On The Bookshelf
Jazz Singing | Will Friedwald
The four hundred and fifty five page book is a testament to America’s great voices from Bessie Smith to bebop and beyond. Friedwald has over the past two decades, emerged as the single most recognized authority on jazz singers. His liner notes have enhanced hundreds of vocal reissues, and his books and newspaper columns are equally perceptive.
As the title promises, Friedwald has broadened his scope to 210 singers that are not exclusively jazz but now include pop singers, such as Elvis Presley, Johnny Mathis and Patti Page. For serious jazz vocal fans, he gives us seminal performers Ella Fitzgerald, Sarah Vaughan, Louis Armstrong and Sinatra, whose analysis of specific albums is consistently enlightening. There are lesser lights-Jackie Paris, David Allyn, Edythe Wright, Irene Reid and several dozen others. The list also reminds us of Doris Day, Jack Jones, Steve Lawrence, Eydie Gormé, Judy Garland and Martha Raye.
Read at your leisure, dive in for one story or two and discover precious nuggets to add to your understanding of a time when jazz was king..
Requisites
Bud Powell – A Portrait of Thelonious | By Eddie Carter
Submitted for your approval this morning is an underrated, yet excellent 1965 trio album by pianist Bud Powell. A Portrait of Thelonious (Columbia CL 2292/CS 9092) is a wholehearted tribute to Thelonious Monk, one of the most influential figures in jazz. Pierre Michelot joins him on bass, and Kenny Clarke is on drums. Together, this trio of giants captures the spirit, complexity, and emotional depth of four Monk compositions, one standard and three little- known originals, as seen through Powell’s interpretations. The chemistry between the musicians yields a dynamic exploration of Monk’s repertoire, rendering the album both a reverent homage and a fresh reimagining of the jazz piano tradition. My copy of this album is the 1980 U.S. Columbia Jazz Odyssey Series stereo reissue (PC 36085).
Monk’s Off Minor opens the first side at a medium beat for the friendly melody. Bud is the featured soloist and glides through an enchanting performance with Pierre and Kenny providing a crisp, driving foundation right up to the song’s finish. There Will Never Be Another You by Mack Gordon and Harry Warren is a joyous interpretation that the trio brings to life with a playful spirit during the theme, which is sure to bring a smile to the listener’s face. Again, Powell is the lone soloist and provides a leisurely presentation, possessing a carefree zest that’s consistently rewarding, leading to the theme’s reprise and climax.
Thelonious Monk created some of jazz’s most memorable standards, and Ruby, My Dear is one of his most beautiful compositions, named for his first love, Rubie Richardson. The trio opens with a delicate melody. Bud presents a haunting, poignant performance, marked by gentle sensitivity, layered over the warm, supportive accompaniment of Pierre and Kenny, ahead of a gorgeous conclusion. No Name Blues by Earl Bostic is a catchy tune that begins with the trio’s effective medium-tempo beat for the theme. Powell’s lead solo is an ear-pleaser that swings comfortably into Michelot’s relaxing performance, fueled by Clarke’s brushwork preceding the trio’s bouncy closing chorus.
Thelonious is another of Monk’s inventive melodic ideas from 1947, like Off Minor and Ruby, My Dear. The trio immediately grabs the listener with a catchy hook and a solid medium-tempo groove during the introduction and theme. Powell swings effortlessly in the song’s only solo before the ensemble’s reprise and ending. Monk’s Mood is a pretty ballad by Thelonious Monk that’s luxurious yet straightforward. Powell has the solo spotlight to himself and delivers a gorgeous performance of beauty, elegance, and affectionate warmth, while Michelot and Clarke keep close preceding the song’s peaceful conclusion.
The beat moves upward for I Ain’t Foolin’ by Charles Albertine next. It’s a toe-tapper from the start of the ensemble’s bubbly introduction and melody. Bud navigates the tune’s lively structure in a spirited performance blending bebop lines and Monk-inspired blues inflections until the theme’s restatement and exit. Squatty by Brian Fahey concludes the album, with Clarke setting the tone ahead of the trio’s infectious groove on the melody. Powell establishes a relaxed rhythm, inviting listeners to unwind during the first solo. Michelot steps forward next with a concise reading of lively notes before the trio’s finale.
Julian “Cannonball” Adderley produced A Portrait of Thelonious, and it’s unknown who the original engineer was.Arthur Kendy was behind the dials of the reissue. The album’s sound quality across the highs, midrange, and bass is superb, placing the musicians in your listening room. Each instrument is captured with remarkable clarity, and the balanced mix highlights the interplay between the trio, making every note feel immediate and intimate. If you’re seeking a superb piano trio album for your library, I enthusiastically invite you to check out A Portrait of Thelonious by Bud Powell on your next record shopping trip. It’s an excellent introduction to his music that’s sure to become a welcome addition to any fan’s library who appreciates piano jazz!
~ There Will Never Be Another You – Source: JazzStandards.com ~ Off Minor, Ruby, My Dear, Thelonious – Source: Wikipedia.org © 2025 by Edward Thomas Carter
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On The Bookshelf
JAZZ MEMORIES: A Book of Days | Michael Elhers
This book has been designed by Stephen Kruse in the date book format, with blank spaces to record appointments, notes, ideas, etc. or just to enjoy the facts about each artist featured on selected birthdays, festival openings, and other events on both sides of the pond in jazz history. The names are recognizable to adicionados, enthusiasts and for any first year student of jazz who has delved into the history of the genre.
The introduction gives hor and praise to not only the musicians but to everyone connected to the making of this project. This includes radio stations, critics, columnists, poets and writers. All text and notes have been written by Michael Ehlers.
The photographs of the musicians that fill this book are memories taken by Jerry Stoll, unless otherwise noted. His sensitive portraits capture not just the images of the musicians but also the spirit of their music.
The book is dedicated to Tommy Flanagan, a pianist’s pianist, and to the memory of John Henry Hammond (1910~1987), a jazz saint.
Requisites
Stablemates ~ Jon Eardley and Al Haig | By Eddie Carter
You really know your godchildren truly care and love you when they surprise you for your birthday with an album by two artists whose music you’re aware of, yet whose records have never found a place in your library. This morning’s spotlight shines on flugelhorn and trumpet player Jon Eardley, who was passing through London on a brief 1977 tour and pianist Al Haig, who was in town to visit friends. The two musicians seized the moment to head into the studio to record their only album together, Stablemates (Spotlite Records SPJ LP11). It was released two years later, and rounding out the ensemble are Art Themen on tenor sax, Daryl Runswick on bass, and Alan Ganley on drums. My copy of this album is the 1979 U.K. stereo release.
The first side opener, Tangerine by Johnny Mercer and Victor Schertzinger, begins with Al’s upbeat piano intro to Jon’s lively melody. Art kicks off the opening solo briskly, then Al flows smoothly into the following reading. Jon entersnext with a strong, assertive tone. Art and Jon share a final conversation leading back to the theme’s reprise and close. Speak Low by Ogden Nash and Kurt Weill raises the temperature with the quintet’s swinging melody. Themen opens the solos with an inspired improvisation that sets the tone. Eardley follows with plenty of bounce and effervescence on the second statement. Themen is off to the races next with impeccable precision, then Runswick and Ganley engage in a spirited exchange until the theme’s restatement fades out.
‘Round Midnight by Bernie Hanighen, Thelonious Monk and Cootie Williams is a quartet showcase that opens with Al and Daryl’s pensive introduction ahead of Jon’s tender melody. Al begins the opening solo with dreamlike softness, then the pace moves upward slightly for Jon’s elegant interpretation before the ensemble’s gentle ending. The second side gets underway with the pianist’s soothing introduction to Embraceable You by George and Ira Gershwin. Eardley states the gentle melody with Themen. In the first solo, Haig offers a tender, thoughtful statement with a soft touch of elegant beauty. Eardley truly shines in the closing reading with notes so deeply heartfelt that it’s bound to move you to tears, leading to Themen’s closing chorus and a gentle climax.
Don’t Blame Me by Dorothy Fields and Jimmy McHugh receives a gorgeous treatment by the quintet, beginning with Jon’s slow-paced theme that radiates inviting warmth, and Art’s perfectly placed inserts. Al leads off, skillfully blending composure and gentleness, before Art continues this lovely standard with a solo that truly touches the spirit. Jon delivers an exquisitely soft, poignant horn passage preceding the theme’s return. The beat moves upward on final time for Eardley’s theme to Love Walked In by George and Ira Gershwin. Themen opens the solos with an energetic drive, then Haig contributes a robust interpretation. Eardley matches the intensity with swift execution, and Ganley and Runswick meet on common ground in the closer, leading to the theme’s reprise and climax.
Tony Williams produced the album, and Steve Waldman served as the recording engineer. It delivers an exceptional soundstage, as though the ensemble is performing live in your listening room. The mix is impressively balanced, offering remarkable clarity and fidelity from your speakers. Stablemates is one of six albums Jon Eardley led as a leader, and he contributed as a sideman on ten additional records. Al Haig, meanwhile, led twenty-five albums and played as a sideman on eight more. If you haven’t yet experienced the artistry of Jon Eardley or Al Haig, I highly encourage you to seek out Stablemates on your next search for great jazz records. This outstanding album invites fresh appreciation with each play and remains as relevant today as it was over forty years ago!
~ Don’t Blame Me, Embraceable You, Love Walked In, ‘Round Midnight, Speak Low, Tangerine – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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On The Bookshelf
Jazz In The Movies: A Guide to Jazz Musicians 1917~1977 by David Meeker is the result of ten years research into the arena of jazz and the film industry. Norman Granz, who penned the introduction, writes of David as one of the small, dedicated, diligent, extremely hard-working, enthusiastic group of people that the world luckily possesses.
The idea for the book came to Meeker some twenty years before its writing after waiting for a prolonged and disappointing time of news reels, travelogues and the like to watch a film titled The Three Little Bops and to finally hear the sweet sounds of Shorty Rogers. Then he thought why has there been no jazz filmography produced. So, he set about the daunting task of compiling 2,500 movies and this is the outcome.
The book lists each film title alphabetically, together with its nationality, year of production, director, running time, a short critique and details of all jazz artists, band personnel and musical items where known.