Requisites

Louis Smith steps into the spotlight for this morning’s discussion with his second 1958 record for Blue Note following Here Comes Louis Smith. Born in Memphis, Tennessee, he began playing the trumpet as a teenager and his first recording was Swingin’ by Kenny Burrell, a 1980 Japanese album combining three sessions in 1956, 1958, and 1959. Smith took a job as a music director of Booker T. Washington High School in Atlanta, Georgia rather than becoming a full-time musician. After leaving school, he became the Director of the Jazz Ensemble at the University of Michigan and a teacher in Ann Arbor.  Louis was also an excellent composer. On Smithville (Blue Note BLP 1594), he’s working with an elite quartet, Charlie Rouse on tenor sax, Sonny Clark on piano, Paul Chambers on bass, and Art Taylor on drums. The LP used in this report is a friend’s copy of the 2010 Music Matters Jazz 45-rpm Mono reissue (MMBLP-1594).

Record One starts with us arriving at Smithville, a slow-tempo blues by Louis inhabiting the first side. Everyone takes it easy from the introduction by Paul and Louis into a laid-back ensemble opening chorus. Charlie opens with a casualness and relaxed attitude on the lead solo. Louis takes over for a mellow, very personal presentation, then Sonny wraps up the song with a delightful showcase that’s handsomely constructed. Wetu, also by Smith occupies Side Two, commencing with the tempo way up and the quintet playing like the wind on the melody. Rouse takes off first with exhilarating speed. Smith also travels fast on the next interpretation. Taylor sets up a ferocious beat for Clark’s fingers to fly fiercely over the keys in an incandescent performance, and Chambers is especially productive on the final spot ahead of the ending theme.

Record Two begins with Embraceable You by George and Ira Gershwin. Louis is the main horn here and approaches the melody and opening statement with a softer voice, summoning affectionate warmth from his trumpet. Sonny shows his sentimental side on a hauntingly beautiful interpretation before Louis and Charlie connect on a pleasantly sweet reprise and climax. There Will Never Be Another You by Harry Warren and Mack Gordon was first heard in the 1942 film, Iceland. It opens with a brief introduction by Clark preceding an invigorating theme. Rouse opens the lead solo swinging immensely, then takes the next chorus one octave higher. Smith unwinds a lively series of scintillating choruses.  Clark responds to both horns with enthusiastic virtuosity. Chambers steps into the spotlight last with strong, bass lines soaring back to the soft conclusion.

The finale is Later, a quick original by the leader flying at a speedy clip.  Louis meets the challenge with a skyrocketing first solo. Charlie comes next with an adrenaline-charged reading. Sonny follows with a high-voltage power supply.  Art brings the song home with some dynamic drumming into the quintet’s cooking reprise and sudden stop ending. If you’ve read any of the other MMJ reissues I’ve discussed, you already know the quality and care that goes into each title is well-known among audiophiles and jazz lovers. For those who haven’t heard them before, they’re mastered from the original analog tapes and pressed on 180-gram audiophile vinyl at RTI (Record Technology Incorporated) in Camarillo, California. Inside the gatefold are extremely beautiful photos from the session by Francis Woolf that could be proudly displayed on your listening room wall.

After listening to both records, I pulled out my 1991 Toshiba-EMI Limited Japanese 33 1/3 Mono reissue to compare the sound with the MMJ LP. The Toshiba reissue has an exceptional soundstage throughout the highs, midrange, and low end. The instruments come to life through your speakers as if you’re at Mr. Van Gelder’s home alongside the musicians during the recording. However, the sound quality of the MMJ Mono reissue is significantly elevated with superb mastering that’s very detailed making an already great-sounding album, that much better. I listened intently to both reissues becoming completely engrossed in the music and while my system isn’t high-end, it still made an enduring impression, and I could hear the difference.

It would be another thirty-seven years before Louis Smith returned to the studio to record an album as a leader. In 2006, Louis suffered a stroke ending his professional career, but he continued to enjoy live jazz in the Detroit-Ann Arbor area until his passing on August 20, 2016, at age eighty-five. To me, Smithville is a shining example of first-rate, no-frills Hard-Bop capturing the driving energy of the musicians at their best. On your next search for vinyl treasure, I invite you to take a trip to Smithville. There you will find an outstanding session of amazing music by Louis Smith that’s highly recommended for your library!

~Here Comes Louis Smith (Blue Note BLP 1584), Smithville (Blue Note BLP 1594-BN 1594), Swingin’ (Blue Note GXF 3070) – Source: Discogs.com ~Embraceable You, There Will Never Be Another You – Source: JazzStandards.com ~Booker Little, Louis Smith – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

This Is Buck Hill ~ Buck Hill Quartet | By Eddie Carter

My first choice from the library for April is by one of the hidden stars of jazz. His name was Roger Wendell Hill, but everyone would know him by his nickname Buck. Hill began his professional career as a musician in 1943 while working as a Washington D.C. mailman. Buck first worked with Charlie Byrd in the late fifties, later appearing on albums by Shirley Horn, Alan Houser, and Shirley Scott. He also performed with Miles Davis, Dizzy Gillespie, Max Roach, and Sonny Stitt but didn’t record as a leader until the late seventies. Buck also played the clarinet and soprano sax, but the tenor sax was his primary instrument. This Is Buck Hill (SteepleChase Records SCS 1095) is a 1978 release offering all the excitement and energy of an after-hours jam session. He’s working with an outstanding rhythm section, Kenny Barron on piano, Buster Williams on bass, and Billy Hart on drums. My copy used in this report is the 1978 US Stereo album.

Side One starts with Tokudo, an original by Buster Williams that the bassist would record again a year later on his album, Heartbeat. This tune begins at a brisk tempo for the melody, and everyone is afforded a solo opportunity. Buck delivers the goods with aggressive momentum on the first presentation. Kenny shifts into high gear on the next reading. Buster dips into a soulful groove on the third statement, and Billy gives a dazzling performance before the out-chorus. Yesterdays by Jerome Kern and Otto Harbach is one of the most recorded jazz and pop compositions since its creation in 1933. The group swings at a medium tempo on the main theme. Hill gradually builds the excitement on the first statement to a sensational climax. Barron offers a beautiful sentiment in the next reading. Williams swings to a groovy beat preceding a luscious ending.

A blistering introduction by Billy begins Oleo by Sonny Rollins. The foursome gets things underway with a very quick melody. Buck takes off like the Road Runner for a high-octane fast ride including three unaccompanied verses of white heat. Kenny powers the next interpretation with energetic exertion, then Billy has a final furious exchange with Buck culminating into a brilliant climax.

Side Two begins with the first of three selections by the leader. I’m Aquarius is a beautiful ballad that originally appeared in a suite on trumpet player Alan Houser’s 1973 album, No Samba.  It opens elegantly with a cascading flow of tenderness from Barron segueing gently into the melody with Hill directing the ensemble softly. The tenor remains tastefully restrained on the opening statement.  Kenny closes with a delicate sensitivity leading to a sultry coda.

S.M.Y. is a lively original possessing an irresistible beat exuding happiness from the first notes of the opening chorus. The saxophonist starts the ball rolling with some vigorous blowing. Kenny digs in for some good rocking jazz next, then Buck supplies an abundant supply of high-voltage current into the theme’s reprise. The album closes with Two Chord Molly, an uptempo tune allowing everyone except Hart to contribute lengthy readings. The trio lays down a swinging line on the introduction with Hill providing vast amounts of energy to the festive melody. Barron delivers an enthusiastically rigorous lead solo. Buster gets down to business next with an intense workout. Buck accelerates on the closer producing electrically charged notes. During Hill’s statement, you can hear someone commenting (I’m sure positively) on his performance.

The man behind the controls is Elvin Campbell, whose work can be heard on many jazz albums. This record is well recorded, and the highs, midrange, and bottom end are all very detailed with an excellent soundstage and crystal-clear clarity. Buck recorded three more albums for SteepleChase, Scope (1979), Easy To Love (1982), and Impressions (1983). Hill passed away at age ninety on March 20, 2017. You’d never suspect this was the quartet’s first recording together because the music is excellent, and their interaction is seamless. Buck also meets the challenge of writing good compositions with strong performances inspired by Kenny Barron, Buster Williams, and Billy Hart. On your next vinyl hunt, I’ll hope you’ll consider This Is Buck Hill for a spot in your library. He was a veteran jazzman who certainly deserves a place alongside the greatest to ever blow the tenor saxophone! ~ Easy To Love (SteepleChase SCS-1160), Heartbeat (Muse Records MR 5171), Impressions (SteepleChase SCS 1173), No Samba (Straight Ahead ARS 001), Scope (SteepleChase SCS 1123) – Source: Discogs.com ~ Oleo, Yesterdays – Source: JazzStandards.com ~ Alan Houser, No Samba – Source: Album liner notes by J.R. Taylor ~ Roger Wendell Hill, Tokudo, Heartbeat, Scope, Easy To Love, Impressions, Elvin Campbell – Source: AllMusic.com, Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

Bebop ~ Milt Jackson | By Eddie Carter

This morning’s discussion is by one of my favorite masters of the vibraphone, Milt Jackson. I was introduced to his music during a performance by The 1972 Newport Jazz All-Stars at Radio City Music Hall. Bebop (East-West – 7 90991-1) celebrates the forties jazz style characterized by a fast tempo, rapid chord changes, instrumental improvisation, and virtuosity that was created by Dizzy Gillespie, Charlie Parker, Bud Powell, and other musicians. On this date, Bags is sharing the spotlight with an outstanding sextet, Jon Faddis on trumpet, J.J. Johnson on trombone, Jimmy Heath on tenor sax, Cedar Walton on piano, John Clayton on bass, and Mickey Roker on drums.  My copy used in this report is the 1988 US Full Digital Stereo album.

Side One kicks off with the 1951 jazz standard, Au Privave by Charlie Parker. The trio starts with a nimble introduction coming before the septet’s spirited theme. J.J. lights the first fire with a fierce heat, paving the way to Milt’s enthusiastic reading fueled by the rhythm section. Jimmy swings incisively and vividly next, then Jon travels into outer space with an abundance of high notes. Cedar drives to the finale with potent force ahead of the ensemble’s vigorous climax. Up next is Good Bait by Count Basie and Tadd Dameron. This seldom-performed 1944 tune became a hit at the height of the Bop era. Jackson leads with a friendly, light-hearted solo that’s pleasant. Johnson steps casually into a splendid reading. Heath explores some interesting avenues for the next performance. Faddis also takes things easy with a bluesy tone. Walton closes with a thoughtfully developed statement significant for its understated emotion.

Dizzy’s Woody’n You was written in 1943 and dedicated to Woody Herman. The ensemble moves back into uptempo for the theme. Milt explores the song’s roots first with an effervescent performance. J.J. heats things up next with an agile contribution, then Jimmy is as sprightly as ever on the third solo. Jon keeps things moving with an optimistic interpretation that swings hard. Cedar finishes with some exciting creativity before the septet disappears after the reprise. Now’s The Time by Charlie Parker cruises at a comfortable speed with Cedar taking the first chorus of this irresistible toe-tapper into the collective theme. Bags initiates a very impressive statement that moves smoothly. Johnson embraces the second reading like he’s speaking to an old friend, then Heath gets into an affirmative groove. Faddis opens the throttle a little further in a lively performance, and Walton puts the icing on the closer leading up to the climax.

Side Two starts with Ornithology by Charlie Parker and Benny Bailey. The septet begins with a happy, swinging beat on the unison theme statement. Milt gets things off the ground first, afterward, Jon wails with astounding conviction. Jimmy follows with a very relaxing performance, then J.J. strides confidently into the next reading. Cedar follows with some solid grooving, and John does some tuneful walking on his first solo opportunity preceding the theme’s reentry. One of Dizzy’s most enduring hits from 1944, Groovin’ High keeps the group at an easy tempo with Bags in front of the ensemble on the collective melody.  Walton takes the lead this time and turns in some fine work. Jackson is equally easygoing on the second statement. Faddis uses the mute for an informal discussion, then Heath turns in a stirring presentation. Johnson is up next to give a muted trombone reading, and Clayton responds with a brief articulate, and charming finale before the closing chorus.

Birks’ Works was composed by Dizzy in 1951 and the title refers to his middle name. This jazz standard was the title tune for his 1957 Big Band album. John and Bags lead the septet on a bluesy opening chorus. Cedar solos first, taking things relatively easy. J.J. comes in next with a bright and breezy statement.  Jimmy makes a positive impression on the third reading. Jon follows, strolling leisurely into the next solo, and Milt makes his points with admirable zest ahead of the out-chorus. Salt Peanuts, written in 1942 by Gillespie and Kenny Clarke begins with a brief introduction by Roker, segueing into a brisk melody. Heath takes flight first swiftly like a cheetah chasing its prey, then Johnson takes over for a speedy sprint. Jackson’s fingers work furiously on the vibes next. Faddis lets his ideas unfold intensely on the following solo, and Walton gets the last of the “salt peanuts” on a freewheeling finale before the ensemble’s reprise and coda.

“Bags” (Milt’s nickname) and his bandmates complement one another marvelously and these cats know how to swing throughout this collection of old favorites.  The LP is a full digital recording by engineer Bobby Warner with stunning sound quality surrounding your sweet spot.  Bebop is a stellar tribute to the music that remains as fresh today as when first performed in the forties.  It’s also a pleasure to hear these great improvisers in a resolute form on an album that’s a high note in his plentiful discography.  If you’re a fan of Milt Jackson as a leader or sideman and enjoy Hard-Bop, you won’t regret picking Bebop up on your next vinyl hunt and it’s sure to become an essential album in your library! ~ Birks’ Works (Verve Records MG V-8222) – Source: Discogs.com ~ Good Bait, Woody’n You, Groovin’ High – Source: JazzStandards.com ~ Au Privave, Bebop, Birks’ Works, Now’s The Time, Ornithology, Salt Peanuts – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

Neo/Nistico ~ Sal Nistico | By Eddie Carter

This morning’s choice from the library is another recent acquisition that introduced me to tenor saxophonist, Sal Nistico. Salvatore was born on April 2, 1938, in Syracuse, New York, and began playing the alto sax, before switching to tenor in 1956. He also played baritone sax for a few years. Sal was a member of Count Basie’s and Woody Herman’s bands and also played with Nat Adderley, Chet Baker, Don Ellis, Curtis Fuller, Dusko Goykovich, Johnny Griffin, The Jazz Brothers Band, Buddy Rich, and Stan Tracey to name a few. Neo/Nistico (Bee Hive Records BH 7006) finds him leading a world-class sextet, Ted Curson on flugelhorn (tracks: A1, B3), trumpet (tracks: B1, B2), Nick Brignola (tracks: A1, B2) on baritone sax, Ronnie Matthews on piano, Sam Jones on bass, and Roy Haynes on drums. My copy used in this report is the original 1978 Mono release.

Side One takes off with Anthropology by Dizzy Gillespie and Charlie Parker set at a blistering pace with both saxes backed by Roy presenting the melody. Nick applies searing heat to the opening statement, then Ted gives a high-energy reading that ascends to an exciting climax. Sal sizzles like a firecracker about to explode on the third solo, and Ronnie stirs it all together in an exhilarating statement preceding the front-line’s exchange and ensemble’s abrupt close. The beat slows down for You Don’t Know What Love Is by Gene de Paul and Don Raye. The quartet opens with a sensuous theme. Nistico begins the first reading with a delicately elegant conversation. Matthews begins the second statement with a soothing, almost seductive quality that’s beautifully tender. Nistico swings briefly on a robust return culminating in a gorgeous ending.

The quartet continues with a brisk workout of Be My Love by Nicholas Brodsky and Sammy Cahn. It was written in 1949 for Mario Lanza who sang it in the 1950 film, The Toast of New Orleans. The trio makes a feisty introduction to Sal’s lively theme and enthusiastic lead solo. Ronnie follows with a jubilant reading, then Sam cuts into the next statement like a hot knife through butter.  Roy engages in a satisfying exchange with Sal that doesn’t stop swinging until the upbeat ending.  Blues For K.D. is a Nistico original written to honor trumpeter Kenny Dorham that charges out of the gate on a vigorous melody. The leader is up first and delivers a torrid solo, then Curson ignites a mighty fire with his trumpet.  Matthews keeps the flame burning next, and Haynes does some heavy cooking on the closer amid an interchange of ideas with all three soloists.

Sal’s Bambu is a festive tune he composed while playing around on the piano in Europe. It’s a danceable mix of Afro-Calypso and Latin that’s highly rhythmic, infectious, and fun. The solo order is Brignola, Curson, Matthews, Haynes, and all four soloists invite us to party with them until an abrupt halt. Fee-Fi-Fo-Fum by Wayne Shorter was first recorded by its composer on Speak No Evil (1966). The quintet starts with a stroll on the opening chorus at a leisurely tempo. Nistico starts the first solo conveying a light mood that’s joyously carefree and happy.  Curson begins the next reading with an easy-going attitude, building steadily into an enjoyable groove. Matthews adds a great finishing touch with a briskly efficient finale cooking over a mild flame from Jones and Haynes ahead of the quintet’s closing chorus.

Neo/Nistico was produced by Joe Neumann, founder of Bee Hive Records, and engineered by Fred Norsworthy. I was very impressed with the record’s sound quality. It has an excellent soundstage with crystal-clear highs, a sharp midrange, and solid bass. Sal’s career as a musician lasted nearly three decades, and he spent a lot of time performing in Europe. He passed away on March 3, 1991, at age fifty-three. If you’re a fan of the tenor sax, Post-Bop, or are just discovering him as I have, I offer for your consideration, Neo/Nistico by Sal Nistico, an album of six performances that sparkle and swing from start to finish.  I’m very happy I found it and have it in my library.  After one audition, I’m sure you’ll feel the same!

~ Speak No Evil (Blue Note BLP 4194/BST 84194) – Source: Discogs.com ~ Anthropology, You Don’t Know What Love Is, Be My Love – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

Newport In New York ’72: The Jam Sessions, Vols. 1 & 2 ~ Various Artists | By Eddie Carter

If you love music as I do, I’m sure you’ve attended several live concerts, festivals, and performances in your lifetime. I’m also certain that there’s at least one that stands out and is so special, it’s become a truly unforgettable experience and a timeless memory. For me, that date was July 3, 1972, and I remember it like it was yesterday. I got the opportunity to visit Radio City Music Hall for a thrilling summit that was the ultimate jam session and the greatest jazz concert I’d ever seen. The night only got better when the audience learned that our show was being recorded to be released and enjoyed on LP. This morning’s choice from the library is Newport In New York ’72 – The Jam Sessions, Vols. 1 & 2 (Cobblestone CST 9025–2) featuring highlights of that night’s performance alongside two tunes from the July 6 concert.

The personnel reads like an encyclopedia of jazz luminaries: Cat Anderson (tracks: A1, B1), Dizzy Gillespie (tracks: C1, D1), Jimmy Owens (tracks: A1, B1) on trumpet, Benny Green (tracks: C1, D1) on trombone, Charles McPherson (tracks: A1, B1) on alto sax, Stan Getz (tracks: C1, D1), Buddy Tate (tracks: A1, B1) on tenor sax, Milt Jackson (tracks: C1, D1) on vibes, Roland Hanna (tracks: A1, B1), Mary Lou Williams (tracks: C1, D1) on piano, Milt Buckner (tracks: A1, B1) on organ, Kenny Burrell (tracks: C1, D1) on guitar, John Blair on violin (track: C1), Percy Heath (tracks: C1, D1), Charles Mingus (tracks: A1, B1) on bass, Alan Dawson (tracks: A1, B1), Max Roach (tracks: C1, D1) on drums, Big Black (tracks: C1, D1) on congas. My copy used in this report is the original US Stereo album.

Side One kicks off with Count Basie’s 1938 classic, Jumpin’ at The Woodside, co-written with Eddie Durham and Jon Hendricks. It’s one of his band’s signature tunes and the title comes from Harlem’s old Woodside Hotel, a popular spot for jazz musicians of the era and Negro baseball teams to stay.  Buckner starts with a lively introduction segueing into the melody. Buddy opens with a joyful statement, then Jimmy swings with compelling strength. Charles takes an exciting joyride on the third reading. Cat then wails into the stratosphere next.  Milt ignites an energetic fuse including a few notes of the wedding march on the fifth solo. Roland swings consistently on a short statement, then Charles takes his bass for a brief brisk walk. Alan has a quick exchange with Mingus before applying the finishing touches with a concise comment into the ending theme.

Lo-Slo Bluze by Jimmy Owens gets Side Two underway with the composer showing tasteful restraint on the opening chorus and first solo. Tate personalizes the second statement with a graceful, heart-melting interpretation.  Anderson raises the temperature significantly on the third reading soaring to a very high level. McPherson takes over to touch the audience with a soulfully satisfying performance, then Buckner starts the next presentation feeling at ease, then gradually builds the tension steadily to a riveting climax. Hanna turns in a superb effort on a rhythmically infectious reading and Mingus gets the final spot for a sensuously smooth improvisation leading to the ensemble’s reprise and coda.

Bags’ Groove by Milt Jackson was written in 1952 and first heard on Wizard of The Vibes that year. It starts the second record, and the title is from Milt’s nickname given to him by a Detroit bass player, referring to the bags under his eyes after one night of heavy drinking. The group brings the song to life with a collective theme at a leisurely tempo. The beat turns upward for Bennie’s opening chorus, then Stan taps into a creative vein on the second reading.  Bags follows with a breathtaking presentation. John puts himself into his only interpretation with boundless energy and unbridled passion. Dizzy steps up next, opening the throttle a little further with a stunning showcase. Mary Lou handles the next performance with zestful virtuosity. Percy gives a brief impression that he’s soloing next, but steps aside for Max who provides a thunderous finale ahead of the out-chorus.

Night In Tunisia by Dizzy Gillespie and Frank Paparelli is off to the races from the first notes of the introduction by the rhythm section leading to the ensemble’s theme. Gillespie launches into an electrifying lead solo setting the tone. Burrell charges the next spot with a jolt of high-voltage energy, then Getz provides an infectious enthusiasm on the third statement. Green takes an enjoyable romp into the next presentation propelled by Big Black’s congas. Jackson is firing on all cylinders during his turn, then Williams takes charge with authority on the next solo complemented by Heath’s brilliant bass and Roach’s vigorous brushwork.  Big Black adds some spicy sauce to the next reading, receiving the crowd’s approval before the closing ensemble. Roach provides the exclamation point with radiant intensity culminating a thoroughly satisfying set to a thunderous ovation from the crowd.

Both concerts were produced by Don Schlitten who co-founded Cobblestone Records with Joe Fields and later founded Xanadu Records. Fields founded the jazz labels, Muse, Onyx, and High Note.  Michael DeLugg is the man behind the dials. His work offers a wealth of wonderful detail from each instrument and the energy of the crowd. It also possesses a solid soundstage placing the listener in a great seat to enjoy the musicians. There are a total of six records in this series and all are worthy of consideration for your library. If you’re a fan of live jazz, I invite you to reserve your seat for Newport In New York ’72 – The Jam Sessions, Vols. 1 and 2. I guarantee you’ll hear some truly great performances that’ll leave an indelible imprint you won’t soon forget!

~ Newport In New York ’72 – The Jam Sessions, Vols. 3 and 4 (Cobblestone CST 9026-2), Newport In New York ’72 – The Jimmy Smith Jam, Vol. 5 (Cobblestone CST 9027), Newport In New York ’72 – The Soul Sessions, Vol. 6 (Cobblestone CST 9028), Newport In New York ’72 – The Complete Six Record Set, Vols. 1–6 (Cobblestone CST 9032–6), Wizard of The Vibes (Blue Note BLP 5011) – Source: Discogs.com ~ Night In Tunisia – Source: JazzStandards.com ~ Bags’ Groove, Jumpin’ At The Woodside – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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