Requisites

For Those In Love ~ Dinah Washington | By Eddie Carter

To the singer of jazz ballads, standards, or contemporary hits, a song is comprised of three essential parts, melody, harmony, and rhythm. When all three elements are mixed, and enhanced by great arrangements and musicians, the result is an enriching music experience. This morning’s choice from the library is by Dinah Washington, a vocalist who sang the blues, jazz, pop, and R&B proficiently. The album is For Those In Love (EmArcy MG 36011), recorded and released in 1955. She’s joined on this date by Clark Terry on trumpet, Jimmy Cleveland on trombone, Paul Quinichette on tenor sax, Cecil Payne on baritone sax, Wynton Kelly on piano, Barry Galbraith on guitar, Keter Betts on bass, and Jimmy Cobb on drums. The arrangements are by Quincy Jones and my copy used in this report is the second 1955 US Mono release featuring the silver Mercury Records oval at the noon position of the label with EmArcy Jazz appearing in the bottom of the oval.

The opener is I Get a Kick Out of You, written by Cole Porter for the 1934 Broadway musical, Anything Goes, and the octet gets right to work on this swinger. Dinah has the spotlight first and gives a splendidly entertaining improvisation. Jimmy follows, having a ball on a spirited statement, then Kelly displays impeccable chops on a relaxed reading.  Clark comes in for some savory swinging with a mute on the closing solo, and Dinah handles the finale with great effectiveness leading the group into a slow fade. Blue Gardenia by Lester Lee and Bob Russell was composed for the 1953 crime drama, The Blue Gardenia. It became a signature song for Dinah and the octet offers a supporting role behind her delicately subtle narrative. Quinichette gives a brief statement of tenderness, then Galbraith offers a solo of soft tranquility. Payne has a moment in the spotlight adding a dreamlike softness to the closing solo.  Dinah wraps up the song with emotional sensitivity on the climax.

Easy Living by Ralph Rainger and Leo Robin was the main theme of the 1937 comedy of the same name. The group provides a perfect complement to Dinah’s luxurious vocals on the opening chorus, and the solo order is Paul, Clark, and Jimmy. The first two readings are like delicate porcelain figurines, perfectly proportioned and translucent. The pace picks up slightly for the trombonist who plays the next interpretation with sensual beauty. Ms. Washington is especially attractive on the reprise with a velvety, smooth timbre in her voice that’s gorgeous. You Don’t Know What Love Is by Gene de Paul and Don Raye is a perfect song for film-noir. The haunting lyrics describe the hurt and sadness at the end of a love affair.  It opens with a solemn introduction by Dinah and Galbraith. She captures the subtle pathos of the song with the octet’s soft supplement. Cleveland provides the song’s only solo with a graceful and elegant interpretation before Dinah returns to the melancholy mood of the beginning.

This Can’t Be Love by Richard Rodgers and Lorenz Hart was written in 1938 and featured in the Broadway musical, The Boys From Syracuse.  The mood is jubilant, and Dinah rises to the occasion with a vivacious vocal treatment. Clark’s muted trumpet sets a lively mood on the first solo. Cecil is up next with an energetic performance of his own. Jimmy mines a vein of unsuspected riches on the third statement, then Paul delivers a delightful interpretation. Kelly cooks up a mesmerizing musical brew before Dinah sings the closing chorus. My Old Flame by Arthur Johnston and Sam Coslow made its debut in the 1934 film, Belle of The Nineties. Dinah begins this tune as a duet with Galbraith preceding the rhythm section’s slow-tempo theme. She’s the dominant presence here and presides with authority, as she recounts her lost love some time ago in a reflective flashback. The horns make their presence known for the closing chorus with Dinah giving it the recognition it deserves.

The 1940 show tune by Rodgers and Hart, I Could Write A Book gets taken for a mid~tempo spin by Ms. Washington and the ensemble. The octet starts the song in unison for the introduction, then Dinah treats the listener to an effervescent vocal performance on the melody. Paul starts with a passionately playful lead solo. Terry adds some fire on the muted trumpet, then Cleveland ends the solos on an upbeat note.  The album’s finale, Make The Man Love Me is by Arthur Schwartz and Dorothy Fields. Quinichette opens with a seductive introduction, then Dinah makes a passionate romantic plea with the lyrics.  Paul takes the lead with a remarkably graceful solo, then Terry turns in a beguilingly beautiful statement. Kelly approaches the next performance with affective empathy and Cleveland soothes the soul on the closer. Dinah sings two verses of the Duke Ellington–Paul Francis Webster classic, I Got It Bad (and That Ain’t Good) before returning to the original lyrics for the coda.

It’s a solid summation to an album sparkling with marvelous music, exciting, evocative solos, excellent arrangements, and the extraordinary vocals by Dinah Washington that are exceptionally presented. She brought the lyrics she sang to life in each song. The Queen of The Blues, a title she gave herself, recorded a total of thirty-three LP’s for EmArcy, Mercury, and Roulette during her short recording career that began in 1952 and lasted only eleven years. Though her greatest hit, What a Difference a Day Makes came four years later in 1959, For Those In Love would become one of the strongest albums of her career. Dinah passed away from a drug overdose on February 14, 1963, at the age of thirty-nine. This is a gorgeous recording with a splendid soundstage that’ll take your breath away each time you listen. I found For Those In Love to be thoroughly enjoyable and recommend it as a wonderful starting point for any fan interested in exploring the music of Dinah Washington.  After one audition, I’m sure you will too! ~ What a Difference a Day Makes (Mercury MG 20479/SR-60158) – Source: Discogs.com

~ I Get a Kick Out of You, Easy Living, My Old Flame, I Could Write a Book, I Got It Bad (and That Ain’t Good) – Source: JazzStandards.com ~ Blue Gardenia, Dinah Washington, Make The Man Love Me – Source: Wikipedia.org © 2021 by Edward Thomas

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Requisites

Soul Hits ~ Les McCann | By Eddie Carter

In 1972, I was in my senior year at Glenville High School and starting my first year at Cuyahoga Community College’s Metro Campus in Cleveland, Ohio. I studied radio and had an hour-long program titled Edward Carter and All That Jazz playing albums from my library for the students and faculty on school stations, WGHS and WCCC. My goals at that time were to work at Record Rendezvous once I graduated, get my broadcast license, and become a disc jockey at Cleveland’s then jazz station, WCUY 92.3 FM. Sadly, neither of these came to fruition, but I mention it because a few nights ago, I listened to the album that became the inspiration for this morning’s discussion, and it brought back some great memories. Soul Hits (Pacific Jazz PJ-78/ST-78) by pianist Les McCann hit the stores in 1964 and is his ninth record for Richard Bock and Roy Harte’s label. His bandmates are Joe Pass on guitar, Paul Chambers on bass, and Paul Humphrey on drums. My copy used in this report is the original Stereo album.

Jimmy Smith’s Soul-Jazz classic, Back At The Chicken Shack starts Side One at a lively tempo for the quartet’s melody. Joe kicks off the solos swinging easily, then Les gives the next performance a carefree groove ahead of the closing chorus and slow fade. The beat moves upward for Sack O’ Woe by Julian Cannonball Adderley. I first heard it on The Cannonball Adderley Quintet at The Lighthouse. The ensemble crackles with energy on the opening chorus, then Pass swings like mad on an invigorating solo. McCann takes over, fanning the flames with fire on the closing statement into the out-chorus and quick fadeout.  Groove Yard is by pianist Carl Perkins and was the song I used to end each radio show with. It’s a very pretty melody that’s a centerpiece for Joe on the melody, reprise, and the respectful grace he demonstrates on the song’s only solo. The trio’s interaction behind him is subtle and beautifully detailed.

Sermonette by Nat Adderley is an infectious tune with an attractive gospel-flavored rhythm by the foursome in unison. The solo order is Pass, Humphrey, and McCann, and each musician preaches an irresistible abbreviated lesson designed to have the listener clap their hands and tap their toes before a soft fade into nothingness. The first side concludes with a brisk workout of Sonnymoon For Two by Sonny Rollins. The quartet’s collective opening chorus is a sheer delight for the ears. Joe is first in the spotlight with an emotionally charged interpretation, then Les performs impressively on a brief closing statement with Chambers and Humphrey providing firm support into the coda.

Milt Jackson’s 1954 standard, Bags’ Groove (pronounced Bag’s Groove here) opens Side Two with McCann opening the song with a spirited statement of optimistic joy.  Joe cruises into the melody at a comfortable speed, then the foursome disappears into darkness on a short ending. Shiny Silk Stockings aka Shiny Stockings was written by Frank Foster in 1955 and the quartet treats this young lady to a lovely night on the town with Joe delivering a relaxing theme treatment.  Les takes over for a delightfully, dazzling performance preceding the foursome’s reprise and affectionate finale.

The beat moves to mid tempo for Horace Silver’s 1959 standard, Sister Sadie that premiered on Blowin’ The Blues Away that year.  The quartet’s rendition is pure fun from first note to last with a danceable beat that compels you to move your feet.  Joe is up first and engages the ear with a delightful performance of vivacious licks that’s a pleasure to listen to.  Les gets down to business on the second solo with some home cooking that builds nicely into the closing chorus by Paul who executes a flawless interpretation convincingly before the quartet takes the tune out.

The final two tracks on the album are Neal Hefti’s 1957 timeless standard Li’l Darlin’ and Nat Adderley’s contemporary classic Work Song.  On Li’l Darlin’, McCann is the featured soloist, and he delivers a deeply thoughtful presentation of warm beauty with Pass providing the perfect punctuation culminating into an intimate ending.  Work Song was written in 1960 and is one of Nat Adderley’s finest works as a composer.  It’s also the title tune for what many feel is his best studio album.  Oscar Brown, Jr. added lyrics to the instrumental and recorded it on his LP, Sin & Soul, making the song a favorite jazz standard among musicians and vocalists around the world.  Pass leads the foursome through a very strong opening chorus raising the temperature to a cooking tempo on Joe’s lead solo.  Paul’s bass is impeccable on the second reading and Les wraps up the album with a robust exuberance that you can move to.

Richard Bock produced and engineered Soul Hits and the sound is stunning with the incredible definition of each instrument that surrounds your perfect place to listen with sweet sounds throughout the treble, midrange, and low end.  The quartet communicates a wonderful sense of delight and sheer pleasure in the music they’re making.  Though out of print since the 1981 US reissue by Liberty Records, Soul Hits by Les McCann is an album of great music that’ll delight the fan discovering his music for the first time, the seasoned collector who’s a fan of piano jazz, or if you already own the record as I do, it’ll bring back some great memories!

~ Back at The Chicken Shack (Blue Note BLP 4117/BST 84117); Blowin’ The Blues Away (Blue Note BLP 4017/BST 84017); Sin & Soul (Columbia CL 1577/CS 8377); Soul Hits (Liberty Records LN-10079); The Cannonball Adderley Quintet at The Lighthouse (Riverside RLP 344/RLP 9344); Work Song (Riverside RLP 12-318/RLP-1167) – Source: Discogs.com

~ Shiny Stockings, Li’l Darlin’ – Source: JazzStandards.com

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Requisites

Dr. Jeckyle ~ Art Blakey & The Jazz Messengers | By Eddie Carter

Art Blakey’s impact on the jazz world as a bandleader and drummer offered a creative and unique perspective that helped shape the artistic style of Hard-Bop and Post-Bop for more than three decades. It was this vision that enabled The Jazz Messengers to become one of the greatest ensembles worldwide.  Up next from the library is a recent acquisition titled Dr. Jeckyle (Paddle Wheel K28P 6462). Blakey and the band are performing the second of two performances that were recorded on the final two days of 1985 at Sweet Basil in Greenwich Village. Sharing the spotlight with the drummer is Terence Blanchard on trumpet, Tim Williams on trombone, Donald Harrison on alto sax, Jean Toussiant on tenor sax, Mulgrew Miller on piano, and Lonnie Plaxico on bass. My copy used in this report is the 1987 King Record Company Japanese Stereo album.

Fuller Love (also known as In Case You Missed It) by alto saxophonist Bobby Watson opens the album with an aggressive attack by Blakey preceding the speedy melody by the ensemble. Tim begins the solos with an exciting performance. Donald swings with a robust beat on the second statement. Jean takes the reins next for a rousing reading. Mulgrew charges into the last solo with an impeccably hip contribution before the ensemble takes the song out. Dr. Jeckyle comes next with the propulsive power of Blakey’s drums in full effect on the introduction leading to the melody. Blanchard sizzles on the lead solo, then Harrison gives an equally fierce statement. Williams heats things up on the following reading, then Toussiant contributes considerable energy on the fourth scintillating statement.  Miller wraps it up with a tidal wave of compelling emotion.

81 by Ron Carter begins Side Two cooking at an easy groove during the ensemble’s opening chorus. Donald kicks off the solos laying down a lively rhythm. Tim moves into the second statement with an easy swing, followed by Jean who gives an intriguing improvisation. Mulgrew strolls into an enjoyable performance on the next reading. Lonnie takes the final spot with an exquisite solo before the close. One By One by Wayne Shorter picks up the pace one final time with the septet at an optimum level on the melody. Harrison flies right out of the gate with a speedy lead statement. Williams steps up next for a heated interpretation, then Toussiant responds with radiant intensity. Blanchard drives into the next reading ferociously, and Miller delivers a closing chorus of incandescent fury ahead of the ensemble’s finale and audience’s ovation.

Dr. Jeckyle was produced by Shigeyuki Kawashima and Horst Liepolt. It was recorded by Kazunori Sugiyama and the album was mixed at King Studio, Japan by Hatsuro Takanami and mastered by Akira Makino. This is a digital recording with a superb soundstage possessing a bright treble, vibrant midrange, and deep bass that’s fun to listen to. Though released three years before Art’s passing in 1990, Dr. Jeckyle is an exhilarating, exciting live album by Art Blakey & The Jazz Messengers that still stands up very well over three decades later and belongs in every jazz fan’s library!

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Requisites

This morning’s choice from the library is one of my absolute favorites because each time I hear it, I’m transported back to one of my happiest memories as a young adult. If any of you lived in Cleveland, Ohio during the seventies and eighties, Audio Craft at 3915 Carnegie Avenue was the place to go if you wanted to purchase a quality entry-level, mid-level, or high-end audio system. My uncle Bob Franks was the manager there for many years and I got to help him on Monday and Thursday evenings, and each Saturday. He was instrumental in teaching me about excellent audio equipment, helping me put together my first system, and introducing me to The Tsuyoshi Yamamoto Trio.

Midnight Sugar (Three Blind Mice TBM-23) is the group’s 1974 debut for the Japanese jazz label and has long been a favorite to demonstrate high-end audio equipment at audio shows and audio salons worldwide.  It’s also become a collector’s item, a mint original LP or the 1977, 1979, and 1982 Stereo reissues can cost a few hundred dollars.  Joining the pianist are two giants in their own right, Isoo Fukui on bass and Tetsujiro Obara on drums.  My copy used for this report is the 1977 Japanese Stereo reissue (Three Blind Mice TBM-2523) and LP collectors take note.  Only the 1977, 1979 (TBM(P)-2523) and 1982 (Trio Records – Three Blind Mice PAP-2006) reissues list the group’s name as Tsuyoshi Yamamoto Trio.  All other LP reissues and the original release show the pianist’s last name first.

Midnight Sugar is a slow tempo blues beginning Side One with a brief bowed bass introduction by Isoo before Yamamoto takes over on the melody.  Tsuyoshi is the only soloist and is at his best on a lengthy interpretation that’s sublimely soulful and one of the highlights on the album, thanks to the rhythmic harmony provided by his colleagues.  I’m A Fool To Want You was written in 1951 by Frank Sinatra, Jack Wolf, and Joel Herron.  Sinatra recorded the song for Columbia Records, making it a hit.  It opens with a graceful introduction and wistful delivery of the melody.  The pace moves to midtempo for Yamamoto’s solo performance and he responds with a mesmerizing display and emotional depth preceding the closing chorus ending with fingertip delicacy.

The Nearness of You starts Side Two and was written in 1937 by Hoagy Carmichael and Ned Washington.  It became a hit for Ray Eberle who recorded it with The Glenn Miller Orchestra in 1940.  The trio dresses up this timeless evergreen with a blissful theme treatment and a sentimental swing on the song’s only interpretation by Yamamoto drawing the listener into this beautiful standard at a leisurely pace.  It Could Happen To You is by Jimmy Van Heusen and Johnny Burke, this popular song was written in 1943 and was first recorded by vocalist Jo Stafford with the Paul Weston Orchestra.  Its first film appearance was in the 1944 musical comedy And The Angels Sing.  The trio’s interaction is stunning on the dreamy melody.  Tsuyoshi’s reading is skillfully constructed with tender lyricism on one of the most beautiful ballads ever written.

The album closes with Yamamoto’s Sweet Georgia Blues, an uptempo original sharing some similarities with the 1925 jazz and pop classic, Sweet Georgia Brown by Ben Bernie, Ken Casey, and Maceo Pinkard.  It opens with a vivacious theme by the trio, then a brief comment preceding Obara giving a short workout of explosive fireworks.  Tsuyoshi wraps up the album with a few final remarks of fun leading to the lively closing chorus.

Three Blind Mice began in 1970 with the premise of showcasing emerging jazz artists.  The label produced one-hundred thirty albums over thirty years and was known for their outstanding sound.  TBM also was instrumental in the development of Japanese jazz.  Many of the stars from Japan now known around the world recorded their debut albums on the label.  The album was produced by Takeshi Fujii who ran TBM for many years and recorded by Yoshihiko Kannari, the distinguished Japanese engineer who worked for TBM at the time, and now runs his own organization, Studio Lion since 2000.

The sound on Midnight Sugar is spectacular and a perfect choice to demonstrate any mid-level or high-end audio system.  Your sweet spot is right in the studio with the musicians because of the incredible lifelike detail coming from the piano, bass, and drums.  Tsuyoshi Yamamoto has an incredible discography of music, is still performing today and all of his albums on Three Blind Mice are worth occupying a spot in your library.  If you’re looking for a jazz trio album for the library or are a fan of piano jazz specifically, I happily submit for your approval, Midnight Sugar by Tsuyoshi Yamamoto Trio.  An album that’s quite a value for the music, sound quality, and a title that’ll provide its owner many hours of listening pleasure.

~ I’m A Fool To Want You (Columbia 39425); It Could Happen To You (Capitol Records 158) ~ The Nearness of You (Bluebird B-10745) – Source: Discogs.com ~ It Could Happen To You, The Nearness of You – Source: JazzStandards.com ~ I’m A Fool To Want You, Sweet Georgia Brown, Three Blind Mice – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

To Diz With Love ~ Dizzy Gillespie | By Eddie Carter

For this morning’s choice from the library, I’ve chosen a CD-album to honor a true pioneer. John Birks Gillespie, known throughout the world by his nickname Dizzy was a renowned bandleader, composer, singer, teacher, and trumpet player. He, alongside Charlie Parker, changed the face of jazz forever by creating and becoming the inspirational voice of Bebop. At the time of this CD-album’s release in October 1992, he was celebrating his 75th Birthday. The folks at Telarc Jazz recognized this significant achievement with their first release performed earlier in the year at The Blue Note in New York City. Forty-seven shows in all were recorded by Telarc over an entire month resulting in one of the best live albums that year. To Diz With Love (Telarc Jazz CD-83307) also features the talents of Doc Cheatham, Jon Faddis (track: 3), Wynton Marsalis (tracks: 2 & 4), Claudio Roditi, Wallace Roney (tracks: 1 & 5), and Charlie Sepulveda (track: 4) on trumpet, Red Rodney (track: 2) on fluegelhorn, Junior Mance on piano, Peter Washington on bass, and Kenny Washington on drums.

The opener, Billie’s Bounce by Charlie Parker was composed in 1945 and dedicated to Gillespie’s agent, trumpet player, Billy Shaw. Shaw was also the inspiration for Gillespie’s composition, Shaw ‘Nuff, written a year later. The ensemble starts this standard with a vivacious introduction by the rhythm section that grows into a rapid run of the opening chorus led by the front line. Claudio kicks off this uptempo cooker with a high-energy drive that builds its emotional level enthusiastically. Wallace produces a very hot flame of exhilarating verses on the second solo. Dizzy takes the next statement for a sizzling uptempo ride. Then, Junior takes charge, swinging with an intense and passionate feeling on the fourth interpretation. Peter keeps the ingredients stirring on the next performance with a soulful groove, and Kenny wraps up the solos with a fierce attack on the finale preceding the closing chorus and climax.

Parker’s Confirmation, written in 1946 adds Marsalis on trumpet and Rodney on flugelhorn to join Dizzy. The rhythm section provides a medium beat for the horns to strut comfortably during the melody. Marsalis solos first with full-toned ease at a relaxing momentum. Dizzy is up next using the mute to offer an endearing whispery reading. Rodney follows with a subtle tone and cool modality that winks to “Bird”. The front line provides a few more statements, then Mance delivers a soft, dreamy solo preceding the climax. Up next is Mood Indigo by Duke Ellington, Barney Bigard, and Irving Mills featuring Cheatham and Jon Faddis. It was written in 1930 for a radio broadcast and originally titled Dreamy Blues.  The public went wild after hearing it, Mills renamed the song Mood Indigo and wrote the lyrics for it. Doc leads off the solos with a profoundly sensitive statement. Jon conveys an emotional impact on the next reading and Dizzy delivers the blues with subtle elegance. Junior expresses delight in a brief statement before the ensemble wraps it up.

Thelonious Monk’s Straight, No Chaser was written in 1951 and is given a spirited treatment with Marsalis and Sepulveda as the featured soloists. Wynton starts swiftly on the lead solo with phenomenal energy, then Charlie burns strongly on the next scintillating statement. Dizzy shows the depth of his intensity on the third interpretation, followed by Junior who says a mouthful on the next reading. Peter provides some powerful brushwork on the closing statement.

A Night In Tunisia is Gillespie’s signature and most famous tune. It was written in 1942 and opens with an invigorating theme by the ensemble collectively. Claudio is ablaze right from the start of the first interpretation. Dizzy lights an intense fire on the second solo, then Wallace responds with a torrid reading that burns fiercely. Junior embarks on an aggressive performance that’s executed beautifully. Kenny puts the final stamp on the standard with a fierce groove on the drums. The treat though, comes at the end when during the closing chorus, Dizzy brings Lew Soloff up from the audience to lead the group into the song’s conclusion.

Telarc has created a sonic masterpiece that’s a joy to listen to by engineers Jack Renner (one of the founders of the iconic label) and Michael Bishop. To Diz With Love is not just a celebration, but an exceptional musical performance by one of the undisputed masters of Bebop. It’s also the first of three final Gillespie performances recorded before his passing and is highly recommended for any jazz fan’s collection. The other two releases are To Bird With Love, and Bird Songs: The Final Recordings!

~Bird Songs: The Final Recordings (Telarc Jazz CD-83421); To Bird With Love (Telarc Jazz CD-83316) – Source: Discogs.com ~ Billie’s Bounce – source: JazzStandards.com ~ Mood Indigo – source: Wikipedia.org © 2020 by Edward Thomas Carter

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