Requisites…

The Real Thing ~ Louis Hayes | By Eddie Carter

This morning’s record from the library comes from the renowned drummer Louis Hayes. He’s recorded eighteen albums as a leader and is known for his work as a sideman with Cannonball Adderley, Horace Silver, Oscar Peterson, and many others. The Real Thing (Muse Records MR 5125) is his third date and second with this group. It was recorded in 1977 and hit the stores the following year. The album features the exceptional talents of Woody Shaw on flugelhorn (track: A2) and trumpet (A1, A3, B1 to B3), Slide Hampton on trombone (B1 to B3), Rene McLean on alto (B2, B3), soprano (A3, B1), and tenor sax (A1), Ronnie Matthews on piano and Stafford James on bass. My copy is the original U.S. Stereo album.

Side One opens with St. Peter’s Walk by Tex Allen. Hayes introduces this scorcher in an energetic exchange with the front line. After the ensemble’s theme, Woody races through the opening solo with extraordinary energy. Ronnie’s electrically charged fingers move like a shot of adrenaline, then Louis soars out of sight in a vigorous workout. Rene is featured in the opening and closing ensemble but does not solo. Nisha by Louis Hayes is a quartet feature featuring Woody on the flugelhorn. Ronnie’s gentle introduction segues to Woody’s delicate melody. Ronnie picks up the pace in a gentle first solo that hits the mark. Woody follows with a charming sincerity that fits like a glove. Stafford sustains the thoughtful mood in the closer, while Louis’s timekeeping holds everything together ahead of the climax.

Loose Suite by Ronnie Matthews is a play on Louis’s first name. The song opens with the drummer’s razor-sharp introduction ahead of an abstract quintet melody. Rene leads off with an adventurous reading. Woody charges into the second solo with lightning-fast intensity. Louis leaves the listener’s ears sizzling with explosive fireworks preceding the reprise and ending. Side Two starts with My Gift To You by Stafford James. Slide comes on board for the sextet’s medium-fast melody. Rene digs deep into the opening statement and then steps aside for Stafford, who walks briskly in the following presentation. Louis stamps his personality on the finale with propulsive power before the sextet’s closing chorus fades into oblivion.

Jack’s Tune, aka Blue Fable, is by Rene’s father, Jackie McLean, and begins with the ensemble’s vigorous melody. Rene ignites the opening solo with a fire-breathing showcase. Ronnie comes behind him with a blazing interpretation, and then Slide follows with an aggressive statement. Louis gets the last word with a brisk workout, leading to the closing chorus and abrupt climax. Marilyn’s House by Tex Allen keeps the high-voltage exhilaration of the earlier tune, with the front line leading a fiery sextet melody. Woody starts the opening statement with joyous determination. Rene comes in next to give an electrifying presentation. Slide provides the exclamation point in a dazzling reading ahead of the restatement of the theme.

Michael Cuscuna produced The Real Thing, and the recording engineer was Chuck Irwin. The sound quality is not just good, but an enjoyable sit-down and listening experience with a wide soundstage that’s sure to please the most discriminating jazz fan. This is the only studio album the group made together. Still, they also recorded a 1977 live album, The Woody Shaw Concert Ensemble Live at The Berliner Jazztage. At the end of his liner notes, noted jazz journalist Bob Blumenthal states, “Louis Hayes no longer leads this band with Woody Shaw, but it left its mark during 1976 and 1977, and the music remains real.”

Despite the group’s short tenure, the impact of their music is undeniable. The Real Thing by Louis Hayes is one of the jewels of his discography that I’m sure will leave a lasting impression on the listener. For any fan seeking a solid hard-bop album to unwind with after a long day or evening, I invite you to check out this first-rate release on your next record-shopping trip. It’s a perfect starting point to get acquainted with one of the quintessential jazz drummers and a pleasure from start to finish!

~ The Woody Shaw Concert Ensemble Live at The Berliner Jazztage (Muse Records MR 5139) – Source: Discogs.com

~ The Horace Silver Quintet, The Oscar Peterson Trio, The Cannonball Adderley Quintet and Sextet – Source: Album liner notes by Bob Blumenthal.

© 2025 by Edward Thomas Carter

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Bill Evans in Norway: The Kongsberg Concert ~ Bill Evans | By Eddie Carter

One of my favorite ways to enjoy jazz while reading is listening to a piano trio and one of my favorite pianists for this is Bill Evans. I was thrilled to pick up a Record Store Day copy of this morning’s album from the library. Bill Evans in Norway – The Kongsberg Concert (Elemental Music 5990547) is a two-record set that captures a never-before-released trio performance at the 1970 Kongsberg Jazz Festival, recorded a few days after the Montreux Jazz Festival. Bill is joined on this date by two gentlemen who have been members of the threesome for a while: Eddie Gomez on bass and Marty Morell on drums. My copy is 4504 of 8850 in the Worldwide limited edition Stereo release.

The album opener, Come Rain or Come Shine, by Harold Arlen and Johnny Mercer, was first performed in the 1946 Broadway musical St. Louis Woman. Bill opens with a short solo introduction, building to the trio’s medium melody. Eddie steps up first and swings with full-toned ease. Bill takes over and captivates the listener with a soulful rendition until the song’s reprise and ending. What Are You Doing The Rest of Your Life? by Michel Legrand, Alan and Marilyn Bergman is a hauntingly tender song that opens with the trio’s pretty theme. Evans’s solo is a beautiful interpretation, culminating with a gentle restatement and finale.

34 Skidoo by Bill Evans starts with the trio setting a spirited groove in the melody. Bill kicks off the opening statement with a carefree zest and a display of his virtuosity that will leave the listener in awe. In the following interpretation, Eddie’s bass walks purposefully ahead of the pianist’s reappearance for the song’s conclusion. Turn Out The Stars is one of Bill’s most beautiful compositions. The piano’s introduction begins at a deceptively slow tempo before the pace picks up for the melody. As the song’s only soloist, Bill tells a touching story in a profoundly emotional performance balanced by his bandmates, leading to a peaceful ending.

Side Two starts with Autumn Leaves by Joseph Kosma, Jacques Prévert and Johnny Mercer. The trio breaks into a hard-swinging opening chorus, and then Eddie takes a soaring solo that draws us in immediately while Marty’s brushwork provides the power. Bill takes flight in a vigorous reading preceding a rousing theme reprise and climax. Quiet Now by Denny Zeitlin is a gorgeous ballad, beginning with a short piano introduction which blossoms into an elegant melody. In the song’s only reading, Bill again has the spotlight and gives a beautifully conceived performance, leading to a tender ending that will linger in the listener’s memory long after the song ends.

The tempo moves upward again for So What by Miles Davis. It kicks off with Eddie’s introduction to the ensemble’s upbeat theme. Bill stretches himself ambitiously to the edge of bop, modal and free jazz in the opening statement. Marty gets his first chance to solo next and gives a short workout, then Eddie catches fire in the closer before the song concludes. Gloria’s Step is by Scott LaFaro, a member of one of Evans’s best trios until he died in a tragic 1961 auto accident. The trio opens the third side with a lively melody; then, Bill gets to the heart of the matter in the lead solo. Marty flies briskly in the second presentation, and Eddie wraps up things before the trio’s out-chorus.

Emily is the creation of Johnny Mandel and Johnny Mercer. It comes to life with the pianist’s introduction to the trio’s lightly-swinging melody. Bill gets things off to a good start in the lead solo. Eddie fully displays his beautiful tone in the second interpretation ahead of the closing ensemble. Midnight Mood by Ben Raleigh and Joe Zawinul is a pretty tune that’s remarkably easy for listeners to love. The trio establishes a nice momentum in the opening ensemble, and then Bill starts the solos with effortless grace and relaxed authority. Eddie follows with a very satisfying performance before the trio restates the melody.

Side Four starts with the English composing team of Anthony Newley and Leslie Bricusse’s original, Who Can I Turn To? A solo piano introduction gets things started, leading to the theme. Eddie gets the first nod and turns in a peppy performance; then, Bill keeps the burners on high in the following presentation before the closing chorus. Some Other Time by Betty Comden, Adolph Green, and Leonard Bernstein begins with a gorgeous melody by the trio. The pianist has the song’s only solo and delivers a poignant presentation that is beautifully done, culminating with a gentle theme reprise and a thunderous ovation from the audience.

The album closer is Nardis by Miles Davis, beginning with a solo piano introduction, segueing to the threesome’s melody. Eddie has a lengthy canvas to work on and gives an impressive opening statement. Bill takes it up and generates a great deal of excitement next. Marty attacks the drums with fierce agility into the reprise and climax. Zev Feldman produced Bill Evans in Norway, and Kristian Ludvik-Bøhmer was the recording engineer. Matthew Lutthans mastered the album at The Mastering Lab. The record was pressed on 180 grams of audiophile vinyl and is extremely quiet until the music starts. An extensive booklet with rare photos and interviews is also included.

If you’re a fan of Bill Evans and in the mood for an outstanding live album, I happily recommend and invite you to check out Bill Evans in Norway – The Kongsberg Concert the next time you’re out record shopping. It may be challenging to find a copy because this was a Record Store Day release, but your detective work will be rewarded by one of the best live piano trio albums for a spot in your library!

~ Autumn Leaves, Come Rain or Come Shine – Source: JazzStandards.com

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Wes Montgomery in Paris: The Definitive ORTF Recording ~ Wes Montgomery | By Eddie Carter

Up next from the library is a live date by Wes Montgomery from 1965, previously available only on various labels and several bootleg copies. It finally received its first official release in 2017. Wes Montgomery in Paris: The Definitive ORTF Recording (Resonance Records HLP-9032) is a two-record set recorded during the guitarist’s only trip to the city during his European tour in conjunction with Ina France. This trip was a significant moment in Montgomery’s career, allowing him to showcase his talent to new audiences and reunite with Johnny Griffin (tracks: C1, C2, D1) on tenor sax. Harold Mabern on piano, Arthur Harper on bass, and Jimmy Lovelace on drums complete the ensemble. My copy is number 1085 of the 2017 U.S. Limited Edition Record Store Day Mono Audiophile album.

The quartet begins the set with Wes Montgomery’s Four-on-Six. They lay an impressive blueprint in a lively melody, and Wes gets down to business in a dazzling opening statement. Harold meets the challenge with an aggressive interpretation preceding the group’s return to the reprise and close. Impressions by John Coltrane takes the foursome into the stratosphere during the speedy melody. Wes launches into an extended opening statement that races rapidly before Harold takes over for a furiously swinging interpretation, while Arthur and Jimmy keep it moving into the theme’s restatement and climax.

The tempo comes down for The Girl Next Door, a pretty ballad by Hugh Martin and Ralph Blane. Wes’s unaccompanied introduction is as warm as a soft summer breeze, leading to the quartet’s lovely theme. The rhythm section lays a lush accompaniment for the guitarist’s sultry solo showcase, which will touch your heart into an enchanting ending. Here’s That Rainy Day by Jimmy Van Heusen and Johhny Burke begins the second side with a Latin-tinged introduction to the ensemble’s opening chorus. Wes takes the lead and gives an exciting solo to get the listener’s toes up and dancing. Harold continues the infectious enthusiasm in the second reading before the closing chorus.

Jingles by Wes Montgomery opens with the quartet’s spirited introduction and melody. The guitarist heads out of the gate at full speed. Harold comes right behind him to give an energetic interpretation. Wes and Jimmy get together to share a lively conversation next, and then Jimmy gets the last word before the theme returns. To Wane, Harold Mabern’s tribute to Wayne Shorter comes to life with the pianist’s lively introduction; then, the quartet sets a swinging groove on the melody. Wes is up first and works his magic on the opening statement. Harold completes the solos with a real burner, preceding the reprise and climax.

The foursome becomes a quintet with the addition of Johnny Griffin to start side three. Full House by Wes Montgomery begins with the ensemble easing the melody’s throttle. Wes kicks off the solos with bluesy lines of good-hearted swing; then, Johnny showcases his energy next in a joyous performance before the theme returns amid a thunderous ovation. ‘Round Midnight by Thelonious Monk, Bernie Hanighen and Cootie Williams begins with Harold’s tender introduction segueing into Wes’s haunting melody. Johnny begins the opening interpretation gracefully; Wes follows with a solo as enjoyable as the warmth from the fireplace before the quintet softly carries the song out.

Blue ‘N Boogie by Dizzy Gillespie and Frank Paparelli begins side four with the quintet’s brisk theme, and then Wes catapults into the first spicy performance. The highlight is when Johnny takes over for an extended solo, with an unaccompanied run into the quintet’s finale. The guitarist’s theme, West Coast Blues, follows, allowing the leader to introduce his bandmates to the crowd. The quartet returns for the set’s finale, Twisted Blues by Wes Montgomery, which the group begins slowly. Wes picks up the beat and swings effortlessly in the opening solo. Harold makes a stylish impression next, and then Arthur gets to solo last, creating an absolute jewel preceding Wes’s return for the finish.

André Francis produced the original recording, Zev Feldman produced this audiophile release, and Office de Radiodiffusion-Télévision Française (ORTF) made the original recording. George Klabin and Frank Gala restored the sound, and Bernie Grundman mastered the album. The album’s sound quality is impeccable, with an excellent soundstage that will transport the listener to the Théâtre des Champs-Élysées audience as if the performance is taking place right in front of them. The records are pressed on 180-gram vinyl and are silent until the music starts. Also included in this two-record set is an eight-page booklet with rare photos by Jean-Pierre Lenoir, essays and interviews and six collector postcards.

The 2017 audiophile album was a limited edition of three thousand, but it is one of the best releases that will reward your detective work in finding a copy. Wes Montgomery in Paris: The Definitive ORTF Recording is, in my opinion, Wes’s best live album, capturing the essence of his unique style and virtuosity. This is the most authoritative and comprehensive recording of Montgomery’s performance from the French radio and television broadcaster. It’s an outstanding record with a superb supporting cast that I’m proud to have in my jazz library. If you’re also a Wes Montgomery fan or enjoy jazz guitar, it should be seriously considered for a spot in yours!

~ Here’s That Rainy Day, ‘Round Midnight – Source: JazzStandards.com

© 2024 by Edward Thomas Carter

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What Is This Thing Called Soul? ~ The Cannonball Adderley-Nat Adderley Quintet | By Eddie Carter

I revisited a few of my mom’s cherished albums a few nights ago. The first of them, this morning’s record from the library submitted for your approval, inspired today’s discussion. What Is This Thing Called Soul? (Pablo Live 2308-238) is a concise retrospective of three live performances by The Cannonball Adderley-Nat Adderley Quintet during their 1960 European Tour in Paris, France, Gothenburg, and Stockholm, Sweden. Released in 1984, the personnel for this live album are Nat Adderley on cornet, Cannonball Adderley on alto sax, Vic Feldman on piano, Sam Jones on bass, and Louis Hayes on drums. My copy is the original U.S. Stereo release.

Side One opens with Victor Feldman’s Azule Serape; the quintet sets things in motion with the effortlessly swinging melody. Cannonball is up first with a finger-snapping flight of pure joy. Nat provides the toe-tapping compliment in the following statement. Victor continues grabbing the listener in the third reading before the ensemble reassembles to take the song out, leaving the audience exhilarated. Cannonball takes a moment to announce the second tune, Big P, by Jimmy Heath, which turns the heat up significantly, beginning with Sam’s bass introduction to the group’s spirited theme. Cannonball is off to the races first with an inexhaustible flow of ideas. Nat follows with a solo full of energy ahead of the vigorous reprise and finale.

Cannonball quickly mentions Nat before presenting the next song, the cornetist’s One For Daddy-O, his tribute to the Chicago disc jockey, Daddy O-Daylie. The rhythm section starts with a relaxing introduction to the group’s laid-back theme. Cannonball’s opening solo is pleasant and friendly. Nat is as carefree as a day at the beach in the following reading preceding the out-chorus and ending. The second side opens with what Cannonball describes as a soul piece, The Chant by Victor Feldman. The ensemble starts the song with a happy melody, then steps aside for Cannonball’s funky opening statement. Nat emerges next with an enthusiastic performance; then Victor contributes an impressive interpretation before the quintet restates the theme.

What Is This Thing Called Love? by Cole Porter is a classic jazz standard from the thirties, or as Cannonball describes it in his introduction, What Is This Thing Called Soul? The quintet kicks off the melody vigorously; Cannonball then cooks up a storm in the opening statement so hard that the listener might need to check that their speakers aren’t on fire. Nat comes sailing in next and continues cruising down the road rapidly. Victor states his case in a furiously swinging solo, and then Louis engages in a heated exchange with Cannonball until the theme’s reappearance and climax. The ensemble launches into the melody of Cannonball’s Theme, where the saxophonist thanks the audience and reintroduces the group before the song ends as quickly as it began.

Cannonball and Nat Adderley produced What Is This Thing Called Soul? There’s no mention of who recorded these concerts, but I’m happy to say the album’s sound quality is excellent, allowing the listener to feel like they’re part of the French and Swedish audiences. My mom always loved Cannonball’s rapport with the crowd on his live albums, and his playing always possessed a soulful groove that got your fingers and toes tapping from the first note to the last. If you’re already a fan of both brothers and enjoy live hard-bop, I offer for your consideration What Is This Thing Called Soul? by The Cannonball Adderley-Nat Adderley Quintet on your next record hunt. It’s an overlooked but enjoyable album you won’t regret adding to your library!

~ What Is This Thing Called Love? – Source: JazzStandards.com

© 2024 by Edward Thomas Carter

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Requisites

Zoot ~ Zoot Sims Quartet | By Eddie Carter

I’d just completed a long week and wanted to hear something soothing after dinner. I chose Zoot (Argo LP 608), a 1957 album by The Zoot Sims Quartet. John Haley Sims was born in Inglewood, California and began playing the clarinet and drums at an early age. By age thirteen, he started the tenor sax and later joined the big bands of Kenny Baker, Bobby Sherwood, and Benny Goodman. He got his nickname Zoot while playing with Kenny Baker and later gained attention in Woody Herman’s orchestra as one of the four brothers’ sax section. The personnel on this date are Zoot Sims on alto sax (track: B3) and tenor sax (A1 to B2, B4), Johnny Williams on piano, Knobby Totah on bass, and Gus Johnson on drums. My copy is the 1975 Japanese Mono reissue (Cadet MJ-1013M).

The first side opener, 9:20 Special by Earle Warren, begins with the quartet’s delightfully relaxing melody. Zoot is the first to whet the listener’s appetite in the opening reading. Johnny takes the baton for a light-hearted solo next. Knobby follows with a few well-placed bass notes, and Gus shares the finale with Zoot in a short conversation ahead of the theme’s reprise. The Man I Love by George and Ira Gershwin opens with the rhythm section’s tasteful background accompanying Zoot’s tenderly warm tone in the opening chorus and the saxophonist’s first reading. Johnny is equally thoughtful and sensitive in the following interpretation. Zoot adds a few soothing last thoughts, like gentle raindrops hitting the ground, into a mellow ending.

55^th and State, an original by Zoot Sims, moves the beat upward to a medium bounce for the ensemble’s theme. Zoot leads off with an inspired improvisation, then passes the torch to Johnny, who follows with a rousing performance. Gus wraps up the finale, sharing a lively conversation with Zoot, leading to the theme’s return. Blue Room by Richard Rodgers and Lorenz Hart is an old show tune from the twenties. The quartet rises to the occasion, getting into an infectious groove on the melody. Zoot rolls out ideas effortlessly in the opening statement. Johnny extends the joyous mood in the following interpretation, and then Gus engages in a short exchange with Zoot, leading to the ending theme and conclusion.

Side Two begins with Gus’s Blues, an original by Gus Johnson that Johnny introduces, segueing to the foursome’s easygoing melody. Zoot sets a swinging groove on the opening performance. The pianist follows the leader with a bright, bouncy interpretation, and then the saxophonist returns for a closing presentation that disappears into nothingness. The group takes on another old chestnut with their rendition of That Old Feeling by Sammy Fain and Lew Brown. After the quartet establishes the opening ensemble, Zoot launches into one of his best solos on the album. Johnny responds with a compelling reading, and then the saxophonist delivers the last word in a short sermon before the group takes the song out.

Zoot switches to alto sax for Oscar Pettiford’s Bohemia After Dark. It’s a swinger from the word go, and this point is emphasized when the saxophonist takes charge during the foursome’s theme. Zoot continues cooking with confidence on the lead solo. Johnny meets the challenge head-on in a concise presentation, then turns it back over to Zoot, who delivers the knockout punch preceding the brisk reprise and climax. The closing track is Woody ‘n’ You, Dizzy Gillespie’s tribute to Woody Herman that takes off with the quartet’s brisk theme. Zoot opens with an enthusiastic performance. Johnny matches him in agility on the following statement. Knobby has a short stint next, and then Zoot and Gus share the exclamation point before the theme reprise and finale.

Dave Usher produced the album, but it’s unknown who the recording engineer was for the session. The album’s sound quality possesses a solid soundstage despite a minor issue during Knobby’s bass solo on Woody ‘n’ You, where the bass sounds distorted; the remainder of the album is excellent. Zoot Sims’s successful career as a leader and sideman lasted forty years, recording on various labels with many exceptional jazz musicians. He passed away from lung cancer on March 23, 1985, at the age of fifty-nine. If you’re a fan of Cool Jazz, I offer Zoot by The Zoot Sims Quartet for your consideration on your next record-shopping trip. This album of originals and standards is superbly performed and should become a welcome addition to your library!

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