Requisites

Can’t See For Lookin’ ~ Red Garland | By Eddie Carter

I was in the mood for some nice soothing music to enjoy after dinner a few nights ago when I came across this morning’s choice from the library by Red Garland. Can’t See For Lookin’ (Prestige PRLP 7276/PRST 7276) is his twelfth album and was recorded in 1958 but not released until 1963. William “Red” Garland was born in Dallas, Texas, and began playing the clarinet and alto sax before taking up the piano. He became famous in The Miles Davis Quintet from 1955 to 1958 and was well versed in the styles of Bebop, Hard-Bop, and straight-ahead jazz. After leaving Miles, he formed a trio and has recorded albums with Arnett Cobb, John Coltrane, Curtis Fuller, Jackie McLean, Charlie Parker, Art Pepper, Sonny Rollins, and Phil Woods. Here, he’s joined by Paul Chambers on bass and Art Taylor on drums. My copy used in this report is the 1972 US Stereo reissue (Prestige PRT-7276) by Fantasy Records.

Side One starts with a pretty song from the forties, I Can’t See For Lookin’ by Nadine Robinson and Dock Stanford. The trio begins an enchanting collective melody then Red glides into the first solo with a gracious amount of warmth and elegant simplicity. Paul walks through the second statement with a dreamy, rich tone revealing some intimate thoughts ahead of the trio’s delightful ending. Soon by George and Ira Gershwin began as a show tune from the musical, Strike Up The Band (1927). The ensemble gets things underway with a lively theme that’s passionate, enthusiastic, and extremely confident. Garland gives a stunning account on the opening solo with an energy that tweaks some new insights out of this old warhorse. Chambers makes his mark on the second reading with a showcase of incisively nostalgic ideas, and Taylor becomes a friendly sparring partner to the pianist on the closing statement.

Side Two opens with Blackout, a tune from the pen of Avery Parrish and Sammy Lowe beginning with an easy, caressing style by the ensemble on the melody. Red steps up first, establishing a nice momentum with a gorgeous opening statement. Paul approaches the next interpretation with great sensitivity and delicacy. Red returns to share a polite conversation with Art on the closing reading into a tender exit. Castle Rock by Al Sears brings the trio back to a brisk beat on the melody in unison. Garland leads off the opening statement with a light and nimble performance, then Chambers cooks up a tasty treat of cool jazz on the second solo. Taylor enters the spotlight last with Garland in a brief exchange into the closing chorus and happy ending.

Can’t See For Lookin’ was supervised by Prestige founder Bob Weinstock and Rudy Van Gelder was the man behind the dials. Both men are at the top of their game with a tremendous soundstage and incredible definition of each instrument. The piano has an amazing sound, and the bass and drums are perfectly balanced as if we’re in the studio while the musicians are recording. Red Garland recorded forty-six albums as a leader and was always good regardless of the setting or bandmates he appeared with. His career lasted over forty years and he continued recording until he suffered a heart attack, passing away on April 23, 1984, at age sixty. If you’re a Hard-Bop fan, enjoy Red Garland or jazz piano, I submit for your consideration, Can’t See For Lookin’. It’s thirty-five minutes of great music that you can file under “T” for terrific and perfect to enjoy while relaxing!

~ Soon – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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John Jenkins, Cliff Jordan, Bobby Timmons | By Eddie Carter

I begin this morning’s discussion with the 1960 collaborative album, Jenkins, Jordan, and Timmons (New Jazz NJLP 8232) by John Jenkins, Clifford Jordan, and Bobby Timmons. Joining them on this date are Wilbur Ware on bass and Dannie Richmond on drums. My copy used in this report is the 1981 Japanese Mono reissue by Victor Musical Industries (New Jazz SMJ-6299). John Jenkins’ approach to Hard-Bop and standards on the alto sax was distinctively tasteful.  His solos always showed respect and affection for the tunes he played, and he could bring imaginatively unique lines even to well-worn standards. His other album as a leader is the self-titled release, John Jenkins (1957). Clifford Jordan’s interpretations on the tenor sax were the perfect characterization of his sound, sometimes growling, sometimes purring, but always with a formidable technique and a passionately assertive tone. Here, Jordan is in great form with another horn to joust with.

Pianist Bobby Timmons was one of the most talented yet neglected figures in the annals of Jazz.  He composed two songs that are etched in the minds of many Jazz fans, Dat Dere, a mainstay in the early days of The Cannonball Adderley Quintet and Moanin’ that became a huge hit for The Jazz Messengers. Timmons appeared on the landmark album, Art Blakey and The Jazz Messengers (1958). On this date, he approaches each tune with a melodic and rhapsodic touch that’s irresistible. Wilbur Ware was an extraordinary soloist on the bowed bass; he possessed a beautiful sound that could be fat, resonant, and fluid without any loss of body on any of the songs he played. Dannie Richmond is best known for his many albums with Charles Mingus, he’s a very pleasant surprise on this record with an energetic liveliness in his playing. He also recorded with many jazz greats including George Adams, Pepper Adams, Chet Baker, Ted Curson, Booker Ervin, Duke Jordan, Herbie Nichols, Horace Parlan, and Don Pullen.

Clifford Jordan’s Cliff’s Edge starts Side One at midtempo with both saxes flexing their muscles in unison on the opening chorus. Cliff is up first with a very satisfying opening solo at an easy, unhurried pace. John continues the conversation with a pleasant zest on the second performance. Bobby tells his story last with a charming interpretation that comes across effectively anchored by Wilbur and Dannie’s support into the quintet’s ending. Up next is the 1946 jazz standard Tenderly by Walter Gross and Jack Lawrence. Timmons opens the song with a soothing introduction, then Jordan steps up first for a deeply compassionate melody and an opening statement exhibiting sensitive delicacy. Timmons comes in next, gently caressing each note of an exceptionally tasteful interpretation. Ware deftly captures the song’s subtle mood on a gorgeously warm solo, followed by Jenkins who concludes the readings and the song with a beautifully tender interpretation.

The first of two tunes from Jenkins’ pen, Princess begins with a collective mid-tempo groove. John starts the opening solo with an articulate tone dispensing absolute joy. Cliff takes the listener for a comfortable joyride on the next statement. Bobby is consistently inventive on the closing performance preceding the quintet’s exit. Side Two starts with Soft Talk by Julian Priester, an energized swinger from the start of the ensemble’s electrically charged theme. Jenkins speaks first to start this scintillating conversation with an aggressive fierceness. Jordan continues the dialogue, making every note count with high voltage power. Jenkins and Jordan soar to great heights in an invigorating exchange over the next few verses. Timmons adds his voice to the discussion next on a heated reading, then Ware walks briskly on an abbreviated statement. Richmond has the last word with energetic drumming in an exciting conversation between both saxes into the reprise and abrupt climax.

Jenkins’ Blue Jay is a laid-back midtempo blues that begins with an unaccompanied lively introduction by Ware, segueing into the quintet’s collective theme. John starts the soloing with an easy-going opening statement. Clifford responds with a marvelous interpretation. Bobby cruises into the third reading with a strong beat and Wilbur steps last into the spotlight for a concise comment that flows effortlessly to the ensemble’s closing chorus and finale. The remastering of Rudy Van Gelder’s original recording has been superbly recreated by Victor Musical Industries with all five instruments full of body, presence, and a vibrant soundstage. If you enjoy good Hard-Bop and are a fan of John Jenkins, Cliff Jordan, and Bobby Timmons, I offer for your consideration, Jenkins, Jordan, and Timmons. An excellent album that in my opinion, no library should be without!

~ Art Blakey and The Jazz Messengers (Blue Note BLP 4003/BST 84003), John Jenkins (Blue Note BLP 1573), Them Dirty Blues (Riverside RLP 12-322/RLP 1170) – Source: Discogs.com ~ Tenderly – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Another Monday Night at Birdland ~ Hank Mobley, Billy Root, Curtis Fuller, Lee Morgan | By Eddie Carter

This morning’s choice from the library brings us back to The Jazz Corner of The World for another live set by Lee Morgan on trumpet, Curtis Fuller (tracks: A2, B1, B2) on trombone, Hank Mobley, Billy Root on tenor sax. Another Monday Night at Birdland (Roulette R 52022/SR 52022) is the companion album to Monday Night at Birdland. Rounding out the septet is Ray Bryant on piano, Tommy Bryant on bass, and “Specs” Wright on drums. “Symphony Syd” Torin is the Master of Ceremonies, and my copy used in this report is the 1988 Spanish Mono reissue (Fresh Sound Records FSR-632).

Side One starts with an exhilarating rendition of It’s You Or No One, written in 1948 by Jule Styne and Sammy Cahn.  Lee leads the ensemble on the melody before Hank opens the solos energetically.  Lee lays down some spirited energy on the second statement, then Billy states his case with a vigorous finale leading to the climax and Syd’s introduction of the next tune. Jamph was written by Curtis Fuller, and I first heard it on the album, Big Six (1958). The septet begins the theme at mid~tempo collectively, then Mobley soars into the lead solo with some energetic blowing. Fuller greets the next statement enthusiastically, followed by Morgan who wails mightily on a vigorous reading. Root keeps the beat on the fourth interpretation with a scene-stealing performance. Bryant takes care of business on the closer with an aggressive solo into the out chorus.

Side Two starts with Syd’s announcement of the next tune, Nutville by Lee Morgan with inspired playing by the septet on the infectious melody. Hank launches into a swinging improvisation that’s a delight. Lee exhibits his skills on a joyful excursion next. Billy comes after him with a stellar statement that made me sit up and take notice. Curtis wraps up the solos with a delightful interpretation that brings so much pleasure ahead of the ensemble’s exit and group introductions. Wee by Denzil Best is an uptempo cooker that flies out of the gate with a high-voltage melody in unison. Mobley steps into the spotlight first with a heated solo. Morgan uses a mute for the second statement and attacks with the speed of a whirlwind. Root displays some lightning-fast chops on the third presentation, and Bryant covers plenty of ground motoring in rapid-fire fashion on the next reading. Wright gets a concise comment during the theme’s reprise into the septet’s lively finale.

Another Monday Night at Birdland was produced by Rudy Taylor and like the first album, the soundstage is excellent for a live recording. This is a four-star blowing session that I’m sure any fan of Hank Mobley, Billy Root, Lee Morgan, and Curtis Fuller would dig. If you’re a fan of Hard-Bop, this album is a terrific addition to any jazz library and one of the best in the Birdland Series!

~ Big Six (Riverside Records RLP12-273), Monday Night at Birdland (Roulette R-52015/SR-52015) – Source: Discogs.com © 2021 by Edward Thomas Carter

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Impressions ~ Buck Hill Quartet | By Eddie Carter

The Buck Hill Quartet steps into the spotlight for this morning’s discussion with the second of two live albums from The North Sea Jazz Festival. Impressions (SteepleChase Records SCS 1173) is a 1983 release that was recorded on July 11 & 12 during the quartet’s 1981 performance. The remainder of their concert appears on Easy To Love (1982). The tenor saxophonist is working again with Reuben Brown on piano, Wilbur Little on bass, and Billy Hart on drums. Buck began his professional career in 1943 while working as a mailman in Washington D.C. He’s collaborated with Charlie Byrd, Miles Davis, Dizzy Gillespie, Shirley Horn, Alan Houser, Max Roach, Shirley Scott, and Sonny Stitt, and was also proficient on the clarinet and soprano sax.  My copy used in this report is the 1983 Netherlands Stereo album sharing the Danish catalog number.

Side One begins with the jazz standard, Alone Together by Arthur Schwartz, and Howard Dietz. It was written in 1932 and began life as a show tune in the Broadway musical, Flying Colors. The quartet takes off with a brisk workout on the melody. Buck swings swiftly into the opening statement. Reuben speaks his peace next vigorously. Billy has a brief conversation with both soloists, then generates some heat on the closer into the reprise and exit. Hill makes a few announcements anchored by just the piano, then the group travels to Penn Station, a medium-paced blues by Reuben Brown. The ensemble comes into the station leisurely on the melody. Brown starts the soloing with a comfortable groove. Hill emanates a funky, down-home feeling on the second statement. Little sparkles on the third reading with a thoroughly relaxed performance into piano and tenor sharing an exchange before the closing chorus.

Side Two gets underway with Yesterdays by Jerome Kern and Otto Harbach. The trio makes a brief introduction, then Buck begins the opening chorus at midtempo. He turns the temperature up with a scintillating reading of concentrated heat. Reuben starts the next statement at a slow pace, then proceeds to an aggressive workout. Wilbur wraps up the solos with a concise comment ahead of the ensemble’s climax. John Coltrane’s Impressions ends the set on an uptempo note with the foursome swinging from the opening notes of the high-spirited melody. Buck and Reuben are the featured soloists and Brown energetically prances through the first solo with authority. Hill delivers the final word with an intense interpretation of astonishing voracity and electrically charged passion leading to the quartet’s exit and crowd’s ovation.

Impressions was produced by Nils Winther and Ronald Prent was the recording engineer on this album and its companion, Easy To Love. The sound is stunning throughout the album and the record is quiet until the music starts. Buck Hill was a tremendous talent on the tenor sax that could swing hard in an uptempo setting but could also show his tender side with a gorgeous tone on a ballad or standard. A tribute mural of him playing his sax in his mailman uniform by artist Joe Pagac resides at 1925 14th Street, NW in Washington, D.C. He passed away at age ninety on March 20, 2017. If you’re just discovering the music of Buck Hill and enjoy the tenor sax, I invite you to check out Impressions by The Buck Hill Quartet. It’s an album that’s sure to make you smile and if you’re already a fan should make a welcome addition to your jazz library!

>~ Easy To Love (SteepleChase Records SCS-1160) – Source: Discogs.com
~ Alone Together, Yesterdays – Source: JazzStandards.com
~ Impressions – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

 

 

 

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Whistle Stop ~ Kenny Dorham | By Eddie Carter

One of the biggest pleasures I get from listening to and discussing records from my library each week is I’m able to revisit favorite albums and artists to share my thoughts with my readers. If you’re a fan of Hard-Bop, this morning’s subject of discussion is one of the best by trumpet player, Kenny Dorham. Whistle Stop (Blue Note BLP 4063/BST 84063) was recorded and released in 1961 with a stellar supporting cast: Hank Mobley on tenor sax, Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Kenny was born in Fairfield, Texas; he played and recorded with many great jazz musicians during his lifetime. He was also a member of the orchestras of Billy Eckstine, Dizzy Gillespie, Mercer Ellington, and The Jazz Messengers. Dorham composed all seven tunes on Whistle Stop and my copy used in this report is the 2017 Music Matters Stereo audiophile reissue (MMBST-84063).

Side One starts with ‘Philly’ Twist, a driving blues that’s off to the races from the opening notes of Philly’s brief introduction into the quintet’s brisk melody. Kenny opens with a vigorously agile reading, then Hank wails convincingly on the second solo. Kenny sinks his teeth into the third performance vigorously. Paul is especially impressive on a concise statement ahead of Philly’s dazzling velocity and propulsive timing on the song’s finale. Buffalo is good soul-food cooking at midtempo with a carefree theme in unison. Mobley starts the soloing with four mellow verses. Dorham responds with a leisurely ride punctuated by the rhythm section’s groundwork. Drew keeps the laid-back feeling going with an infectiously swinging interpretation that’ll have the listener snapping their fingers and tapping their toes. Chambers wraps up everything with a short stroll anchored by only Jones into the reprise and exit.

Sunset closes the first side with the trio’s tastefully elegant introduction to one of the album’s loveliest tunes. Kenny on muted trumpet and Hank lead the quintet through a pretty mid tempo melody. Dorham remains on the mute for the opening statement, cooking easily. Hank strolls into the second performance with jaunty confidence. Kenny dips into a well of positive energy on the next reading. Paul adds the closing word with a feisty finale leading to a soft fade. Whistle Stop starts Side Two with the ensemble’s brisk melody. Mobley ignites the opening chorus with a fiery passion, then Dorham provides an electrically charged reading. Drew steps up next for a zesty performance of creative energy. Philly shares a moment with the front line in an exchange on the closing statement, before executing a lively finale preceding the climax.

Sunrise In Mexico has a soulful personality that comes alive as the day begins on the quintet’s theme. Dorham starts with a solid groove on the first interpretation. Hank demonstrates a lesson in musicality on the second reading. Kenny is as cool as the other side of the pillow on the next solo, and Paul swings softly on an effective closing statement ahead of the reprise and gentle dissolve. Windmill is an energized swinger right out of the gate beginning with a blazing melody. Dorham begins the lead solo with an aggressive fierceness, then Mobley makes searing heat on the second statement. Drew adds an abundant amount of high voltage to the third performance. Chambers walks with a happy bounce on an abbreviated reading. Jones breaks loose briefly on the finale with vivacious brushwork leading to the quintet’s high-spirited ending.

The album closes with Dorham’s Epitaph, a short, beautiful ensemble tune Kenny wrote for his passing. It illustrates his ability as a ballad composer and opens with a very gentle opening chorus by the leader complemented by the sentimental support by Hank and the rhythm section. An expanded version of this song was also written for a large orchestra and renamed Fairy Tale. Kenny Dorham continued recording excellent albums throughout the sixties that were easily the equivalent of those released by Miles Davis, Freddie Hubbard, and Lee Morgan, but sadly never received the recognition that might have catapulted him to stardom. He passed away at age forty-eight from kidney disease on December 5, 1972.

The mastering by Kevin Gray of Cohearent Sound and audio engineer Steve Hoffman is phenomenal and improves on the original recording by Rudy Van Gelder with a crystal-clear sound that’s demonstration class placing you in the studio alongside the musicians. Each of the MMJ reissues receives a great deal of care with attention to detail including high-definition gatefold photos, superb packaging of the covers, and 180-gram audiophile vinyl for the music. If you’re looking for a Hard-Bop album that’ll excite your ears, I invite you to audition Whistle Stop by Kenny Dorham. It’s a delightfully rewarding album by one of the best trumpet players in jazz that merits multiple listens and is worth adding to any jazz library!

© 2021 by Edward Thomas Carter

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