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SURF RIDE | ART PEPPER
Saxophonist Art Pepper made his debut recording session of Surf Ride in Los Angeles, California on March 4, 1952, when he recorded tracks 4-6 on the album. Subsequent recording sessions took place on March 29, 1953 when he recorded tracks 1-3 and then on August 25, 1954 recording tracks 7-12. The three sessions resulted in the completion of the twelve takes that ultimately made it to the album.
The album was produced by Ozzie Cadena and originally released as a 12 inch LP on the Savoy label in 1956. The liner notes were written by Yasukuni Terashima and the cover offers a clear though slightly too wholesome California motif to be considered for an addition to the cheesy Fifties Batchelor Collection of “girls on covers “, though the redhead in bikini helps.
TRACKLIST | 37:25 All compositions by Art Pepper except where noted.-
- Tickle Toe (Lester Young) – 2:55
- Chili Pepper – 3:00
- Susie the Poodle – 3:14
- Brown Gold – 2:26
- Holiday Flight – 3:1
- Surf Ride – 2:54
- Straight Life – 2:52
- Cinnamon – 3:11
- Thyme Time – 3:30
- The Way You Look Tonight (Dorothy Fields, Jerome Kern) – 3:48
- Nutmeg – 3:15
- Art’s Oregano – 3:08
- Art Pepper – alto saxophone
- Jack Montrose – tenor saxophone (tracks 7-12)
- Russ Freeman (tracks 1-3), Hampton Hawes (tracks 4-6), Claude Williamson (tracks 7-12) – piano
- Monty Budwig (tracks 7-12), Joe Mondragon (tracks 4-6), Bob Whitlock (tracks 1-3) – bass
- Larry Bunker (tracks 4-12), Bobby White (tracks 1-3) – drums
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Two Loves is an album led by pianist Duke Jordan recorded on November 25th and December 2, 1973, at Sound Track in Copenhagen, Denmark. My Old Flame, Wait And See, and I’ll Remember April was recorded during the December session. The album was released the following year in 1974 on the Danish label, SteepleChase.
The producer was Nils Winther, the engineer was Ole Hansen, the liner notes were written by Roland Baggenæs and the photography, design, and cover was taken and created by Lissa Winther.
A bebopper of the first generation, this album is evidence of Jordan’s gentle touch, his simply constructed chords, and his preference for medium tempos.
Track List | 40:55 ~ 62:27 with CD Bonus Tracks-
- Subway Inn – 8:11
- My Old Flame (Sam Coslow, Arthur Johnston) – 8:45
- Blue Monk (Thelonious Monk) – 5:14
- Two Loves – 3:05
- Embraceable You (George Gershwin, Ira Gershwin) – 7:15
- Wait And See – 2:44
- I’ll Remember April (Gene de Paul, Patricia Johnston, Don Raye) – 5:34
- Lady Dingbat – 4:08
- Jordu – 5:19
- Duke Jordan – piano
- Mads Vinding – bass
- Ed Thigpen – drums
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Catalonian Nights, Vol. 1 ~ Tete Montoliu Trio | By Eddie Carter
The Tete Montoliu Trio enters the spotlight with a 1980 live trio date, Catalonian Nights, Vol. 1 (SteepleChase Records SCS-1148). It came out a year later and is the first of three releases by the group from the Zeleste Club. Tete was born blind in Barcelona and learned braille music at age seven. His father was a professional musician, and his mother loved jazz, inspiring him to learn the piano. Montoliu attended the Barcelona Conservatori Superior de Música del Liceu at age thirteen. Tete met a few jazz musicians and learned about jam sessions while studying at the music college. He’s joined here by John Heard on bass and Albert Tootie Heath on drums. My copy is the original U.S. Stereo album.
D & E is from the pen of Milt Jackson and gets the set underway with the trio’s medium melody. Everyone has a lengthy canvas to work on, and Tete lets his fingers do the talking on the lead interpretation. John follows, walking his bass as if on a Sunday stroll, then Albert converses with Tete ahead of the close. Montoliu showcases his swinging style on Lady Bird by Tadd Dameron next, beginning with a solo introduction that grows into the ensemble’s spirited melody. Tete’s opening solo is off to an adventurous start; then Heath joins the pianist for a vigorous exchange leading to the theme’s reprise and robust ending.
Autumn In New York by Vernon Duke begins with a beautiful piano introduction that blossoms into a gorgeous ensemble theme. Tete begins the opening statement quietly, then picks up the pace to improvise freely into a satisfying summation. John delivers the following solo with exquisite sensitivity, preceding the closing chorus and tender climax. Kenny Dorham’s Blue Bossa takes off with the trio’s bossa-nova melody. Montoliu makes his entrance with an intriguing interpretation that delivers the goods. Heard speaks his piece next, then Tete and Heath share the finale leading to the melody’s reprise and exit. The trio wraps everything up in short order with The Theme.
Freddy Hansson and Josep Maria Rodon recorded this live performance, and Nils Winther produced it. Catalonian Nights, Vol. 1, is an excellent recording with a superb soundstage that makes listeners feel like they are in the club audience as the trio performs. I first heard The Tete Montoliu Trio on Gentle Ben with Ben Webster and was immediately impressed by his playing. Now that I’ve discovered this album, I’ll be on the lookout for Catalonian Nights, Vol. 2 and Vol. 3. If you’re in the mood for an excellent live album, I offer for your consideration Catalonian Nights, Vol. 1 by The Tete Montoliu Trio. It’s a great release that I highly recommend and a welcome addition to any library!
~ Catalonian Nights, Vol 2 (SteepleChase Records SCS 1241), Catalonian Nights, Vol. 3 (SteepleChase SCCD 31433), Gentle Ben (Ensayo ENY-301) – Source: Discogs.com ~ Autumn In New York – Source: JazzStandards.com ~ Blue Bossa, Lady Bird – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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Listen Here ~ The Gene Harris Quartet | By Eddie Carter
After a long week, I wanted to hear something to help me unwind, so I picked out a wonderful 1989 album, Listen Here (Concord Jazz CJ-385), by The Gene Harris Quartet. I was introduced to pianist Gene Harris as a child when he was a member of The Three Sounds and grew up listening to their Blue Note albums. One of my favorites is Blue Hour, the group’s collaboration with Stanley Turrentine. The trio disbanded in the seventies, and Harris embarked on a successful solo career recording for Blue Note, JAM, and Concord Jazz. On this album, he’s working with Ron Escheté on guitar, Ray Brown on bass, and Jeff Hamilton on drums. My copy is the original U.S. Stereo release.
This Masquerade by Leon Russell opens the album with the quartet’s gentle introduction. Gene brings out the song’s beauty with a light touch during the delicately gorgeous melody and the song’s only solo. The group reconvenes for the closing chorus, and Ron takes the song out in a tender dissolve. Up next is Don’t Be That Way by Benny Goodman, Edgar Sampson, and Mitchell Parish. The foursome’s lively and spirited theme gets things off to a great start. Escheté is up first with a joyously infectious reading. Harris moves through the rhythm section like a musical twister on the following solo ahead of the closing chorus and exit.
The pace slows down for I’ve Got A Feeling I’m Falling by Billy Rose, Harry Link, and Thomas “Fats” Waller. The quartet begins this old favorite with an elegantly tender melody. Gene’s opening solo is a mix of lyrical beauty and nostalgia. Ron has a short statement that’s soft and tender before the leader’s return for the closing chorus. The title song, Listen Here, by Eddie Harris, opens with Brown’s introduction, joined by Escheté and Hamilton into Harris’ feisty melody. The pianist continues grooving on the lead solo, then Eschete cooks on the following statement. Brown wraps it up with a brief reading preceding Gene’s return for the vibrant finale.
Blues For Jezebel is named for Gene’s cat; from the infectious beat of Jeff’s introduction, she must have been quite a pet. The quartet begins with a smooth-flowing melody, then Ron indulges in some fun on the opening solo. Gene follows with a relaxing reading as enjoyable as a favorite pair of shoes into the ensemble’s closing chorus. Sweet and Lovely, by Gus Arnheim, Charles N. Daniels, and Harry Tobias, is an old thirties chestnut that receives a beautiful treatment from the ensemble. Harris starts the gracefully moving introduction and melody. Escheté applies a tender touch to the first solo. The leader follows with a sultry, soulful statement ahead of the closing chorus and slowly dissolves.
Lullabye by Chuck Mangione is not a children’s song. It’s a pretty tune that Gene introduces alone, segueing into an attractive ensemble melody that’ll have your toes tapping along. Gene takes a playful romp in the only interpretation, with the rhythm section complimenting him into a solo fade out by Ron and Ray. Irving Berlin’s The Song Is Ended is taken at a laid-back tempo, beginning with Gene’s introduction into the quartet’s leisurely melody. Escheté is up first with a carefree interpretation, including a brief walk by Brown before it concludes. Gene takes it up a notch with a rousing statement before the ensemble reprises the theme, and the pianist ends softly.
Concord Jazz’s founder, Carl E. Jefferson, produced Listen Here. Phil Edwards and Stuart Hirotsu were the recording engineers, and George Horn was the mastering engineer. The album’s sound quality is stunning, with an excellent soundstage that transports the listener to the studio as the quartet is recording. The pressing is flat and quiet until the music starts. Gene Harris used Ron Escheté whenever he could and always with great results. They recorded nine albums together on Concord Jazz and eleven overall. If you’re a fan of this talented pianist and only know him from The Three Sounds, I invite you to add Listen Here by The Gene Harris Quartet to your record shopping list. It’s a perfect choice to kick back and listen to after a long day or week or when your quiet moments are at a premium!
~ Don’t Be That Way, Sweet and Lovely – Source: JazzStandards.com ~ I’ve Got a Feeling I’m Falling; The Song Is Ended, This Masquerade – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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Out Of This World ~ Teddy Edwards Quartet | By Eddie Carter
In this morning’s discussion from the library, the Teddy Edwards Quartet comes to play with their delightful 1981 release, Out of This World (SteepleChase Records SCS 1147). Theodore Marcus Edwards was born in Jackson, Mississippi, and comes from a musical family. His father and grandfather were both musicians, and he began playing the alto sax and clarinet at an early age before taking up the tenor sax. He later recorded and played with many great jazz musicians and has an extensive discography as a leader and sideman. He’s joined on this date by an excellent rhythm section, Kenny Drew on piano, Jesper Lundġard on bass, and Billy Hart on drums. My copy is the original U.S. Stereo pressing.
Side One opens with No Name No. 1, the saxophonist’s first of two original tunes. The ensemble starts with a rollicking groove on the opening chorus; then Teddy takes flight with a bright, boppish interpretation. Kenny comes in with a passionate performance; next, Jesper walks his bass briskly. Billy has a short conversation with Teddy leading to the theme’s restatement and abrupt stop. The pace eases the tempo slower for Edwards’ April Love. It’s a pretty song that the trio introduces before the leader steps up to deliver the beautiful theme and opening statement. Drew comes in next with an attractive interpretation complemented by Lundġard and Hart’s foundation preceding the ending theme and summation.
The title tune, Out of This World, by Harold Arlen and Johnny Mercer, debuted in the 1945 romantic comedy of the same name. The quartet swings the melody at a medium beat. Teddy lifts the opening solo to new heights of virtuosity. Kenny follows with a dazzling display of finger dexterity, then Jesper briefly comments ahead of the closing, and the trio dissolves into silence. Summertime by George Gershwin and DuBose Heyward begins Side Two with Teddy’s introduction, which branches into the foursome’s lovely theme. Edwards tells a wonderful story in two gorgeous readings. In between them, Drew presents a statement of great sensitivity. Lundġard matches them in melodic ideas in the closer before Edwards delivers the reprise, and the foursome disappears softly.
The quartet opens another page of The Great American Songbook with That’s All by Alan Brandt and Bob Haymes. It comes to life with Kenny’s deceptively simple introduction and Teddy’s soothing theme. The saxophonist’s opening statement is rendered with incredible beauty and enchantment. Kenny has a brief moment to present an especially warm solo preceding the leader’s return. Cheek To Cheek by Irving Berlin is from the 1935 film Top Hat and concludes the album on an upbeat note. Hart opens with a brisk introduction, setting the stage for Edwards to take off on a spirited melody and opening statement of zestful virtuosity. Drew has the next spot for an equally lively performance, and Hart ends in an enthusiastic whirlwind before Teddy reappears to wrap it up.
Nils Winther produced Out of This World, and Freddy Hansson was the man behind the dials of the recording. The album has a stunning soundstage, and each instrument is captured perfectly. The highs sparkle, the midrange is clean and crisp, and the bass is solid. The record is also incredibly quiet until the music starts. If you’re in the mood for an excellent Hard-Bop album, I invite you to give Out of This World by The Teddy Edwards Quartet a listen at your earliest opportunity. It’s a great album that offers a glimpse into this underrated but talented musician, and I can’t recommend it enough for a spot in your library!
~ Cheek To Cheek, Summertime, That’s All – Source: JazzStandards.com ~ Out of This World – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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