Requisites

Open House~Jimmy Smith | By Eddie Carter

During his time at Blue Note, any album by Jimmy Smith was considered something special to have in one’s library. Jimmy knew his instrument and his contributions to help popularize the Hammond B3 organ in Hard-Bop and Soul-Jazz are a notable achievement. Open House (Blue Note BLP 4269/BST 84269) was recorded in 1960 but remained shelved until 1968. The gentlemen joining Jimmy for this informal session are Blue Mitchell (tracks: A1, B1) on trumpet, Jackie McLean (tracks: A1, B1, B2) on alto sax, Ike Quebec (tracks: A1, A2, B1) on tenor sax, Quentin Warren on guitar, and Donald Bailey on drums. This lineup also appears on the companion album, Plain Talk, and my copy used in this report is the 1970 US Stereo reissue.

Side One starts with a visit inside Jimmy’s Open House. The ensemble builds the melody gradually with Jimmy alternating sections with the front line. Blue opens the lead solo with a relaxing informality, then Jackie takes over in low gear on the second reading, building steadily to a satisfying groove. Ike comes in next for a delightful interpretation and Jimmy wails on the closing statement preceding the ending theme and fadeout. Old Folks by Willard Robison and Dedette Lee Hill is one of the prettiest jazz standards ever recorded. It was composed in 1938 and Quebec gets the honors as the only horn, backed by the trio. Ike’s deeply thoughtful stating the pensive theme and also gives a tender first statement. Jimmy closes with a reflective comment before Quebec returns to take the song out with a tender ending.

The sextet begins Side Two with a visit to Jimmy’s Sista Rebecca. After a brief collective theme by the ensemble, Ike moves into a steady medium tempo on the opening chorus with the trio comfortably backing him. Blue follows, sailing smoothly with a sassy groove that’s sure to get the listener to snap their fingers and tap their toes. Jackie’s alto flows nicely on the third reading and Jimmy adds the final touch with some down-home country cooking leading to the theme’s reprise and fadeout. A pretty introduction and melody by McLean begins the 1928 song, Embraceable You by George and Ira Gershwin. The altoist creates a romantic atmosphere with a dreamy lead solo, then Jimmy briefly conveys a loving sentiment into an elegant ending.

Open House was produced by Alfred Lion and engineered by Rudy Van Gelder.  The good news is the musicians are excellent, the music features great solos from the principals and solid support from Warren and Bailey. The issue I have with the record is the microphone placement for Jimmy’s organ has a tone of harshness as he’s playing on two of the tunes (tracks: A1, B1). I think that’s the reason the album wasn’t released after the session was recorded. That issue aside, if you’re a fan of Jimmy Smith, Soul-Jazz, or enjoy jazz organ, I invite you to audition Open House for a spot in your library. It’s one of the albums deserving greater recognition and with a stellar supporting cast of Blue Mitchell, Jackie McLean, and Ike Quebec is worth the price of admission! ~ Plain Talk (Blue Note BST 84296) – Source: Discogs.com ~ Embraceable You, Old Folks – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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To Duke With Love~Art Farmer | By Eddie Carter

I was looking for something to play a few nights ago when I came across a 1976 album by one of my favorite trumpet players, Art Farmer.  To Duke With Love (East-West EW-8012) is this morning’s choice from the library submitted for your consideration.  I’d forgotten how much I enjoyed this record and after listening, began writing about it for this week’s column.  This album was one of my Mom’s favorites and she loved the velvety softness of Art’s flugelhorn.  It was because of her love of jazz and the joy of listening to the albums together that I became a fan also.  Art plays the flugelhorn exclusively on this six-song letter to Duke Ellington and he’s working with a brilliant trio, Cedar Walton on piano, Sam Jones on bass, and Billy Higgins on drums.  My copy used in this report is the 1978 Stereo reissue (Inner City Records IC 6014).

Arthur Stewart Farmer’s first album as a leader was Work of Art (1954).  He co-led The Jazztet with Benny Golson from 1959 to 1962.  After the group disbanded, he had a successful twenty-year solo career until the band reformed in 1982 to 1986.  Art reunited with The Jazztet again during the nineties to perform live at various festivals.  He was comfortable in any setting and could play anything, on an uptempo tune, Farmer played vigorously with a fiery passion.  At midtempo, his gift of expression was precisely defined, and with slow-tempo ballads and standards, Art skillfully constructed them with innocence and romanticism.

Cedar Walton was an immensely gifted and prolific pianist who typically built perfect solos from simple ideas, proving himself an exemplary accompanist and versatile leader in large ensembles and small groups.

Sam Jones had a beautiful sound on bass with a splendid technique and a marvelous grasp of harmony, he’s best known as one-third of the rhythm section in The Cannonball Adderley Quintet and Sextet.  Sam was among the first to make the cello sound plausible on a jazz album, and his bass lines always enhanced any record as the leader of the date or as a sideman.  Billy Higgins was the drummer of choice on some of the most memorable Hard-Bop and Free Jazz recordings.  He appeared on over seven hundred records including Funk and Rock albums.  There was an unmistakable power in his playing, but when called upon, Billy’s drumming could also be considerate and thoughtful, and he brought his A-game every time he sat behind the drums.

Side One opens with the 1935 jazz standard, In a Sentimental Mood by Duke Ellington and Manny Kurtz.  Art makes an enticingly delicate introduction to the melody, then takes the lead on a slow and sultry statement.  Cedar follows with an impressively tender interpretation into the foursome’s luscious close.  The 1931 Duke Ellington, Irving Mills standard, It Don’t Mean a Thing begins with an energetic introduction by Jones backed by just Higgins before Farmer and Walton come in to state the theme.  Walton takes off first with a briskly stated opening chorus after a brief riff by Higgins.  Farmer follows, adding some searing heat on the next performance.  Jones gets the last word with an exuberant closing statement ahead of the quartet’s exit.

The Star-Crossed Lovers appeared on Such Sweet Thunder (1957) as part of a twelve-part suite based on the works of William Shakespeare.  This Duke Ellington, Billy Strayhorn tune gives Farmer a showcase to emerge ever so gently on the theme after a luscious introduction by Cedar.  Art gives a pretty presentation as sweet as Johnny Hodges achieved on the original song.  Cedar also performs beautifully on a gorgeous finale before the coda.  Duke Ellington’s The Brown Skin Girl In The Calico Gown was first recorded by Duke and Ella Fitzgerald on Ella at Duke’s Place (1965).  It starts Side Two with a duet by Farmer and Jones, segueing into the ensemble’s touching theme.  Farmer has the first spot with an attractive interpretation.  Walton takes the reins next and is enchanting preceding the unison ending.

The standard Lush Life is afforded a slow, meditative treatment on the opening chorus.  Billy Strayhorn wrote the song in 1933 but fine-tuned it until 1938 when he performed it for Ellington.  The song’s lyrics describe the author’s weariness of the nightlife after a failed romance.  Art paints from a seductive palette of delicacy and elegance on the first solo.  Cedar infuses the next reading with a tender expression of love, culminating an exquisite rendition.  The album wraps with Duke Ellington’s Love You Madly, written in 1950 and featured on Duke’s Big 4 (1974).  After a short Walton introduction, the ensemble provides a happy aura led by Farmer who grooves at midtempo on the melody and lead solo.  Walton eases into a medium groove on the final reading that’s an absolute joy.

To Duke With Love was recorded in 1975 by East-West Music in Japan, less than one year after Ellington passed away.  The engineer is Ben Taylor and Stan Ricker mastered the album at JVC Cutting Center.  It has an excellent soundstage, effectively capturing the essence of Art’s tastefully restrained tone.  Farmer recorded over sixty albums as a leader, over seventy as a sideman, and an additional twelve as a member of The Jazztet.  He passed away from a heart attack on October 4, 1999, at age seventy-one.  If you’re a fan of Art Farmer and in the mood for some soothing jazz, To Duke With Love is a great session honoring one of the greatest composers of all time, Duke Ellington.  It’ll repay its owner with many listens for years to come and I highly recommend it for a spot on your shelf! ~Duke’s Big 4 (Pablo 2310-703), Ella at Duke’s Place (Verve Records V-4070/V6-4070), Such Sweet Thunder (Columbia CL 1033) – Source: Discogs.com ~In a Sentimental Mood, It Don’t Mean A Thing, Lush Life – Source: JazzStandards.com ~Art Farmer, The Star-Crossed Lovers, The Brown Skin Girl In The Calico Gown, Lush Life, Love You Madly – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

Julie Is Her Name ~ Julie London | By Eddie Carter

This morning’s choice from the library is the debut album by Julie London.  She was a talented actress who starred in several forties and fifties Hollywood films, a sexy pinup model and nightclub singer with a stunning figure to match her luxurious voice.  Julie Is Her Name (Liberty LRP 3006/LST 7027), is a half-hour journey of intimate music that’s perfect to enjoy while unwinding after a long day or to help spark a romantic evening ahead.  Accompanying Julie on vocals are Barney Kessel on guitar and Ray Leatherwood on bass.  My copy used in this report is the 1955 US Mono reissue made at Capitol Records Pressing Plant in Scranton, Pennsylvania.  The second pressing turquoise labels are distinguished from the Deep Groove original by a small circle around the center hole on each side.

Side One starts with her biggest hit, Cry Me A River by Arthur Hamilton, a high school classmate.  Julie sings the lyrics with elegance and warmth as she turns the tables on a lover who hurt her and now finds himself the recipient of a broken heart.  Barney and Ray complement her with their subtle supplement into a gentle fadeout.  I Should Care by Sammy Cahn, Alex Stordahl, and Paul Weston was written in 1944, appearing in Thrill of a Romance, a year later.  The trio approaches the romantic theme efficiently.  Julie caresses the lyrics softly and tenderly, and Kessel has a lush interlude in between that’s seductively silky.  Barney and Ray lead the way into I’m In The Mood For Love by Dorothy Fields and Jimmy Hugh.  Julie reflects the song’s tenderness with deep sensitivity ahead of a gorgeous ending.

I’m Glad There Is You by Jimmy Dorsey and Paul Madiera is tailor-made for Julie’s provocative delivery of the lyrics.  Kessel and Leatherwood are splendidly entertaining in support before the trio’s lush climax.  Can’t Help Lovin’ That Man was first heard in the 1927 musical, Show Boat as Can’t Help Lovin’ Dat Man.  It’s one of Oscar Hammerstein II and Jerome Kern’s most famous songs.  The ensemble presents an exquisite example and Julie shows respect to the lyrics with a bluesy vocal interpretation that flows smoothly.  Cole Porter’s I Love You was introduced in the 1944 musical, Mexican Hayride.  The trio begins deceptively at a slow tempo before the pace moves upward and Julie turns loose a little gaiety on a swinging statement.

The second side gets underway with Say It Isn’t So by Irving Berlin from 1932.  Julie’s indelible opening chorus characterizes a sincere plea to the man she loves to reassure her that the rumor he no longer loves her and is planning to leave isn’t true.  Her haunting words are delicately expressed with Barney and Ray providing the gentle groundwork preceding a calm climax.  Up next is It Never Entered My Mind, a show tune that premiered in the 1940 musical, Higher and Higher.  This well-recorded standard from the pen of Richard Rodgers and Lorenz Hart speaks of loneliness, regret, and remorse.  Julie and Kessel make it an intimately personal duet that’s deeply poignant with an emotional emphasis on love and sorrow anyone can identify with.

Julie and her bandmates take a slow tempo trip to Easy Street next.  This jazz standard was written by Alan Rankin Jones in 1940 and transports us to a place where life is good, and people are comfortable, content, and happy.  Her lyrics are equally carefree and dreamy.  Barney and Ray augment the vocalist with a soft supplement and Barney gets a brief solo ahead of the close.  George & Ira Gershwin introduced S’ Wonderful in the 1927 musical, Funny Face.  It later became a popular jazz standard with many notable recordings. Kessel starts the song vigorously with an enthusiastic introduction segueing into a dazzlingly agile melody by Julie who then slows down to wrap up the song reinforced by Kessel and Leatherwood’s backing.

No Moon At All by David Mann and Redd Evans is a jazz standard that was composed in 1947.  It’s a romantic tune, and Julie beckons her lover like a siren with seductively sultry lyrics on the melody.  Barney and Ray accompany her as she plans a night of romance beginning with one kiss.  Laura by David Raskin and Johnny Mercer needs no introduction.  It’s a timeless 1944 standard that became a hit after the Film-Noir drama of the same name.  Julie sings the first chorus of the haunting melody without any accompaniment.  Kessel and Leatherwood add their serene support as her voluptuous vocals are profoundly moving into a gentle coda.  The finale, Gone With The Wind by Allie Wrubel and Herb Magidson is a passionately tender showcase by Julie and the duo who back her delicately into a graceful fadeout.

The Mono copy of Julie Is Her Name was produced by Bobby Troup (who would become her second husband) and engineered by John Neal.  John Kraus who also engineered albums on Atlantic, Capitol, Contemporary, Dot, Jazz West, and London worked on the Stereo reissue.  I was pleasantly surprised with the sound quality for a record nearly sixty-six years old, it’s quite good.  Julie’s vocals are seductive, and Barney Kessel and Ray Leatherwood respond with sheer beauty behind her.  The Capitol Records reissues have a misprint, the tracks are reversed on both sides.  The Side Two songs are on the Side One label and the Side One songs, on Side Two.  How this error was overlooked, I’ll never know, especially since Capitol uses the original Liberty pressing back cover, but that seems to be the only issue with my copy.

Torch singing became Julie’s specialty over her fourteen-year recording career, and she made thirty-one albums at Liberty, earning her the nickname, The Liberty Girl.  She also found success on television, becoming most famous for her portrayal of Dixie McCall on the series, Emergency for six years.  A chain smoker since she was sixteen, Julie suffered a stroke in 1995 and developed lung cancer a few years later.  She passed away from cardiac arrest at age seventy-four on October 18, 2000.  If you’re seeking some easy-listening, jazz vocals for your library, make a note to pick up Julie Is Her Name by Julie London on your next vinyl hunt.  It marks the beginning of a terrific jazz vocalist and is a lovely way to spend the evening with that special someone!

~Can’t Help Lovin’ That Man, Gone With The Wind, I Love You, I Should Care, I’m Glad There Is You, I’m In The Mood For Love, It Never Entered My Mind, Laura, ‘S Wonderful, Say It Isn’t So – Source: JazzStandards.com ~Cry Me A River, Easy Street, No Moon at All – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

The Kenny Drew Trio steps into the spotlight for this morning’s discussion with their 1980 album, Ruby My Dear (SteepleChase Records SCS 1129). This was Kenny’s fourth release on the Danish label using a trio format, the first three are Dark Beauty (1974), If You Could See Me Now (1975), and Morning (1976). Here, Drew’s working with David Friesen on bass and Clifford Jarvis on drums.  My copy used in this report is the US Stereo album sharing the Danish catalog number.

Kenny began playing the piano at age five, and later attended the High School of Music & Art. His first recording was with Howard McGhee. He’s also worked with John Coltrane, Buddy DeFranco, Johnny Griffin, Coleman Hawkins, Charlie Parker, Buddy Rich, Dinah Washington, and Lester Young among others. Drew also led his own groups throughout the fifties and has an extensive discography as a leader and sideman. Bassment, an uptempo original by Kenny launches Side One with an exciting introduction into a spirited melody. The leader’s opening solo sizzles right from the start, then David ends with an effective climax into the threesome’s closing chorus.

Thelonious Monk composed some of the most evocative standards in jazz and Ruby My Dear is one of his most beautiful songs. It’s named for Monk’s first love, Rubie Richardson, and was originally released in 1947, then later reissued on Genius of Modern Music, Volume 1 (1952). The trio starts the melody speaking elegantly, then Drew provides a solo of serene beauty into an intimate coda. Gentle Rain possesses a Bossa Nova flavor as originally intended by its creator, Luis Bonfá who wrote it with Matt Dubey. It premiered in The Gentle Rain that Bonfá scored with Eumir Deodato a year later. The group’s theme is sweet and lovely. Kenny swings softly on the only reading with an enchanting reading.

Side Two starts with Kenny’s Ending. This very pretty ballad opens with a short introduction by the trio preceding an elegant melody. Drew cultivates a very beautiful tone into a memorable interpretation. Friesen delivers the closing performance with easy assurance, ending with a tranquil finale. Sunspots by Austin Wells gets underway with a very pretty introduction of gentle cascades on the piano, gradually growing to a lively frolic on the opening chorus. Kenny starts the solos with a lengthy interpretation that’s a work of art. David steps in next for a rousing statement of effortless artistry. Clifford has an invigorating exchange with the leader and bassist on a breathtaking finale ahead of a soft climax.

Ruby My Dear was produced by SteepleChase Records’ Founder Nils Winther and the man behind the dials is Freddy Hansson. Both men put their talents to great use because the sound quality is astonishing with superb fidelity, placing the trio in your listening room to fill your ears with excellent music. If you’re seeking some outstanding bop for your library, I enthusiastically offer for your consideration, Ruby My Dear by The Kenny Drew Trio. It’s a perfect introduction to Drew’s music for newcomers, and an exceptional companion to his other three albums as well!

~ Dark Beauty (SteepleChase SCS-1016), Genius of Modern Music, Volume 1 (Blue Note BLP 5002), If You Could See Me Now (SteepleChase SCS-1034), Morning (SteepleChase SCS-1048), Ruby My Dear (Blue Note 549) – Source: Discogs.com ~ Kenny Drew, Ruby My Dear – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Consequence, as defined in the Merriam-Webster Dictionary, is “something that happens as a result of a particular action or set of conditions”. In effect, that’s a perfect way to describe this morning’s choice from the library, Consequence (Blue Note Classic LT-994). Alto saxophonist Jackie McLean’s two previous releases, One Step Beyond and Destination Out expressed an abstract style toward progressive jazz and both were still selling well. I think this is why Alfred Lion didn’t release the album after it was recorded. However, this 1965 date pairs McLean with one of his favorite collaborators, Lee Morgan on trumpet.  The rhythm section is equally stellar, Harold Mabern on piano, Herbie Lewis on bass, and Billy Higgins on drums. My copy used in this report is the original 1979 Stereo LP.

Bluesanova, the first of two tunes by Morgan starts Side One with a dazzling theme led by the front line. Lee takes off first on an enthusiastic rhythmic flight succeeded by Jackie who wails with exciting freshness. Harold weaves a happy spell on the closing performance, then the front line makes one final comment each before the ensemble dissolving into nothingness. Consequence, also by McLean is a speed demon from the outset of the brisk opening chorus. The leader opens the soloing like a meteorite streaking across the sky. Morgan raises the temperature to the searing heat of a tropical summer on the second reading.  Mabern delivers a ferocious statement next, then Higgins has a rapid-fire exchange with Lee and Jackie into an abrupt climax.

My Old Flame by Sam Coslow and Arthur Johnston made its debut in the 1934 film, Belle of The Nineties. The lyrics of this beautiful ballad describe a woman recalling a former lover with reflective affection, and the group presents a passionately tender interpretation. Jackie takes the first step with a touching opening statement.  Harold and Lee turn in two beautifully expressed readings before Jackie appears again for a delicately elegant ending. A festive mood gets Side Two underway with McLean’s Tolypso, a danceable mid~tempo tune providing the ideal setting for a graciously inviting lead presentation by the altoist. Morgan adds some hot and spicy sauce to this festive occasion and Mabern sizzles with an effervescent spontaneity before the trio leads the partygoers into a fadeout.

Slumber is by Lee Morgan and during the melody, I thought I’d heard it before and was experiencing déjà vu. It turns out I did recognize it because it was recorded two years later on The Procrastinator (1978) as Soft Touch. After the ensemble’s unhurried melody, Lee opens the first solo expressing an enjoyable, relaxed mood. Jackie’s alto swings brightly next and Harold captivates on the closing reading. McLean’s Vernestune was originally recorded as The Three Minors in 1962 for an album that was shelved until its release in Japan, Jackie McLean Quintet (1977). It begins with a speedy main theme in unison. McLean provides plenty of fireworks on the first solo, then Morgan answers with a quick attack. Mabern blazes brightly on the closing presentation with a ferocious determination that doesn’t stop until the upbeat exit.

McLean and Morgan were a perfect match together and Alfred Lion utilized their talents whenever he could. Jackie performed on Lee’s LP’s: Leeway (1961), Cornbread (1967), Charisma (1969), The Sixth Sense (1970), Tom Cat (1980), and Infinity (1981). Lee returned the favor on Jackie’s album Jacknife (1975).  The sound of the original recording by Rudy Van Gelder is quite good without a bit of harshness from top to bottom. I did an A-B listening comparison between Consequence and Record Five of The Complete Blue Note 1964-66 Jackie McLean Sessions (1993), which duplicates the LP song sequence. The sound of the Mosaic album is exceptional with a significant improvement in the highs, midrange, and bass. If you like jazz or are a fan of Jackie McLean, Consequence is a solid straight-ahead session with an extraordinary supporting cast that you can’t listen to without tapping your feet. Together, they create thirty-six minutes of enjoyable listening worthy of occupying a spot in any Hard-Bop or Post-Bop library!

Charisma (Blue Note BST 84312), Destination Out (Blue Note BLP 4165/BST 84165), Infinity (Blue Note Classic LT-1091), Jacknife (The Blue Note Reissue Series BN-LA457-H2), Leeway (Blue Note BLP 4034/BST 84034), One Step Beyond (Blue Note BLP 4137/BST 84137), The Complete Blue Note 1964-66 Jackie McLean Sessions (Mosaic Records MQ6-150), Jackie McLean Quintet (Blue Note LNJ-80118), The Procrastinator (Blue Note Classic Jazz Series BN-LA582-J2), Tom Cat (Blue Note Classic LT 1058) – Source: Discogs.com

~ My Old Flame – Source: JazzStandards.com ~ Belle of The Nineties – Source: Wikipedia.org ~ Bluesanova – https://www.youtube.com/watch?v=pBEDJ1Ke5l0 ~ Consequence – https://www.youtube.com/watch?v=-YKe7O6KDxM © 2021 by Edward Thomas Carter

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