Requisites

Manhattan Project is an album by Jamaican-born jazz trumpeter Dizzy Reece featuring performances recorded at Blue Rock Studio, N.Y.C. on January 17, 1978 and released on the Bee Hive label.

1. Con Man – 8:55
2. Manhattan Walk – 7:59
3. Yule On The Hudson – 9:05
4. Woody ‘n’ You (Dizzy Gillespie) – 13:20
5. One For Trane (Mickey Bass) – 7:57

• Dizzy Reece – trumpet
• Clifford Jordan – tenor saxophone
• Charles Davis – tenor saxophone
• Albert Dailey – piano
• Art Davis – bass
• Roy Haynes – drums

Manhattan Project ~ Dizzy Reece Sextet | By Eddie Carter

Submitted for your consideration now is an album by trumpet player Dizzy Reece. Manhattan Project (Bee Hive Records BH 7001) is the only album he recorded for the Evanston, Illinois label. Reece was born in Kingston Jamaica and attended the Alpha Boys School where he began playing the baritone sax before switching to the trumpet at the age of fourteen. It’s also during this time where he got his nickname Dizzy, which has nothing to do with Dizzy Gillespie. He became a professional musician by the age of sixteen and has played with some of the greatest jazz musicians in the United States, England, and France. On this date, he performs with an outstanding quintet; Charles Davis, and Clifford Jordan on tenor sax; Albert Dailey on piano; Art Davis on bass and Roy Haynes on drums. My copy used in this report is the 1978 Stereo album, the only release on LP.

Con Man, the first of three tunes from Reece’s pen starts Side One with a brief trio introduction that segues into the ensemble’s speedy theme.  Dizzy begins a lengthy performance that swings with limitless energy convincingly. Clifford and Charles take the reins next for two incendiary solos of intense heat.  Albert maintains the high-voltage current on the next reading with his fingers providing plenty of electricity. Roy adds a brisk footnote that glows brightly preceding the sextet’s lively closing chorus.  Dizzy’s Manhattan Walk takes the sextet on an adventurous evening stroll through the city with the group speaking in unison on the modal melody led by the front line. Reece goes first, haunting the streets like a restless spirit but with a hypnotic emotion that’s irresistibly seductive. Jordan gets the next turn, revealing his abundant lyricism and Dailey follows exhibiting formidable creativity preceding the ensemble continuing their walk down the street into the fadeout. The first side closes with the third Reece tune; Yule on The Hudson flies from the opening notes of the trio’s introduction with an astounding workout by Roy into the ensemble’s high-powered theme treatment. Dizzy takes his trumpet for a thrilling ride on the first solo; Clifford illuminates the next interpretation with some splendid work.  Charles takes over for a spirited presentation possessing equal amounts of speed and energy. Albert continues with an incisively, infectious exploration that takes hold of you and doesn’t let go. The front line reconvenes for an exciting conversation among themselves, then Roy joins them to wrap up the solos with a few final remarks of musical bliss before the climax.

The ageless jazz standard, Woody ‘n’ You by Dizzy Gillespie opens Side Two making a grand out-of-harmony ensemble entrance with Dizzy in front segueing into the familiar rapid melody pace. Reece takes off first with a supercharged solo establishing he’s in complete control of his instrument.  Clifford offers an exceptional display of his mastery on the tenor sax with a radiant reading. Charles gives a breathtaking performance next that travels to stratospheric heights. Albert gives a brilliant solo that’s extremely clever and inspired by Art’s bouncy bass and Roy’s impeccable timekeeping.  Dizzy launches his second reading like a rocket with an invigorating presentation, then shares the spotlight with Roy for a few red-hot exchanges into the out-of-step climax. One For Trane by bassist Mickey Bass is a blues dedicated to John Coltrane and the sextet turns the heat up on the uptempo theme collectively. Albert solos first, dispensing passionate fury that sinks its teeth into the opening statement with fiery intensity and joyous spontaneity.  Dizzy steps into the spotlight next with an exhilarating account illustrating his flawless technique and stylistic versatility. Charles charges into the third solo with cheerful optimism, then Clifford wails his behind off on the next scintillating performance. Albert has the final word on a vigorously energetic presentation culminating with the ensemble’s stunning finish.

Manhattan Project was produced by Jim Neumann, a noted jazz record producer, and the founder of Bee Hive Records, and Fred Norsworthy whose excellent work as an engineer and producer can also be found on jazz recordings for Black Lion Records, Interplay Records, Jazzbank, Muse Records, PJL, Storyville and Trip Jazz.  The album was pressed at Wakefield Manufacturing in Phoenix, Arizona. The lacquer was cut by Mastering engineer Brian Gardner who worked at Trident Studio in London, before working at Allen Zentz Mastering and Bernie Grundman Mastering in Hollywood, California. He currently owns Brian Gardner Mastering and the listener can tell a lot of care went into making the best sounding record at the time.  Recording Note: To achieve a tight, cohesive sound, Dizzy removed some of the sound baffles in the studio. This creates a close blending of instruments not unlike some of the ’50s. The album has a superb soundstage throughout the treble, midrange and bass spectrum and delivers a crystal-clear sound of the instruments.

Dizzy Reece, now eighty-eight years young is still active as a musician and writer and has recorded albums for Blue Note, and other labels including Futura, Interplay Records, Jasmine, Jazz Vision, and New Jazz.  On this album, the leader and his colleagues serve up a Hard-Bop feast with lots of energy that’s put together very well and shows these guys have a perfect balance of technique, intellect, and emotion. If you’re a fan of jazz trumpet, I invite you to audition Manhattan Project for a spot in your library.  It’s a compelling album that’s sure to satisfy almost any jazz appetite by the other trumpeter named Dizzy whose recognition as a bandleader, composer, and gifted musician is long overdue.

Recording Note – Source: Album liner notes by Brian Davis Woody ‘n’ You – Source: JazzStandards.com, Wikipedia.org

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,trumpet

Requisites

Coltrane’s Sound is an album credited to jazz musician John Coltrane, released in 1964 on Atlantic Records, catalog SD 1419. It was recorded at Atlantic Studios during the sessions for My Favorite Things, assembled after Coltrane had stopped recording for the label and was under contract to Impulse! Records. Like Prestige and Blue Note Records before them, as Coltrane’s fame grew during the 1960s Atlantic used unissued recordings, releasing them without either Coltrane’s input or approval.

Track Listing | 38:18 ~ Original Recording / 50:33 CD Reissue *All compositions are by John Coltrane except where mentioned

1. The Night Has A Thousand Eyes ~ Buddy Bernier, Jerry Brainin ~ 6:51
2. Central Park West ~ 4:16
3. Liberia ~ 6:53
4. Body and Soul ~ Edward Heyman, Robert Sour, Frank Eyton, Johnny Green ~ 5:40
5. Equinox ~ 8:39
6. Satellite ~ 5:59

• John Coltrane ~ tenor saxophone except for soprano Central Park West
• McCoy Tyner ~ piano
• Steve Davis ~ bass
• Elvin Jones ~ drums

• Nesuhi Ertegün ~ production
• Tom Dowd ~ engineering
• Marvin Israel ~ photography
• Ralph J. Gleason ~ liner notes

Fans of Modern Jazz know that John William Coltrane was in a league of his own as a bandleader, composer, soprano and tenor saxophonist, making some of his most substantial contributions to the music genre recording for Atlantic, Impulse and Prestige. The album up for discussion is Coltrane’s Sound (Atlantic 1419), originally recorded in 1960 at the same session that also gave the jazz world, My Favorite Things.  This album was released in 1964, three years into Coltrane’s contract with Impulse Records, capitalizing on his increasing popularity during the first half of the sixties. Though criminally underrated, it’s an outstanding program of two timeless evergreens and four original tunes that Coltrane demonstrates are just as enjoyable as the standards. This album in my opinion also helps solidify his place as one of the most important musicians of the twentieth century. Completing the quartet are McCoy Tyner on piano, Steve Davis on bass and Elvin Jones on drums. My copy used in this report is the 2010 Rhino Records US Stereo Audiophile Reissue (SD 1419–R1 1419).

Side One opens with a sparkling rendition of The Night Has a Thousand Eyes, written in 1948 by Jerry Brainin and Buddy Bernier.  This jazz and pop standard made its introduction in the film noir crime drama Night Has a Thousand Eyes, released that year. The movie was based on the 1945 novel by author Cornell Woolrich. The song is one of the most popular standards in The Great American Songbook and has been recorded numerous times as a vocal and instrumental. Sometimes played and sung sublimely, the quartet offers a lively theme treatment that’s inspiring. John starts the soloing charging out the gate with a vigorous performance.  McCoy heats up the closing reading with exuberant enthusiasm into the coda. Trane turns to the soprano sax for Central Park West, the first of four tunes by the leader. It opens with an alluring introduction and ends with an equally tender melody led by John who also expresses gentle feelings on the opening statement with a soft timbre. The song’s final solo by McCoy is an intimately polite presentation anchored by the affectionate infrastructure of Steve and Elvin.

The first side wraps up with Coltrane’s Liberia, returning the foursome to an uptempo beat with a sprightly theme treatment in unison.  John takes the opening statement, gradually building each verse efficiently into a passionate climax. Tyner displays his strong chops on a short closing solo that’s stunning into Trane’s reappearance for the finale. The ageless classic Body and Soul begins the second side with a midtempo rendition by the quartet. It was written in 1930 by Frank Eyton, Johnny Green, Edward Heyman, Robert Sour. The most famous instrumental version was made in 1939 by Coleman Hawkins for Bluebird and it’s one of the most recorded standards in the history of music. The trio led by McCoy’s cheerful piano introduces this chestnut and John provides a succulent treat of what’s in store on the opening melody and heightens the mood on the lead solo. McCoy flavors the next reading with a joyful swing to the infectious beat, then Coltrane makes a final statement that’s brief, but clever leading to the blissful conclusion.

Up next is Equinox, a slow tempo blues by John that was named by his first wife, Naima. The equinox occurs twice a year, the first one around March 21^st and the second by September 23^rd. It’s the point when the sun crosses the equator with day and night, everywhere on earth approximately at an equal length. The rhythm section opens the song sensuously into Trane’s elegantly tender opening chorus and passionate solo. Tyner concludes the readings with a delicately gentle performance over the soothing support of Davis’ bass and Jones’ elegant timekeeping. Coltrane’s Satellite, the album finale is a trio performance following in the footsteps of Sonny Rollins’ trio LP’s with just the bass and drums providing the power behind him.  This tune is a jubilant joyride with John blowing fire on the theme and excitingly fierce solo. Steve dazzles with feisty exuberance and Elvin brings the heat with aggressive brushwork behind John’s reprising the theme into the climax.

The man behind the dials of the original recording was one of the best engineers in the business, Tom Dowd and Nesuhi Ertegün supervised the album’s production. Bernie Grundman cut the lacquers from the original analog masters, utilizing premium 180-gram audiophile vinyl by RTI (Record Technology Incorporated). The sound quality of Mr. Dowd’s work has been beautifully remastered and is amazing throughout the treble, midrange and bass spectrum with a very revealing soundstage for the instruments placing the listener’s favorite chair in the center of the studio alongside the musicians. If you’re in the mood for an album of Hard-Bop and Modal Jazz, I invite you to audition Coltrane’s Sound by John Coltrane.  It’s a great LP that makes a profound statement to a legendary jazz giant and a title that should not only appease and delight the serious jazz aficionado but the first-time listener as well! See you next month and Happy Listening Gang!

~ Body and Soul (Bluebird B-10523-A); My Favorite Things (Atlantic 1361/SD 1361) – Source: Discogs.com

~ The Night Has a Thousand Eyes, Body and Soul – Source: JazzStandards.com

~ Equinox – Source: The Merriam-Webster Unabridged Dictionary, Wikipedia.org

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,saxophone

Requisites

Today and Tomorrow is the fourth album by jazz pianist McCoy Tyner. It was produced by Bob Thiele and recorded for the Impulse! label in 1963 and 1964.

Tracks | 38:44 ~ All compositions by McCoy Tyner except where noted

1. Contemporary Focus ~ 8:28
2. A Night in Tunisia (Gillespie) ~ 5:07
3. T ‘N A Blues (Jones) ~ 4:05
4. Autumn Leaves (Kosma) ~ 6:10
5. Three Flowers ~ 10:12
6. When Sunny Gets Blue (Marvin Fisher, Segal) ~ 4:42

• McCoy Tyner ~ piano
• Jimmy Garrison ~ bass (4-9)
• Albert Heath ~ drums (4-9)
• John Gilmore ~ tenor saxophone (1-3)
• Thad Jones ~ trumpet (1-3)
• Frank Strozier ~ alto saxophone (1-3)
• Butch Warren ~ bass (1-3)
• Elvin Jones ~ drums (1-3)

I was in the mood to hear some piano jazz a few nights ago when I came across a title I’d not listen to for a while. I’ve never heard anything by pianist McCoy Tyner that I didn’t like and the album up for discussion before learning of his passing on March 7, 2020, is no exception. I placed the record on my Dual 1246 turntable, dropped the stylus and became immersed in the music of this gifted musician.  Today and Tomorrow (Impulse! A-63) was recorded and released in 1964 while McCoy (only twenty-five years old at the time) was still a member of The John Coltrane Quartet.  Here, he’s featured in three sextet and trio settings each leading an all-star group of Thad Jones on trumpet; Frank Strozier on alto sax; John Gilmore on tenor sax; Butch Warren on bass; Elvin Jones on drums (tracks: A1, A3, B2); Jimmy Garrison on bass; Tootie Heath on drums (tracks: A2, B1, B3).  My copy used in this report is the 1972 Stereo reissue (Impulse!-ABC Records AS-63), the fourth US pressing.

Contemporary Focus, the first of three tunes by McCoy opens this six-song journey with a rousing collective midtempo theme treatment led by Thad who wails strongly on the lead solo. John and Frank demonstrate their strengths with vibrant enthusiasm for the next two readings.  McCoy follows with a briskly swinging interpretation, then Butch and Elvin make the most of two brief juicy opportunities ahead of the closing chorus and fadeout.

A Night In Tunisia by Dizzy Gillespie and Frank Paparelli is a jazz standard from 1942 with many notable vocal and instrumental recordings to its credit. Jimmy Garrison and Tootie Heath provide the musical backing for this uptempo trio rendition beginning with an exhilarating theme treatment in unison. The pianist begins the opening statement at a very high temperature of molten intensity, then Tootie responds with a riveting performance that has lots of fireworks ahead of the pianist’s exuberant finale.

T’N A Blues, also by Tyner strolls in next to end the first side at midtempo with a relaxed attitude by the sextet on the opening chorus. Gilmore and Tyner are the featured soloists and John goes to work first with an infectiously happy groove. McCoy provides the summation on a leisurely paced performance that’s very danceable leading to the ensemble reassembling for the coda.

Side Two opens with the 1945 popular jazz standard Autumn Leaves by Joseph Kosma, Jacques Prévert who wrote the French lyrics for the song’s original title, Les Feuilles Mortes (The Dead Leaves), and Johnny Mercer who created the English lyrics. The trio exhibits their infectious chemistry on a lively intro that evolves into the sprightly opening chorus. McCoy kicks off the solos with a dazzling display of finger dexterity with a spirited performance of effortless spontaneity. Jimmy steps in next, walking his bass with bristling vitality and tastefulness, then Tyner communicates a few final choruses of brisk dialogue preceding the effervescent reprise and climax.

Three Flowers is the leader’s longest composition on the album, a mid-tempo waltz offering substantial solo space to himself, Thad, Frank, and John. The sextet opens with a delightfully charming melody and Tyner starts the soloing with an engaging reading possessing incredible beauty and enchantment. Thad follows with a beautifully phrased, vivaciously soulful presentation that’s lyrically pleasant. Frank keeps the ingredients stirring on the next solo with inherent high spirits, and buoyant lyricism.  John takes the last spot with an exquisite solo that swings with a swagger into the melody reprise and coda.

The 1956 jazz standard, When Sunny Gets Blue by Marvin Fisher and Jack Segal brings the album to a close with a thoughtfully tranquil theme treatment led by Tyner. McCoy has the solo showcase to himself and gives an enchanting reading of elegant tenderness bringing the listener home with a gentle closing chorus and culmination.

The recording by Rudy Van Gelder is splendid with an excellent soundstage throughout the treble, midrange, and bass spectrum. Each instrument emerges from your speakers to your listening chair as if you’re in the studio with the musicians as they’re recording, producing a gorgeous sound reminiscent of his Blue Note recordings of the period. I had the pleasure of seeing McCoy Tyner three times live, twice here in Atlanta where I got to meet him and once at The Village Vanguard in New York City. He was an incredible musician and wonderful man who was never too busy to meet and chat with his fans, yours truly among them. If you’re a fan of piano jazz or are looking for a terrific album of Modal Jazz and Post-Bop that’s subdued, subtle, and also energetic, I offer for your consideration, Today and Tomorrow by McCoy Tyner. An extremely skilled musician who whether in performance or on record always brought out the absolute best in each of his bandmates.

Autumn Leaves, Night In Tunisia – Source: JazzStandards.com When Sunny Gets Blue – Source: Wikipedia.org © 2020 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,piano

Requisites

JJ! In Person is a 1958 studio recording by J. J. Johnson on the Columbia Records label. Tracks | 44:15

1. Tune Up (Miles Davis) – 5:40
2. Laura (David Raksin, Johnny Mercer) – 4:57
3. Walkin’ (Richard Carpenter) – 6:51
4. What Is This Thing Called Love? (Cole Porter) – 6:30
5. Misterioso (Thelonious Monk) – 6:57
6. My Old Flame (Sam Coslow, Arthur Johnston) – 3:45
7. Now’s The Time (Charlie Parker) – 8:11

• J. J. Johnson – trombone
• Nat Adderley – cornet (tracks 1-5 & 7)
• Tommy Flanagan – piano
• Wilbur Little – bass
• Albert Heath – drums

JJ! In Person ~ The J.J. Johnson Quintet | By Eddie Carter

The word “deception” as described in the Merriam-Webster Online Dictionary is “the act of causing someone to accept as true or valid what is false or invalid”. I mention this definition because it’s significant to begin this week’s review with a live album that isn’t. JJ! In Person (CL 1161) by the J.J. Johnson Quintet is actually a studio recording masquerading as a live album with over-dubbed applause and fake bandstand announcements. That said, it’s not a bad album at all, quite the contrary actually. The choice of classic and contemporary tunes is exemplary, and the musicians assembled for this date are four of the best in the business; Nathaniel “Nat” Adderley on cornet, Tommy Flanagan on piano, Wilbur “Doc” Little on double bass and Albert “Tootie” Heath on drums.  My copy used in this report is the original Mono Deep Groove LP and trombonist J.J. Johnson gives the introductions for all seven tunes.

The album begins with a fast-paced rendition of Miles Davis’ 1953 jazz standard Tune-Up opening with a brief introduction by Tommy before the quintet comes together to run through the melody. J.J. takes off first with a high-spirited opening statement, then Nat swings just as hard on the second reading. Tommy’s fingers fly swiftly over the keys next, then Heath wraps everything up in a heated exchange with Johnson and Adderley into the reprise, ending and introductions of the band and next tune.  Laura by David Raskin is the title tune of the 1944 film with Johnny Mercer adding the lyrics after the film made the song a huge hit. A favorite of musicians and vocalists since its creation, Laura has been recorded more than four hundred times. This is a quartet feature for Johnson who takes the rhythm section through the midtempo melody completely carefree. J.J. leads off, applying a refreshing airiness to several swinging verses fueled by the trio’s supplement. Tommy follows with a gorgeous account of rhythmic vitality on a brief chorus preceding the trombone’s return for the closing coda.

The quintet returns to full voice on Richard Carpenter’s jazz classic, Walkin’ with everyone collectively cooking on the vivacious opening melody. J.J. states his thoughts economically but effectively on the lead solo.  Nat offers up some brassy fire on a strikingly insightful performance next. Tommy handles the finale with a breathtaking flourish ahead of the ensemble’s climax. The first side ends vigorously on Cole Porter’s 1929 classic, What Is This Thing Called Love? An exhilarating opening solo by Flanagan segues into an effervescent theme treatment by the quintet featuring some brief comments by “Tootie”. Adderley takes over for lively, vivacious reading, then Johnson gives a joyously unrestrained performance. Little and Heath share a brief closing statement preceding the firm beat the song ends on.

The music of Thelonious Monk opens Side Two with Misterioso; the song was written in 1958, serving as a title tune of the Riverside album Monk released that year, and again as the title song for a 1965 Columbia LP he recorded while on tour.  Its definition means mysterious in Italian and is given a bluesy midtempo treatment after the opening chorus. Nat and J.J. are the featured soloists and the cornetist establishes a nice momentum in a relaxed mood. The leader does a happy romp with an exceptionally agile interpretation, complementing the group’s smooth sound throughout this Monk original.

My Old Flame was written in 1934 by Arthur Johnston and Sam Coslow and featured in the film that year, Belle of The Nineties.  This old evergreen is the second quartet tune featuring J.J. as the song’s only soloist. The trombonist starts the slow-tempo standard in excellent voice with a rich, warm tone producing an intimately tender statement of subtlety that’s absolutely beautiful.  The album concludes with the 1945 blues by Charlie Parker, Now’s The Time, beginning with a collective medium beat on the melody that’s an irresistible toe-tapper. J.J. cruises at a moderate speed, taking the lead solo for a leisurely saunter. Nat preaches passionate phrases that are pitch-perfect on the second performance. Tommy follows with an expertly crafted interpretation of delightful pleasure. Wilbert and “Tootie” exchange one short verse each with the front line, ending the album on an upbeat note. The sound quality on this Mono LP is stupendous because of the amazing acoustics within the Columbia 30th Street Studio. Many of the label’s top jazz musicians and vocalists, Dave Brubeck, Buck Clayton, Miles Davis, Duke Ellington, Benny Goodman, Billie Holiday, Charles Mingus, Sarah Vaughan, and others used the space to create some of the greatest albums ever recorded.

This album was produced by George Avakian who in addition to his work on Columbia LPs, also produced albums on Decca Records, RCA Records, Warner Bros. Records, and World Pacific Records. The original recording engineer was Frank Laico who worked at both the Columbia 30th Street Studio and CBS Studios in New York City and was also the man behind the dials on albums for Atlantic, Cadence, Colpix, Dot Records, Epic, Reprise, United Artists Records and Verve Records to name of few.  For the life of me, I can’t think of any reason why Columbia felt they needed to label this record a live album when it clearly wasn’t. Anyway, that’s a mystery for another day. As I stated at the beginning of this report, J.J. In Person is actually a very good and enjoyable album. It’s also a title I recommend that’s worthy of an audition for a spot in any jazz library, especially if you’re a fan of J.J. Johnson. There was only the one issue of this album in Mono, the Stereo release (CS 8009) hit the stores a year later in 1959. To hear the album as it was originally recorded, it can be found on the 1996 Mosaic Records eleven LP box set, The Complete Columbia J.J. Johnson Small Group Sessions!

George Avakian, Frank Laico, Misterioso (Riverside RLP 12-279/RLP 1133), (Columbia CL 2416/CS 9216); The Complete Columbia J.J. Johnson Small Group Sessions (Mosaic Records MQ11-169) – Source: Discogs.com

Misterioso, Now’s The Time, Tune-Up, Walkin’, What Is This Thing Called Love? – Source: Wikipedia.org

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,trombone

Requisites

House Party is the fourteenth album by jazz organist Jimmy Smith featuring performances recorded in 1957 and 1958 and released on the Blue Note label. Rudy Van Gelder chose the Manhattan Towers Hotel Ballroom in New York City for the recording sessions in 1957-1958, while he was still using his parents’ Hackensack, New Jersey home studio to record artists for Blue Note.

1. Au Privave (Charlie Parker) – 15:09
2. Lover Man (Jimmy Davis, Ram Ramirez, James Sherman) – 7:00
3. Just Friends (John Klenner, Sam M. Lewis) – 15:15
4. Blues After All (Kenny Burrell) – 6:06

• Jimmy Smith – organ
• Lee Morgan – trumpet (tracks 1, 3, 4 & 5)
• Curtis Fuller – trombone (tracks 3 & 4)
• George Coleman – alto saxophone, (tracks 3 & 4)
• Lou Donaldson – alto saxophone, (tracks 1, 2 & 5)
• Tina Brooks – tenor saxophone (tracks 1 & 5)
• Kenny Burrell – guitar, (tracks 1, 4 & 5)
• Eddie McFadden – guitar, (track 2 & 3)
• Donald Bailey – drums, (tracks 2, 3 & 4)
• Art Blakey – drums, (tracks 1 & 5)

• Alfred Lion – producer
• Rudy Van Gelder – engineer
• Reid Miles – design
• Francis Wolff – photography
• Robert Levin – liner notes

Psychologists call it déjà vu, the distinct impression of having had the same experience before, that’s what it was alright, believe me. I was eight years old when I first discovered Jimmy Smith after hearing him on The Sermon (BLP 4011/BST 84011). His contributions to the development of modern jazz on the Hammond organ as a solo instrument helped to popularize it for others who would follow. Smith would ultimately lead me to discover the music of Charles Earland, Richard “Groove” Holmes, Jack McDuff, Jimmy McGriff, Don Patterson, John Patton, Freddie Roach, Shirley Scott and Dr. Lonnie Smith who made the organ their primary instrument. Houseparty

(Blue Note BLP 4002) hit the stores in 1958 and was the second album I would hear by the man who jazz critics, fans and fellow musicians called “incredible”.

It was recorded at the same session which produced The Sermon and is Smith’s fourteenth album for Blue Note since his debut, A New Sound, A New Star, Volumes 1 & 2 (BLP 1512/BST 81512 – BLP 1514/BST 81514) in 1956. The supporting cast joining the organist are Lee Morgan on trumpet; Curtis Fuller on trombone; Lou Donaldson and George Coleman on alto sax; Tina Brooks on tenor sax; Kenny Burrell and Eddie McFadden on guitar; Art Blakey and Donald Bailey on drums. I became a huge fan of his playing and purchased as many of his albums as my meager allowance would allow. My copy used for this report is the 1959 US Mono reissue (Blue Note Records, Inc. – 47 West 63rd NYC on the Side 1 label and the Deep Groove only on Side 2 with the label showing Blue Note Records, Inc. – NewYork USA), the 2nd US pressing.

The album opens with a vigorous uptempo workout of the 1951 jazz standard, Au Privave by alto saxophonist Charlie Parker who recorded it for Mercury Records on a 78-rpm single (11087), released the same year. It would reappear on Charlie Parker’s 1958 posthumous Verve Records LP, Swedish Schnapps (MG V-8010). Jimmy opens with a brief introduction, afterward, Lee provides a solo chorus of the melody first, followed by the ensemble who add their own excitement to the uptempo theme. Smith is first in the solo spotlight on the attack with a wailing performance, possessing amazing fluency on each chorus. Morgan adds some bite to the second statement with an intense groove that maintains the cooking intensity from beginning to end.

Donaldson steps in next for a torrid performance which gives off intensive heat. Tina Brooks comes in next, riding hard on the next robust reading, providing scorching verses of infinite effervescence delivered with an aggressive impact. At its conclusion, I wished he could have been featured elsewhere on the LP. Burrell takes over, adding a vigorous reading of his own with skillful authority preceding Jimmy’s returns for a short solo spot ahead of the ensemble’s strong finale.

Of all the songs in The Great American Songbook, Lover Man, in my opinion, is the pinnacle standard of jazz, pop, and soul. It was written by Jimmy Davis, Roger Ramirez, and Jimmy Sherman for Billie Holiday who made it a hit on the pop and R&B charts in 1945. This rendition of the timeless classic highlights Lou Donaldson as the featured soloist with Jimmy’s trio of guitarist Eddie McFadden and drummer Donald Bailey. A hauntingly beautiful bass line by Smith makes the introduction, prior to the saxophonist’s warm, affectionate theme statement. Lou’s alto sax moves up to a sprightly tempo for two lively verses of stimulating solo work before returning to a softer mood for his final chorus.

Eddie and Jimmy each deliver one chorus of intensely persuasive passion, then Lou returns to lead the quartet into a thoughtfully, modest climax. Just Friends, the 1931 popular song by John Klenner and Sam M. Lewis kicks off Side Two at medium-tempo with McFadden leading Smith and Bailey through the bluesy melody. Eddie takes the lead solo, offering the first two of four choruses that are infectiously propulsive with a flowing beat. Jimmy takes the next turn, toning down his searing attack to presenting four choruses of low-keyed swing with a down-home flavor as scrumptious as a good meal. Lee is up next, delivering the next reading with a bright tone,

exemplary poise, and accuracy which is executed beautifully. George Coleman enters the spotlight next, establishing long flowing, graceful lines from his alto sax for a lightly swinging performance of carefree verses. Curtis Fuller conjures up some mellow phrases on the final interpretation preceding the final two choruses by McFadden with Smith and Bailey providing the foundation into the close.

Blues After All is from the pen of Kenny Burrell and our final stop on Houseparty. This slow-tempo blues is of the soul food variety and serves up a solo order of Coleman, Morgan, Fuller, Smith, Burrell. Jimmy brings the song to life with one of the smoothest introductions you’ll ever hear. He also provides the bass line with his left foot while playing chords with his left hand, harmonic and rhythmic lines with his right hand. Kenny’s sensitive approach to the melody is shown to fine advantage as he provides the initial theme. The three horns join the trio when the theme is repeated during the opening and closing chorus. The lead solo by George is a tasteful delight to tempt you for what’s to come, followed by Lee who produces a savory broth of the blues that is slowly simmered to perfection. Curtis comes to the table with a plate of appetizing notes that gives the song a wonderful flavor. Jimmy adds the red beans and rice to our dish on the next performance and Burrell delivers the final ingredient to make the meal complete and end the album on a scrumptious note.

Houseparty was recorded by Rudy Van Gelder who used the Manhattan Towers Hotel Ballroom in New York City for recording sessions with larger groups of musicians that would not fit in his parent’s living room. Both, Houseparty and The Sermon were recorded there and are among the outstanding releases in Smith’s discography. The sound is well done and each of the instruments a delight to hear with a wonderful soundstage. Jimmy exhibits a style of playing that is completely comfortable in the Hard-Bop or Soul-Jazz genres. He recorded a total of six studio albums for Blue Note featuring his trio, plus special guests. The other five LP’s are A Date With Jimmy Smith, Volume 1 & 2 (BLP1547/BST 81547 – BLP 1548/BST 81548) in 1957, The Sermon in 1959, Open House (BST 84269) and Plain Talk (84296) in 1968. If you’re a fan of the jazz organ, I offer for your evaluation, Houseparty. It’s an amazing album by Jimmy Smith that though out of print on LP in the US since the 1985 Stereo Cadre Rouge DMM Audiophile Edition (BST 84002), won’t break the bank when seeking a Mono or Stereo copy for your library. It’s also an LP you can enjoy alone, in the company of friends or guests at your next Houseparty! The Blue Note RVG Edition CD-album (7243 524542 8) released in 2000 adds an additional song, Confirmation by Charlie Parker.

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,organ