Requisites

In ‘n Out ~ Joe Henderson | By Eddie Carter

This morning’s choice from the library is a 1964 album by tenor saxophonist Joe Henderson. I’ve been a fan of his for years and first heard him live at The 1992 Atlanta Jazz Festival. His performance that night was brilliant and a stellar highlight that blew everyone away in attendance. In ‘n Out (Blue Note BLP 4166/BST 84166) is his third release and finds him leading a first-class quintet, Kenny Dorham on trumpet, McCoy Tyner on piano, Richard Davis on bass, and Elvin Jones on drums. My copy used in this report is the 1983 Pathé Marconi-EMI French Stereo reissue sharing the original catalog number.

Side One gets underway with the first of three tunes from Henderson’s pen, In ‘n Out swings from the start of the quintet’s brisk melody. Joe takes off first with a ferocious opening statement. McCoy makes his mark in rapid succession on the second solo. Kenny is up next with a vigorous performance, then Joe returns for a few more aggressive notes ahead of the ensemble’s ending theme. Henderson’s Punjab slows the pace to medium tempo for the ensemble’s bluesy opening chorus. Joe begins the first solo at a comfortable and friendly pace, then Kenny follows with a leisurely stroll on the second reading. McCoy steps in next with an easy-flowing interpretation. Joe adds a delightfully laid-back finale into the quintet’s carefree summation.

Joe’s Serenity opens Side Two at mid-tempo with the ensemble sustaining a mellow timbre on the opening chorus. Kenny takes the first spot and gives a relaxing interpretation. Joe continues grooving on a spirited reading that’s an ear-pleaser. McCoy draws us into the next solo with pure pleasure on the keys, and Richard makes an articulate statement on the closer before the group’s reprise and climax. Dorham tells a Short Story on the first of two originals by the trumpeter. The rhythm section sets the basis for swinging on the introduction segueing into the ensemble’s collective melody. Dorham, Henderson, and Tyner make the first three solos come alive with plenty of positive energy, and Elvin has an amazing exchange with the front line preceding the closing chorus.

The quintet closes with a trip to Brown’s Town. Henderson is heard on the opening and closing melody only, Dorham, Tyner, and Davis are the featured soloists. Kenny paints an enchanting portrait on the opening statement, then McCoy possesses a great amount of warmth and joy on the second solo. Richard sparkles on the finale with some strong walking into the ensemble’s tender climax. Joe Henderson released four other albums for Blue Note during the decade, Page One (1963), Our Thing (1964), Inner Urge, and Mode For Joe (1966). He also appeared as a sideman on many of the landmark LPs for the label. His career lasted over forty years recording for CTI Records, Elektra Musician, Fantasy, Milestone, Red Records, and Verve Records.

He was a consummate composer and one of the most respected musicians in jazz, performing in concerts and festivals around the world. I was lucky enough to see him live twice, the second time was a 1994 performance at Spivey Hall. After a long battle with emphysema, Joe passed away from heart failure at age sixty-four on June 30, 2001. In ‘n Out was produced by Alfred Lion and Pathé Marconi-EMI did a superb job remastering the original tapes of Rudy Van Gelder. The vinyl is quiet with an impressive soundstage placing the musicians in your listening room. Kenny, McCoy, and Richard are heard on the left, and Joe and Elvin are heard on the right. If you enjoy the tenor sax, I invite you to treat yourself to In ‘n Out by Joe Henderson. It’s a wonderful album that gets better with repeated listening!

~ Page One (Blue Note BLP 4140/BST 84140); Our Thing (Blue Note BLP 4152/BST 84152); Inner Urge (Blue Note BLP 4189/BST 84189), and Mode For Joe (Blue Note BLP 4227/BST 84227) – Source: Discogs.com © 2022 by Edward Thomas Carter

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Requisites

Johnny Griffin Sextet | By Eddie Carter

This morning’s discussion is the 1958 album, Johnny Griffin Sextet (Riverside RLP 12-264). Griffin began his career in the forties, playing the alto sax until joining Lionel Hampton’s Orchestra after graduating high school. Hampton urged him to play the tenor sax, and he did in the band until 1947. Johnny also played with Art Blakey, The Kenny Clarke-Francy Boland Big Band, Eddie “Lockjaw” Davis, and Thelonious Monk.

He made three albums for Blue Note and recorded for a variety of labels as a leader and sideman. Griff was nicknamed The Little Giant for his diminutive size but possessed a robust sound that produced riveting solos effortlessly. Donald Byrd on trumpet, Pepper Adams on baritone sax, Kenny Drew on piano, Wilbur Ware on bass, and Philly Joe Jones on drums complete the sextet. My copy used in this report is the 1974 Japanese Mono reissue (Riverside SMJ 6285) by Victor Musical Industries.

Side One opens with Stix’ Trix by Wilbur Campbell. A lively introduction by Philly precedes the ensemble’s feisty opening chorus. Kenny takes the first solo and gives a vigorously spirited performance. Pepper states his case on the second reading, then Donald follows in fine form on the next statement. Philly picks up the baton with some exciting brushwork, and Johnny gives a vivacious finale into the sextet’s reprise and conclusion.

What’s New? by Bob Haggart and Johnny Burke begins with a thoughtfully tender introduction and gentle melody by Griff. The saxophonist’s opening solo is beautifully constructed and poignant. Byrd and Adams split the next chorus with two pensive performances. Drew executes an elegant touch on the next interpretation, then Griffin returns for a few more intimate thoughts before ending with a sultry, seductive exit.

The first side ends with Dizzy Gillespie’s tribute to Woody Herman, Woody ‘n’ You. It starts with a lively conversation between Johnny and Philly. The rhythm section joins them for a cheerfully spirited theme, then Wilbur kicks off the solos with a rousing unaccompanied reading. Kenny delivers a dynamic performance on the next statement. Griff is up next with an interpretation that swings soulfully, and Philly generates an electrical charge ahead of the ensemble’s vigorous closing chorus.

Johnny G.G. by John Hines opens Side Two at a laid-back tempo for the sextet’s melody. Drew is up first with a smoothly flowing solo, then Griff carries the easygoing mood to a delightfully satisfying close. Byrd approaches the third reading with thoughtful construction and fluid lines. Adams delivers the next statement free and easy. Ware has a wonderful thing going into the closing chorus after sharing a final thought with Griff.

The finale is Catharsis, an upbeat swinger by Johnny Griffin that begins with a brisk collective theme and allows everyone solo space. Pepper takes off with rapturous enthusiasm on the opening statement. Donald creates an exuberant reading next. Kenny follows with a solo that’s like the cherry and cream on top of a succulent, tasty sundae. Johnny and Wilbur share the spotlight again on the next interpretation, then Philly has a short exchange with the front line leading to the closing chorus.

Johnny Griffin Sextet was originally recorded by Jack Higgins at Reeves Sound Studios, and the remastering by Victor Musical Industries has a spectacular soundstage. If you’re in the mood for a superb blowing session, I invite you to audition Johnny Griffin Sextet for a spot in your library. It’s forty-two minutes of some of the best Hard-Bop you’ll hear on a turntable and an enjoyable album I highly recommend!

~ A Blowing Session (Blue Note BLP 1559), Introducing Johnny Griffin (Blue Note BLP 1533/BST 81533), The Congregation (Blue Note BLP 1580) – Source: Discogs.com ~ Woody ‘n’ You, What’s New? – Source: JazzStandards.com © 2022 by Edward Thomas Carter

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Requisites

Somethin’ Else ~ Cannonball Adderley | By Eddie Carter

Cannonball Adderley steps into the spotlight for this morning’s discussion with a 1958 album that has not only stood the test of time but is truly, Somethin’ Else (Blue Note BLP 1595/BST 81595). It was Cannonball’s only Blue Note release and the alto saxophonist is backed by four exceptional musicians, Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass, and Art Blakey on drums. My copy used in this report is the 2005 Classic Records Mono Audiophile reissue sharing the original catalog number.

Side One opens with Autumn Leaves by Joseph Kosma, Jacques Prevert, and Johnny Mercer. The trio introduces the song, then Miles’ muted trumpet delivers a gorgeous melody. Cannonball takes the lead with an affectionate opening solo. Miles follows with a warm, lyrical interpretation, and Hank gives a beautifully elegant closing statement ahead of an exquisite finale. Love For Sale by Cole Porter first appeared in his musical, The New Yorkers (1930). Hank opens with a deceptively gentle introduction that segues into a gorgeous, muted melody by Miles. Cannonball takes over for the song’s only solo and articulates his thoughts with precise execution. Miles returns for the closing chorus and the rhythm section fades out gracefully.

Side Two starts with the ensemble exploring the blues on Somethin’ Else by Miles Davis. The front line establishes an easy groove on the opening chorus. Miles is up first and builds an infectious solo that’ll get some fingers snapping and toes tapping. Cannonball takes flight next with a cheerfully, carefree performance, then Hank sparkles on a short statement. Sam and Art work wonderfully together complementing the soloists. The front line has a final exchange before a slow dissolve into nothingness.

One For Daddy-O by Nat Adderley is a slow blues tribute to the legendary Chicago jazz announcer, Holmes “Daddy-O” Daylie! The trio strolls into a laid-back introduction before both horns take over to deliver the melody. Cannonball takes the lead this time and swings easily on the first solo. Miles dispenses some cool jazz on the second statement. Hank makes a brief comment on the next reading before the principal soloists deliver one final comment each ahead of the ending and Miles speaking to Alfred Lion. Dancing In The Dark by Arthur Schwartz and Howard Dietz is from the musical revue, The Band Wagon (1931). Cannonball has the spotlight to himself and opens with a delicately pretty melody. As the song’s only soloist, he delivers a sensuously tender interpretation and the trio’s subtle support fits comfortably like a glove into their tender ending.

Somethin’ Else was originally produced by Alfred Lion and engineered by Rudy Van Gelder. This Classic Records reissue was remastered by Bernie Grundman and utilizes Quiex SV-P 200-gram premium vinyl. The record is silent until the music starts, and the sound quality is superb with a breathtaking soundstage that comes alive. The only complaint I have with this album is a manufacturing problem on Side Two. One For Daddy-O begins a few seconds into Hank Jones’ introduction, rather than the beginning of the song. Despite this issue, the music is outstanding with an incredible lineup that delivers the goods on every track. If you’re a jazz fan and are looking for a soothing album to enjoy anytime, I submit for your consideration, Somethin’ Else by Cannonball Adderley. The musicians are as good as it gets, and together they make magic that you’ll treasure with every listen

~ Autumn Leaves, Love For Sale, Dancing In The Dark – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Requisites

Swiss Nights, Vol. 1 ~ Dexter Gordon Quartet | By Eddie Carter

The Dexter Gordon Quartet steps into the spotlight for this morning’s discussion with Swiss Nights, Vol. 1 (SteepleChase SCS-1050), the first of three albums recorded live at The Zürich Jazz Festival ’75. Dexter’s joined on stage by an all-star rhythm section, Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Alex Riel on drums. My copy used in this report is the 1976 US Stereo release (Inner City Records IC 2050). 

Side One starts with Gordon introducing the first number, an uptempo rendition of Tenor Madness by Sonny Rollins. The quartet launches the melody briskly, and Dexter gets things off to a rousing start on the lead solo. Kenny maintains the momentum on a swiftly paced performance next. Niels-Henning lays down a rocking beat on the third reading. Alex sizzles in a brief exchange with the leader ahead of the ending and the audience’s ovation.

Wave by Antônio Carlos Jobim is one of his most beautiful compositions. Jobim first recorded it as the title tune of his 1967 album. After Dex’s introduction, the rhythm section gently sets the mood for this bossa nova. Gordon shines brightly on the melody and cooks with conviction on the opening statement. Drew is up next with a delightfully creative interpretation, then Pedersen delivers a melodic, rich-toned reading. Gordon returns for a few final comments into the closing chorus. 

Side Two begins with Dexter quoting a few of the lyrics to announce You’ve Changed by Bill Carey and Carl Fischer. This is a poignant story beautifully told by the quartet with a delicately gentle melody. Dexter makes the opening solo his own with a glowingly tender performance. Kenny responds with an emotionally touching reading, then the leader returns for an especially moving closing statement that’s very nice.

The set ends with Days of Wine and Roses by Henry Mancini and Johnny Mercer. This old favorite is the title song from the 1962 film and the ensemble opens with an infectious opening chorus. Gordon is up first expressing pleasure on the first statement. Drew swings easily on the following interpretation, then Pedersen takes great delight on the next reading. Dexter reappears briefly preceding the quartet’s closing theme and exit. Swiss Nights, Vol. 1 was produced by Nils Winther. The recording and mixing engineer is Helmuth Kolbe. The album transports the listener to the festival with a solid soundstage that doesn’t disappoint and captures The Dexter Gordon Quartet in fine form. Now that I have Swiss Nights, Vol. 1 in my library, I’ll certainly be seeking out the two remaining volumes in this series. If you’re a fan of Dexter Gordon and love live jazz, this is one I highly recommend!

~ Swiss Nights, Vol. 2 (SteepleChase Records SCS-1090), Swiss Nights, Vol. 3 (SteepleChase Records SCS-1110), Wave (A&M records SP-3002) – Source: Discogs.com
~ Days of Wine and Roses, Wave – Source: JazzStandards.com
~ You’ve Changed – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

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Requisites

It’s About Time ~ McCoy Tyner and Jackie McLean | By Eddie Carter

This morning’s discussion brings two jazz giants together for their only collaborative album. It’s About Time (Blue Note BT 85102) is a 1985 release by pianist McCoy Tyner and alto saxophonist Jackie McLean (tracks: A1 to A3, B1) that rekindles a sixties Hard-Bop or Post-Bop date and is one of the best kept secrets in both musician’s discographies. The supporting cast is a stellar one, Jon Faddis (tracks: A1, B1) on trumpet, Ron Carter (tracks: A1, B1, B2) on acoustic bass, Marcus Miller (tracks: A2, A3, B3) on electric bass, Al Foster on drums, and Steve Thornton (tracks: A2, A3, B3) on percussion. My copy used in this report is the 1985 US Stereo Full Digital Recording.

Side One opens with the first of five tunes from Tyner’s pen, Spur of The Moment begins with a lively opening chorus in unison. Jon opens the opening solo with tremendous fire and spirit, followed by Jackie who produces some commanding choruses on the second performance. McCoy cooks confidently on the finale with inexhaustible energy into the climax. You Taught My Heart To Sing is a beautiful ballad that’s a showcase for McLean who gives the melody and first solo a warm and moving treatment. Tyner is up next with a delicately gentle reading shadowed by Miller, Foster, and Thornton who anchor both soloists with gorgeous groundwork preceding McLean’s return for the reprise and Tyner’s quiet ending.

It’s About Time begins with a tropical flavor in its blood on a delightfully, feisty midtempo theme led by Jackie who also leads the solos this time with an effective groove, then McCoy follows with a perfectly crafted closing statement. Marcus and Steve provide the spicy compliment that keeps our fingers popping and toes tapping into the group’s soft fadeout. Side Two opens with Hip Toe, a mid~tempo swinger that starts with the front-line and Tyner cruising comfortably into the infectious opening chorus. McLean is up first and comes out swinging on a peppy reading. Faddis answers him with a sharp, zesty statement that builds to a satisfying conclusion. Tyner provides the exclamation point on an extremely happy closing solo before the theme’s return and disappearance.

No Flowers Please by Ron Carter is a trio performance of tranquil beauty that the bassist introduces thoughtfully. McCoy takes the first solo and paints an intimate portrait. Ron closes with a polite, considerate reading executed with fingertip delicacy leading to a tender climax. Travelin’ invites us to take a mid~tempo trip without leaving the comfort of our sweet spot. Miller is the highlight here and demonstrates some stellar bass playing on the opening solo after Tyner’s opening chorus propelled by the rhythm section and Thornton’s percussion. Tyner makes a very personal statement on the closing reading with a grand delivery that brings us safely home after this six-song journey into a gentle culmination.

It’s About Time was produced by Jeffrey Weber and was digitally recorded by Ron Saint German. The sound quality is superb with an outstanding soundstage and excellent stereo separation matching the exceptional interaction between the musicians. The music also flows smoothly and is reminiscent of a classic Blue Note recording of the late fifties or early sixties. If you’re a fan of McCoy Tyner and Jackie McLean, I invite you to audition It’s About Time at your earliest opportunity. It’s an album of wonderful jazz music deserving further investigation for a spot in your library!

© 2021 by Edward Thomas Carter

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