

~ Quote by Michael G. Nastos – Source: AllMusic.com

~ Art Blakey and The Jazz Messengers (Blue Note BLP 4003/BST 84003); Blue Train (BLP 1577/BST 81577); Cornbread (BLP 4222/BST 84222); Leeway (BLP 4034/BST 84034); Search For The New Land (BLP 4169/BST 84169); The Gigolo (BLP 4214/BST 84214); The Sidewinder (Blue Note BLP 4157/BST84157) – Source: Discogs.com

~ Lee Morgan, Helen Morgan – Source: Wikipedia.org

© 2020 by Edward Thomas Carter

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Out Of This World ~ Walter Benton Quintet | By Eddie Carter

Up next from the library is a recent acquisition by a musician I first heard on two Clifford Brown albums, Best Coast Jazz (1955), and Clifford Brown All-Stars (1956). Out of This World (Jazzland JLP 28/928S) is the only album tenor saxophonist Walter Benton recorded as a leader but is brilliant swinging jazz with a stellar cast. Freddie Hubbard (listed as Freddy, tracks: A1, A2, B1, B2) on trumpet, Wynton Kelly on piano, Paul Chambers on bass, Jimmy Cobb (tracks: A2, A3, B2), and Albert Heath (tracks: A1, A4, B1, B3) on drums.  Walter began playing the saxophone in high school, he’s also worked with John Anderson, Clifford Brown, Kenny Clarke, Eric Dolphy, Victor Feldman, Slide Hampton, Quincy Jones, Abbey Lincoln, Perez Prado, Max Roach, and Gerald Wilson.  My copy used in this report is the 1993 Japanese Stereo reissue (Jazzland VIJJ-30049).

Side One opens with the title song, Out of This World was written in 1944 by Harold Arlen and Johnny Mercer. It grabs hold from the beginning of the collective midtempo melody and doesn’t let go until Freddie’s deceptively easy swing before picking up the pace for a bristling first reading. Walter comes in next exhibiting an optimistic spirit on the next solo, and Wynton works out a few logical ideas on the closer preceding the coda and fadeout. Walter’s Altar is the first of five originals by the leader, and an easy-going blues giving everyone solo space except Cobb who takes over on drums. Benton kicks off the solos leisurely but builds his tone into a delightful interpretation. Hubbard makes a terrific impression on the second solo. Kelly is superbly articulate on the third reading and Chambers takes the bass for some tuneful walking on the final statement ahead of the closing chorus and climax.

Iris is a tender ballad by Benton beginning with a brief intro by Freddie before Walter takes over on the gentle theme. The first of the leader’s two solos is slow, easy, and meaningful possessing a soulful tone.  Wynton’s second solo is richly creative, then Walter returns for a few final softly, soothing comments before the close. Night Movement is an uptempo romp by Benton with a brief appearance by Hubbard during the melody, and Heath returning to the drums.  The saxophonist gives two brief readings of ferocious intensity with a short speedy statement by Kelly in-between.

Side Two opens with Benton’s A Blue Mood. This tune is a midtempo blues starting with the rhythm section’s brief introduction into the ensemble’s melody. The solo order is Hubbard, Benton, Kelly, Chambers, and each man applies some down-home cooking to each of their solos, making them quite appetizing. Walter’s Azil is fast and swinging, returning the quintet to uptempo speed on the swift-footed melody. Benton begins the solos with a scintillating conversation, then Hubbard comes in for a vigorously energetic reading. Kelly closes with an electrically charged interpretation with Chambers and Cobb supplementing the power into the quintet’s ending.

Lover Man by Jimmy Davis, Roger Ramirez, and James Sherman is a timeless standard from The Great American Songbook.  It ends the album with a sensuous performance by the quartet with Heath back behind the drums. Kelly and the trio begin the introduction blossoming into the foursome’s opening chorus. Walter opens with a delicately tasteful first statement. Wynton adds intimate lyricism to the second reading, then Paul performs so warmly you could bask in its glow like a sunbath. Walter wraps up the song with a beautifully phrased chorus into the coda.

Six years after recording this album, Benton retired from music altogether, becoming a real estate agent.  He passed away on August 14, 2000, at the age of sixty-nine. Out of The World was originally produced by Orrin Keepnews and engineered by Ray Fowler. Victor Entertainment (formerly Victor Musical Industries) has done an exceptional job with the mastering of the album from the original tapes. The music emerges from your speakers as if the group is playing right in front of your favorite chair. If you’re looking for an excellent Hard-Bop album for your library, and have not heard Walter Benton before, I submit for your consideration, Out of This World by The Walter Benton Quintet. It’s a stellar album of the genre that’s a treat for your ears!

~ Best Coast Jazz (EmArcy MG-36039), Clifford Brown All-Stars (EmArcy MG-36102) – Source: Discogs.com

~ Lover Man – Source: JazzStandards.com
~ Out of This World – Source: Wikipedia.org

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