Requisites

Dear Old Stockholm ~ John Coltrane | By Eddie Carter

Fans of modern Jazz know that during his lifetime, John William Coltrane redefined the sound of jazz on the tenor sax, making some of his most important contributions while recording for Impulse Records from 1961 to his passing in 1967. It’s with one of the lesser-known releases in his discography that I begin this first report of 2021. Dear Old Stockholm (Impulse GRD-120) is a 1993 CD-album featuring Coltrane playing to the beat of a different drummer, Roy Haynes. Roy replaced the quartet’s regular drummer, Elvin Jones on the two sessions comprising this delightful album, April 29, 1963 (tracks: 1 and 2), and May 26, 1965 (tracks: 3 to 5).  McCoy Tyner on piano, and Jimmy Garrison on bass complete the quartet.

Dear Old Stockholm is a traditional Swedish folk song that Miles Davis liked enough to record several times. John adapts this tune as easily as if it were created for jazz with a very impressive opening statement, weaving gracefully in unison with Jimmy’s bass and Roy’s assertive timekeeping.  McCoy contributes some stirring solo work on the finale before the foursome takes the song out.

After The Rain is one of the most beautiful compositions Coltrane ever wrote and opens with a passionate gracefulness by the saxophonist on the melody. He continues with an intimate reading conveying a refined elegance leading to a hauntingly beautiful climax. The quartet returns to uptempo on the saxophonist’s One Down, One Up. John charges into the lead solo of this fire-breathing cooker with an incandescent performance relentlessly. McCoy continues the aggressive beat with a dynamic high-octane reading that’ll leave the listener’s ears sizzling. The tenor man gives a few final exhilarating statements before the song’s closing moments.  After The Crescent opens with an introduction to the children’s song, Ring Around The Rosie. The similarity ends there because Trane and his bandmates take us on an exuberant joyride with two ferocious readings from Tyner and Coltrane. The walloping tones from Garrison’s bass and the brilliant brushwork by Haynes give both soloists a propulsive lift that’s exciting preceding the ensemble’s closing chorus.

The closer is a mid~tempo tune by John titled Dear Lord. This song is a perfect vehicle for a passionate performance by John Coltrane who shows his lyrical side on the first solo with charming simplicity. McCoy makes an indelible impression on the closing statement with a delicately tender interpretation, ahead of John’s return for the emotionally touching coda.  The album was originally recorded by Rudy Van Gelder and digitally remastered by Robert Stoughton.

In my opinion, he did a fantastic job because the sound quality is superb with a stunning soundstage that brings the musicians into your listening room for your enjoyment. To some fans, this CD-album may not have the infinitely explosive spirit of the classic Coltrane quartet with Elvin Jones that so many are acquainted with.  However, in my opinion, Dear Old Stockholm is an enticing invitation to explore and enjoy a fascinating album showing John Coltrane’s versatility as one of the legendary masters of jazz! Do your ears a favor and check it out, it’s sure to become a welcome addition to your jazz collection!

Dear Old Stockholm – Source: Wikipedia.org © 2020 by Edward Thomas Carter

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Requisites

‘More’ Live ~ The Phil Woods Quartet | By Eddie Carter

Alto saxophonist Phil Woods was one of the unsung heroes of jazz, he was equally adept at Cool Jazz, and Hard-Bop with a gorgeous tone, and speed of execution that never failed to please his fans. ‘More’ Live (Adelphi Records Inc. AD 5010) is the second live session that The Phil Woods Quartet performed at The Armadillo World Headquarters in Austin, Texas during 1978 and 1979.  It hit the stores in 1981, following their 1980 album, The Phil Woods Quartet Live, Volume One, featuring Mike Melillo on acoustic piano, Steve Gilmore on acoustic bass, and Bill Goodwin on drums.  My copy used in this report is the 1981 US Stereo album.

Side One opens with Miles Davis’ Milestones.  Phil is excellent on the lead solo, backed only at first by Steve and Bill.  Mike joins them, then takes over on the second interpretation.  Steve’s bass dances brightly on the third reading and Bill has the last word in an exchange with Phil and Mike before the reprise and close.  Eiderdown by Steve Swallow kicks off with a five-minute performance by Gilmore who solos impressively.  Woods launches into the next statement with inspired exuberance and Melillo takes care of business on the closing chorus.

Horace Silver’s Strollin’ begins Side Two in a relaxed vein for the ensemble’s theme.  Mike kicks off the solos with a vivaciously spirited interpretation.  Phil moves into the spotlight next with a soulful tone and agility that builds to a compelling conclusion.  Steve shines on the closing statement with a quiet intensity ahead of the foursome taking the song out.  Mike Melillo’s See Hunt and Liddy begins with a lovely introduction by the pianist developing into the quartet’s sprightly mood on the melody.  Melillo lays down a solid groove on the opening statement that delivers the goods.  Gilmore’s bass takes a brisk trip through the next reading, and Woods turns up the heat with a vigorous, energetic closing chorus culminating with the group’s climax.  The engineers for See Hunt and Liddy are Jim Finney, Mark LeBaron, and Hank Allrich.  The men behind the dials of the remaining tracks are Cliff Carter, Fletcher Clark, and LeBaron.  The ensemble is tight, the music is terrific, the album has an exceptionally good soundstage, and I’m very impressed with the sound quality.

In addition to playing the alto sax, Phil Woods was also proficient on the clarinet.  Woods was married to Chan Parker for seventeen years, and Stepdad to her daughter, Kim.  His discography is extensive with sixty records as a leader and many others as a sideman performing with some elite jazz musicians and pop vocalists.  His final live performance was a tribute to Charlie Parker with Strings on September 4, 2015.  He passed away from emphysema twenty-five days later on September 29 at the age of eighty-three.  Now that I’ve found this one, I’ll certainly be on the lookout for its companion album.  If you’re in the mood for some Post-Bop and are a fan of any LP’s by Phil Woods, I offer for your consideration, ‘More’ Live by The Phil Woods Quartet.  An album of sumptuous jazz that’s sure to satisfy almost any jazz appetite!

~ The Phil Woods Quartet Live, Volume One (Clean Cuts CC 702) – Source: Discogs.com

~ Milestones – Source: JazzStandards.com © 2020 by Edward Thomas Carter

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Requisites

One Flight Up ~ Dexter Gordon | By Eddie Carter

This next entry from the library is an album I first heard in 1967 during one of my Saturday stops to Record Rendezvous in Cleveland, Ohio. It introduced me to tenor saxophonist Dexter Gordon who steps into the spotlight with his second LP recorded after moving abroad, One Flight Up (Blue Note BLP 4176). It follows an excellent 1963 quartet album titled Our Man In Paris.  Gordon was a staple on the jazz scene since the Bebop era in the forties while a member of Billy Eckstine’s Big Band and would become a major influence for two future giants, John Coltrane, and Sonny Rollins.

He chose to move abroad because he was treated much more fairly than here in the United States and was considered an equal rather than a second-class citizen. There was also plenty of work in some of the best jazz clubs Europe and France had to offer.  Dexter is assisted here by 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 1967 US Liberty Records Stereo reissue (BST 84176).

Side One opens with Byrd’s Tanya occupying the entire first side and giving Dexter, Donald, and Kenny plenty of solo space. The rhythm section charts its course with a brief introduction developing into a haunting theme led by both horns. Dexter works his magic on the opening chorus with nearly six-minutes of joyful bliss. Donald shows off his chops next with a brilliant-toned performance that keeps the listener’s interest throughout. Kenny turns in one of his very best performances on the finale with Neils-Henning and Art providing the articulate foundation into the out-chorus and gentle dissolve.

Side Two commences at a slightly faster beat than Tanya with Coppin’ The Haven by Drew. The trio makes a casual, laid-back introduction evolving into Byrd and Gordon’s comfortable groove on the theme. Dexter opens with a terrific performance, then Donald takes over for a reading as smooth as a sled on fresh snow. Kenny shows he’s perfectly at home on the closer with a sharp interpretation possessing a light, refreshing beat before the ensemble reassembles for the climax.

The album concludes with the 1939 standard, Darn That Dream by Jimmy Van Heusen and Eddie DeLange, introduced in the Broadway musical, Swingin’ The Dream. This is a beautiful quartet performance by Dexter and the trio who give an intimate introduction to the melody. Dexter is the centerpiece here and his lead solo is captivating. Kenny draws the listener further into the song’s spell on the closer with a tender climax.

The album was recorded by the French engineer, Jacques Lubin, and the sound quality is spectacular with a mesmerizing soundstage transporting your listening chair to the studio alongside the musicians. Gordon’s career lasted nearly forty years, making some amazing records for a host of labels including Bethlehem, Prestige, Savoy, and SteepleChase. However, it was the five years he recorded for Blue Note (1961-1966) that are among the most precious jewels in his rich discography. He passed away on April 25, 1990, at sixty-seven from kidney failure and cancer of the larynx.  If you’re a fan of Dexter Gordon or Donald Byrd, I highly recommend One Flight Up by Dexter Gordon, an album I feel is an essential addition for any jazz library that you shouldn’t miss!

~ Our Man In Paris (Blue Note BLP 4146/BST 84146) – Source: Discogs.com

~ Darn That Dream – Source: JazzStandards.com ~ Dexter Gordon – Source: Wikipedia.org © 2020 by Edward Thomas Carter

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Requisites

The Magnificent Thad Jones | By Eddie Carter

My next entry from the library is the second of three albums released in 1956 by trumpeter, Thad Jones. The Magnificent Thad Jones (Blue Note BLP 1527) finds him in the company of Billy Mitchell on tenor sax, Barry Harris on piano, Percy Heath on bass, and Max Roach on drums. He comes from a musical family, his older brother is pianist Hank Jones and his younger brother, the dynamic drummer, Elvin Jones. Jones also taught himself to play the cornet, and French horn, becoming a professional musician at sixteen. Thad was also a member of some great big bands including Count Basie, Gil Evans, Quincy Jones, and Ernie Wilkins. Jones also led small groups as well and co-led The Jazz Orchestra with drummer Mel Lewis for twelve-years. He led The Danish Radio Big Band and the Count Basie Orchestra for a time after Basie’s death in 1984. His status as an accomplished arranger and composer has given the music world some of the most beautiful compositions ever written including what many consider his masterpiece, A Child Is Born. My copy used in this report is the 2016 Music Matters Jazz Mono audiophile reissue (MMBLP-1527).

April In Paris, written in 1932 by Vernon Duke and E.Y. Harburg begins our five-song journey.  It premiered in the Broadway musical Walk a Little Faster that year, later becoming a favorite song among jazz and pop musicians and vocalists.  Percy and Max introduce the tune softly, then the front line and piano enter for the melody with Thad dispensing a mellow tone from his horn.  Billy makes a brief comment during the opening and ending chorus.  Jones opens with a quote from the English nursery rhyme and children’s song, Pop Goes The Weasel.  His ensuing verses flow at a relaxing pace into the reprise and fadeout.

Thad’s Billie-Do is a blues characterized by the quintet’s carefree feeling from the brief introduction of the trio into the opening chorus providing a delightful treat of what’s to come. Everyone kicks back individually except Max who provides pleasant brushwork behind each soloist.  Jones begins the lead solo with a sweet-toned delivery, then Mitchell conveys a bluesy impression of playful relaxation with a down-home flavor. Harris swings easily on the third reading, then Percy illustrates his rhythmic ingenuity on an abbreviated closer before the quintet takes the song out.

If I Love Again, the 1932 ballad written by Ben Oakland and J.P. Murray ends Side One at an upbeat pace with the quintet delivering high-spirited energy on the melody. Barry opens the soloing with a jubilant performance, then Billy takes over for a vigorously brisk workout. Thad follows with a captivating reading, then Max closes with a clear, crisp attack providing some irresistible musical thrills swinging to the ensemble’s finale.

If Someone Had Told Me is a little-known ballad by Peter DeRose and Charles Tobias that I believe was written in 1952 because the two earliest vocals of the song were released that year. The first was by vocalist Dolores Gray, and the second was done by Sarah Vaughan. The version heard here is a quartet presentation and an attractive feature for Thad who is the only soloist with the trio providing an elegantly lush foundation under him. The trumpeter delivers a performance of beguiling warmth reflecting a bittersweet, poignant moment into a delicately tender finale as good as any you’ve ever heard or will hear.

Side Two closes with Thedia, a cheerfully joyful tune written for and named after Thad’s young daughter. The rhythm section makes a brief introduction for both horns to walk comfortably at an easy beat during the main theme. Billy takes the first solo, establishing a nice momentum in a meticulously conceived and well-executed performance. Barry is next in the spotlight, strolling and swinging to an intriguing beat. Perry grabs and holds the listener’s attention on the third interpretation with two brief choruses that’ll make him or her feel right at home. Thad takes a long, lengthy ride, soaring to the heights on the next statement seamlessly. Max shares the final spot with the leader in several exceptional exchanges ahead of the ensemble’s closing chorus and exit.  The sound quality on The Magnificent Thad Jones is positively stunning with an excellent soundstage and tonal balance between the highs, midrange, and bass that transports your sweet spot to the studio hearing the musicians at their best.

The MMJ reissues also include exceptional front and rear covers, high-definition gatefold photos and the pressings by RTI are on 180-gram Virgin Vinyl.  If you’re a fan of Hard-Bop or are just discovering Thad Jones, you’ll be delightfully surprised by The Magnificent Thad Jones. It’s jazz at its best and a title I’m certain you’ll enjoy for a very long time! During the fifties, Blue Note employed a sales strategy of giving distinguishing names to some of the artists on its label to spark the public’s interest in their albums and possibly boost their sales. Other examples of this are The Fabulous Fats Navarro, The Amazing Bud Powell, and The Incredible Jimmy Smith. In the cases of the artists listed above, the strategy succeeded beyond their expectations and the names stuck. Debut Records also used this method for The Fabulous Thad Jones in 1954!

~ April in Paris (Verve Records MG V-8012); The Fabulous Thad Jones (Debut Records DLP-12); If Someone Had Told Me (Decca Records 28051), (Columbia 4-39719, 39719) – Source: Discogs.com

~ April in Paris – Source: JazzStandards.com ~ If I Love Again – Source: MusicNotes.com ~ Thad Jones, Pop Goes The Weasel – Source: Wikipedia.org ©2020 by Edward Thomas Carter

CALIFORNIA JAZZ FOUNDATION

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The Quarantined Jazz Voyager

With a surge in Covid cases after Thanksgiving travel, I am doubling down on maintaining my social distancing and wearing my mask when I have to go out, otherwise, I remain in quarantine. From the shelves of my jazz collection, I am placing on the turntable the 1971 recording of First Light by trumpeter Freddie Hubbard, his third release on Creed Taylor’s CTI label.

The string arrangements are by conductor Don Sebesky and features performances by Herbie Hancock, Eric Gale, George Benson, Ron Carter, Jack DeJohnette, Airto Moreira, and Richard Wyands. The album is part of a trilogy including his two previous records at the time, Red Clay and Straight Life. First Light won the 1972 Grammy Award for Best Jazz Performance by a Group.

TRACKS | 42:55
  1. First Light (Hubbard) ~ 11:05
  2. Uncle Albert/Admiral Halsey (McCartney, McCartney) ~ 8:17
  3. Moment to Moment (Mancini, Mercer) ~ 5:43
  4. Yesterday’s Dreams (Martin, Sebesky) ~ 3:55
  5. Lonely Town [from On the Town] (Bernstein, Comden, Green) ~ 7:00
  6. Fantasy in D” (Walton) ~ 6:55
PERSONNEL
  • Freddie Hubbard – trumpet, flugelhorn
  • Jack DeJohnette – drums
  • Ron Carter – bass
  • Richard Wyands – piano
  • George Benson – guitar
  • Airto Moreira – percussion
  • Herbie Hancock – Fender Rhodes piano
  • Phil Kraus – vibraphone
  • Hubert Laws – flute
  • Wally Kane – flute, bassoon
  • George Marge – flute, clarinet
  • Romeo Penque – flute, English horn, oboe, clarinet
  • Jane Taylor – bassoon
  • Ray Alonge – French horn
  • James Buffington – French horn
  • Margaret Ross – harp
  • David Nadien – violin
  • Paul Gershman – violin
  • Emanuel Green – violin
  • Harold Kohon – violin
  • Joe Malin – violin
  • Gene Orloff – violin
  • Matthew Raimondi – violin
  • Tosha Samaroff – violin
  • Irving Spice – violin
  • Alfred Brown – viola
  • Emanuel Vardi – viola
  • Charles McCracken – cello
  • George Ricci – cello

You all know I will be back flying around the globe just as soon as the world becomes safe again from this pandemic. In the meantime, stay safe and healthy.

CALIFORNIA JAZZ FOUNDATION

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