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My Favorite Things ~ John Coltrane | By Eddie Carter
I was reading a few nights ago and wanted something to listen to before heading to bed, so I pulled out an old favorite that always transports me back to my childhood and still blows me away every time I hear it. This morning’s subject of discussion is My Favorite Things (Atlantic 1361/SD 1361) by John Coltrane that hit the stores in 1961. It is one of the most important albums in his discography and is a beloved record in my library. The personnel is a stellar one, Coltrane on soprano sax (tracks: A1, A2), tenor sax (tracks: B1, B2), McCoy Tyner on piano, Steve Davis on double bass, and Elvin Jones on drums. My copy used in this report is the 1971 Atlantic Jazz Age Series Japanese Stereo reissue (Atlantic P-6030A) by Warner-Pioneer Corporation.
Side One starts with a show tune from The Sound of Music (1959), My Favorite Things by Richard Rodgers and Oscar Hammerstein II. It became a huge hit for Coltrane and his signature song whenever he performed live. The trio opens with a highly contagious introduction, segueing into a beautifully constructed melody by the saxophonist. McCoy kicks off the first solo with a captivating reading that is a feast for the ears. John comes in slowly, then takes flight into the stratosphere with a joyously unrestrained statement that swings until it returns to earth for the climax. Everytime We Say Goodbye by Cole Porter is a beautiful song that Coltrane adapts as if it was written just for him with an elegantly graceful melody and opening statement. Tyner speaks with delicacy on the closing reading ahead of the foursome’s gentle ending.
Side Two takes off with a spirited version of Summertime by George and Ira Gershwin, and DuBose Heyward. John is ablaze from the start of the melody and ascends to an exhilarating height on the opening chorus. McCoy supplies the high-octane fuel for the second performance. Steve executes the next reading meticulously with great precision, and Elvin delivers a fierce attack on the finale into the quartet’s exit. But Not For Me by George and Ira Gershwin first appeared in the musical, Girl Crazy (1930). The quartet kicks off this energetic cooker with a vigorous theme. John builds the first interpretation with blazing heat to Steve’s bass and Elvin’s impressive timekeeping, then Tyner adds his imaginative ideas on the next statement into Trane’s aggressive improvisation during the closing chorus.
Nesuhi Ertegun supervised My Favorite Things, and the engineers are Phil Lehle and Tom Dowd. Together, both men provide a solid soundstage that is good enough to transport the listener to the studio with the musicians. For me, this album is an intriguing examination of the thin lines between Hard-Bop, Modal, and Free Jazz that still sounds as fresh today as when first released sixty years ago. If you are a fan of tenor sax or are just discovering the music of John Coltrane. I offer for your next vinyl hunt, My Favorite Things. An album of soothing and swinging music that I am sure will become a welcome addition to your library.
~ Everytime We Say Goodbye, Summertime, But Not For Me – Source: JazzStandards.com ~ My Favorite Things – Source: Wikipedia.org © 2021 by Edward Thomas Carter
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Hootin’ ‘N Tootin’ ~ Fred Jackson | By Eddie Carter
Submitted for your approval from the library this morning is an album by tenor saxophonist, Fred Jackson who began his brief career in 1951 as an R&B saxophonist with Little Richard. A decade later, he worked with blues legend, B.B. King, and has also appeared on a few other Blue Note albums before leaving the jazz scene during the mid-sixties. Fred recorded and released his only album as a leader, Hootin’ ‘N Tootin’ (Blue Note BLP 4094/BST 84094) in 1962. Here, he is working with Earl Van Dyke on organ, Willie Jones on guitar, and Wilbert Hogan on drums. The program consists of seven original tunes by the saxophonist and my copy used in this report is the 1992 Toshiba-EMI Limited Japanese Stereo reissue sharing the original catalog number.
Dippin’ In The Bag starts Side One with a delightfully perky introduction by the quartet. Fred opens with a relaxing theme moving with a spring and a bounce in its step, then Willie constructs a spirited statement that flows steadily into Fred’s final comment ahead of the foursome’s closing chorus fading from view. Southern Exposure is a slow-paced succulent meal introduced by Jones and the rhythm section with some soulful, home-cooking. Jackson brings the fried chicken, black-eyed peas, and collard greens to the melody and adds the potato salad for the first reading. Van Dyke serves the steak and burgers with a highly seasoned sauce on the next interpretation. Jackson wraps up the bluesy meal with a tasty dessert preceding the quartet taking their leave after an enjoyable dinner.
Preach Brother moves the pace to a medium-fast tempo with a spirited church-like feel propelled by Hogan’s drums. Fred delivers the opening chorus and first sermon with a groove that just will not quit. Willie gives the next talk and has fun for one verse. Earl sums up the lesson jumping for joy in the finale ahead of the ensemble’s exit. Hootin’ ‘N Tootin’ begins Side Two with a brisk introduction and melody in unison with an emphasis on lively statements from everyone. Jackson is up first with a swinging reading, then Jones offers a moment of hard cooking. Van Dyke takes an enjoyable romp on the next solo, followed by a short exchange between Hogan and Jackson. The drummer provides an exclamation point with his only solo before the ending.
Easin’ On Down takes the foot off the accelerator for a carefree collective theme with everyone right at home. Fred breaks the ice first with a carefree, easy-going swing. Willie supplies a laid-back response on the next solo. Earl steps into the spotlight last on a smooth course towards Fred’s return with a closing message into the climax. That’s Where It’s At picks up the pace again with the foursome suggesting a skillful virtuosity that is irresistible. One thing piquing my interest is the quote of the Black spiritual, Wade In The Water (1901) in the tenor saxophonist’s and organ’s solos. Jackson burns brightly on an exceptional first statement. Van Dyke also cooks with imaginative verses that crackle and Jones has a feisty performance in-between.
Earl leads off Way Back Home with a brief introduction making everyone feel comfortable as Fred states the mellow opening chorus. He continues providing the spark on the first solo, then Willie executes the next reading proficiently. Earl delivers a highly effective closing statement before the ensemble wraps it up. After Hootin’ ‘N Tootin’ was released, Fred Jackson returned to record his second album at the Van Gelder Studio with the same group plus Sam Jones. Due to poor sales of his debut, the other seven selections weren’t released until they appeared on the CD album of Hootin’ ‘N Tootin’ (1998). Jackson appeared on three other albums for Blue Note as a sideman, Face to Face (1961), Along Came John (1963), and The Way I Feel (1964)!
The music on Hootin’ ‘N Tootin’ is perfect to enjoy at the start of your day or after work, during or after dinner, or for late-night listening. The sound quality is good, but not great. The problem is the microphone placement for the organ is over-modulated when Earl Van Dyke is accompanying Fred and Willie’s solos throughout the album. The only other time I experienced this on a Rudy Van Gelder recording was on Open House (1966). Despite this issue, if you are a fan of Soul-Jazz or jazz organ with a bop flavor, I offer for your consideration, Hootin’ ‘N Tootin’ by Fred Jackson, a tenor saxophonist whose career deserved a better fate and whose music deserved greater recognition!
~ Along Came John (Blue Note BLP 4130/BST 84130), Face to Face (Blue Note BLP 4068/BST 84068), Hootin’ ‘N Tootin’ (Blue Note Connoisseur Series CDP-21819), Open House (Blue Note BLP 4269/BST 84269), The Way I Feel (Blue Note BLP 4174/BST 84174) – Source: Discogs.com © 2021 by Edward Thomas Carter
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It happened like this; I was choosing several albums to listen to for my next column when a delightful surprise showed up at my door. After auditioning it, I wanted to share my thoughts with you. I first heard this morning’s subject of discussion by Dexter Gordon, One Flight Up (Blue Note BLP 4176/BST 84176) in 1967 during one of my Saturday visits to Record Rendezvous in Cleveland, Ohio. This was his sixth Blue Note album and his second release since moving overseas from the United States. Dexter was a staple on the jazz scene since the forties when he was a member of Billy Eckstine’s Big Band. He was a major influence for two other tenor giants, John Coltrane, and Sonny Rollins. He moved abroad because he was treated more fairly and as an equal than in the US. There was also plenty of work for him and other musicians in some of the best jazz clubs Europe and France had to offer.
In this album, the tenor saxophonist leads a first-class ensemble of Donald Byrd on trumpet, Kenny Drew on piano, Neils-Henning Orsted Pedersen on bass, and Art Taylor on drums. My copy used in this report is the 2021 Blue Note Tone Poet Series Stereo Audiophile reissue sharing the original catalog number. Side One is occupied by Donald Byrd’s Tanya allowing the tenor, trumpet, and piano three lengthy solo opportunities. The rhythm section opens with a brief introduction segueing into a dreamy collective theme. Dexter works his magic first on nearly six minutes of immaculate execution. Donald follows, appealing at every turn on the next reading. Kenny speaks proudly with a firm articulation on the finale that keeps us captivated by Neils-Henning’s and Art’s stylish foundation ahead of the quintet’s closing chorus and gentle dissolve.
Side Two starts with Kenny Drew’s, Coppin’ The Haven. The trio eases into the song with a brief introduction leading to Byrd and Gordon stating the melody to the rhythm section’s infectious beat. Dexter crafts the opening solo with a touch of the blues that sustains its momentum until the conclusion. Donald comes in next with an exquisite reading as smooth as glass. Kenny serves up an impressive final statement preceding the climax. The album ends with the beautiful 1939 standard, Darn That Dream by Jimmy Van Heusen and Eddie DeLange. This is a gorgeous quartet performance opening with a gentle trio introduction. Dexter is the centerpiece here and he produces a beautifully seductive melody and tender first reading. Kenny expresses a gentle warmth on the second interpretation, then Gordon returns to close with a sensuously smooth ending.
One Flight Up was recorded by the French engineer, Jacques Lubin. This Tone Poet reissue was supervised by Joe Harley, and the mastering is by Kevin Gray at Cohearent Audio. The sound quality is spectacular with refreshing clarity and a stunning soundstage that transports the musicians to your listening room. The record was pressed on 180-gram audiophile vinyl and is silent until the music starts. Then, the gatefold photos inside could adorn any wall proudly. Over his nearly forty-year career, Dexter recorded for a host of labels, Bethlehem, Columbia, Decca, Dial, Dootone, Prestige, Savoy, and SteepleChase. However, it was the five years he was at Blue Note (1961-1966) that are among his finest records in my opinion. He passed away on April 25, 1990, at age sixty-seven from kidney failure and cancer of the larynx. If you’re a Hard-Bop fan, I highly recommend One Flight Up by Dexter Gordon. It’s an excellent album where the music speaks to you in a way that’s rewarding listening for any jazz library!
~ Darn That Dream – Source: JazzStandards.com ~ Dexter Gordon – Source: Wikipedia.org © 2021 by Edward Thomas Carter
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My One And Only Love ~ Franco D’Andrea | By Eddie Carter
This morning’s choice from the library is My One and Only Love (Red Record NS 201), a recent acquisition introducing me to the Italian pianist, Franco D’Andrea. His career began in 1963 with bandleader Nunzio Rotondo. He’s also played with Franco Ambrosetti, Gato Barbieri, Conte Candoli, Dave Douglas, Johnny Griffin, Lee Konitz, Steve Lacy, Max Roach, Frank Rosolino, Phil Woods, and other Italian musicians. D’Andrea is one of Italy’s most famous pianists and has an extensive discography of two hundred albums as a leader and sideman. Franco also taught at Conservatorio “F.A. Bonporti” from 1994 to 2006 and currently teaches at Mitteleuorpean Jazz Academy and Siena Jazz. On this date, he’s joined by Mark Helias on bass and Barry Altschul on drums. My copy used in this report is the 1983 Italian Stereo pressing.
Side One begins with the first of three tunes from the pianist’s pen, Nord E Sud is a pretty composition that starts slowly but grows to a medium tempo with Franco displaying fine finger work on the opening chorus. He continues holding our attention on an enchanting performance with consummate pacing ascending to a gorgeous climax. Mark takes over for a brief display of creative imagination on the closing solo before the threesome concludes exhibiting a simple lyrical beauty. The pace picks up for the medium-fast blues, Slalom Speciale beginning with a quick introduction by Altschul segueing into a brisk theme and superbly crafted, adventurous first reading by D’Andrea. The pianist and Altschul share a spirited interchange of ideas next, then the drummer breaks loose with a majestic interpretation ahead of the trio’s return to the theme.
Quiet Children, a delicately gentle ballad describing boys and girls at their most peaceful, when they’re sleeping starts Side Two. The ensemble embarks upon a lovely melody transmitting their joy collectively. The leader delves deeply into each child’s dreams with elegant warmth on the first solo. Mark follows with a thoughtful interpretation culminating with the threesome’s serene ending. My One and Only Love by Guy Wood and Robert Mellin is a 1953 jazz standard allowing each member ample solo space. The opening statement by D’Andrea provides an ideal setting to display his talents with delightful humor as it unfolds. Helias follows with a neatly paced reading expressing fervent admiration for the beautiful woman the lyrics describe. Altschul adds some marvelous energy to the final statement before the group’s reprise ends with a bit of collective free jazz improvisation.
The man behind the dials on My One and Only Love is Italian engineer, composer, and multi-instrumentalist, Giancarlo Barigozzi. His work has created a beautiful pressing with stunning stereo separation where the instruments come alive in your listening room crystal clear. Now that I’ve been introduced to this superb pianist, I’ll be looking for some of his other releases for my library. If you’re in the mood for some contemporary jazz, I submit for your consideration, My One and Only Love by Franco D’Andrea. The trio is strong in all three positions with bass and drums participating equally with the piano and their interplay working seamlessly. This album scores on all counts, and in my opinion, should not be overlooked on your next vinyl hunt!
~ My One and Only Love – Source: JazzStandards.com © 2020 by Edward Thomas Carter
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Sugar ~ Stanley Turrentine | By Eddie Carter
The landscape of jazz was changing as it entered the seventies. Miles Davis began pushing the envelope from Hard-Bop and Post-Bop to Jazz Fusion with In A Silent Way (1969), and Bitches Brew (1970) would take it further in that direction. Due to his commercial success with Bitches Brew, some musicians also moved from those styles into Avant-Garde and Free Jazz. Still, others began a journey toward what would eventually be labeled Smooth Jazz. Stanley Turrentine, a veteran Soul-Jazz tenor saxophonist since the fifties had just ended a decade-long association with Blue Note that began with his debut, Look Out (1960), and was looking to build his audience. He signed with CTI Records in 1970, the independent label owned by producer Creed Taylor which originally began as a subsidiary of A&M Records in 1967.
Though no one knew it at the time, Sugar (CTI Records CTI 6005) would become the biggest selling album of Stanley’s career and the title song, a phenomenal hit earning him the nickname, “The Sugar Man”. The record’s success was also instrumental in changing the direction for future CTI releases toward more Jazz-Funk and Funk-Soul albums. Stanley is joined by an impressive supporting cast, label mate Freddie Hubbard on trumpet, Lonnie Liston Smith (track: A1) on electric piano, Butch Cornell (tracks: A2, B1) on organ, George Benson on guitar, Ron Carter on bass, Billy Kaye on drums, and Richard “Pablo” Landrum (tracks: A2, B1) on congas. My copy used in this report is the 2009 Pure Pleasure Records UK Stereo Audiophile reissue (PPAN CTI 6005).
Side One starts with Stanley’s original, Sugar. The rhythm section begins at mid~tempo with an infectious introduction hooking you from the opening notes. The front line presents the melody with a lightly swinging beat. Stanley strides confidently into a danceable lead solo. Freddie settles into a funky groove on the second statement. George tells the next story with some bluesy guitar work and assistance from both horns providing a rhythmic supplement for one chorus. The ensemble reprises the melody and disappears into a slow fade.
Sunshine Alley by Butch Cornell opens with Cornell leading the rhythm section fueled by Kaye’s hypnotic drums and Landrum’s soulful conga. Both horns take it from there on the bluesy theme. Cornell, who I was unfamiliar with before his appearance here, easily holds his own with a convincing lead solo. Benson gives a splendid performance with the rhythm section slipping neatly alongside. Hubbard cooks up something good next, then Turrentine adds some soul food to the final solo that reaches a peak of inspiration preceding the ensemble taking the song out.
The group closes with a vigorous blowing rendition of John Coltrane’s Impressions occupying Side Two. Butch starts the song with a soulful introduction. The front line provides the spark on the main theme to “get this party started” as my wife likes to say. Stanley takes off first at a hard-swinging gallop. Butch comes in next for a vigorous interpretation with both horns humming behind him. Freddie brings an electrically charged dynamism to the third solo with compelling intensity. George adds a bit of excitement to the final reading with some high-voltage licks. Stanley punctuates the closing chorus with final phrases of white heat into an energetic fadeout.
The impeccable rhythm section of Ron Carter, Billy Kaye, and Richard “Pablo” Landrum is the power station behind each soloist, giving the album its depth. The remastering of Rudy Van Gelder’s original recording by Kevin Gray and Steve Hoffman is exemplary. The vinyl is quiet until the music starts, and the LP is a sonic treat for your ears with a spacious soundstage that’s stunning. There’s something for everyone on Sugar by Stanley Turrentine. It’s a Soul-Jazz buffet of his tenor sax, a swinging group, and an irresistible groove that’s sure to make it a favorite in any jazz library!
~ Bitches Brew (Columbia GP 26), In A Silent Way (Columbia CS 9875), Look Out (Blue Note BLP 4039/BST 84039) – Source: Discogs.com © 2021 by Edward Thomas Carter
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