Requisites

Organ Grinder Swing ~ Jimmy Smith With Kenny Burrell and Grady Tate | By Eddie Carter

This morning’s selection from the library holds a special significance to me. It was one of my mom’s favorite albums to play while enjoying her morning coffee and preparing our Sunday dinners when we were younger. Organ Grinder Swing (Verve Records V-8628/V6-8628) is a terrific trio album by Jimmy Smith, with Kenny Burrell on guitar and Grady Tate on drums. It was his second most successful album, surpassed only by Back at the Chicken Shack. The soulful character of his organ playing had a profound impact on me from the moment I first heard Houseparty and The Sermon. I quickly became a devoted fan, growing to appreciate even more the rich musicality and infectious grooves he brought to every performance. My copy of this album is the original 1965 U.S. deep groove stereo release.

The title track, The Organ Grinder’s Swing by Will Hudson, Irving Mills, and Mitchell Parish, kicks off the first side with Jimmy’s infectious enthusiasm on a swinging theme. Kenny builds the opening solo with some home-cooking. The organist steps up next with a spirited statement, and Jimmy’s vocal comments as it unfolds. Grady provides a steady beat that propels the group into the climax. Oh, No, Babe by Jimmy Smith gets this soulful blues underway with Smith’s organ and vocals, which are inserted during the introduction and melody. Burrell’s gentle touch shines in a refined, inviting opening solo. Smith brings a Southern flair to the proceedings with a down-home, tasteful delight ahead of the song’s conclusion.

Blues For J by Jimmy Smith is a bluesy mid-tempo original that opens with the trio’s joyously carefree theme in unison. Kenny takes center stage, showcasing his guitar artistry in the opening solo. Jimmy extends the happy mood with a vibrant performance, leading the group back to the ensemble’s reprise and a satisfying finish. The trio delivers a unique take on Greensleeves, the beloved English folk tune. Smith begins the melody with gospel-tinged musical ideas that give the melody a fresh sense of soulfulness. Burrell launches the opening statement with a laid-back, smooth groove. Smith then takes command, delivering an energetic and spirited interpretation that continues until the group’s theme reprise gradually dissolves, like autumn leaves drifting to the ground.

I’ll Close My Eyes by Buddy Kaye and Billy Reid is gently introduced by the trio, segueing into a graceful melody. Kenny’s opening statement radiates a comforting elegance and is one of his most beautiful moments on the album. Jimmy then guides the group toward the song’s reprise, incorporating sensitive ideas and a warm, refined tone, until the ensemble brings back the theme. Satin Doll by Duke Ellington, Johnny Mercer, and Billy Strayhorn is one of the most frequently recorded jazz standards, and picks up the beat one final time for the trio’s light-hearted theme. Burrell looks back nostalgically and sparkles with a soulful touch in the opening solo. Smith responds by gliding efficiently over the keys in a closing statement of happiness while Tate keeps the tempo lively and upbeat ahead of the finish.

Creed Taylor produced Organ Grinder Swing, and Rudy Van Gelder handled the recording. While the album’s sound quality is a strong effort, it falls short of the very best due to a harshness in the microphone placement at the organ, which is especially notable on The Organ Grinder’s Swing, Blues For J, and Greensleeves. This technical flaw, however, does not diminish from the album’s overall excellence. So, don’t let that deter you from adding this record to your library. The album’s greatest strength to me is how impeccably the trio works together. Kenny Burrell and Grady Tate perfectly complement Jimmy Smith throughout every track with a flawless sense of rhythm. If you aren’t looking at the cover, you could easily mistake this for one of the organist’s classic Blue Note recordings.

For fans of the jazz organ or those just discovering the music of Jimmy Smith, I invite you to check out Organ Grinder Swing the next time you’re visiting your favorite record shop. It perfectly captures the dynamic spirit and sophisticated musicianship that emerges when three exceptional performers unite, resulting in a memorable showcase of rhythm, style, and collaboration!

~ Back at the Chicken Shack (Blue Note BLP 4117/BST 84117), Houseparty (Blue Note BLP 4002/BST 84002), The Sermon (Blue Note BLP 4011/BST 84011) – Source: Discogs.com ~ Satin Doll – Source: JazzStandards.com ~ Greensleeves, I’ll Close My Eyes, The Organ Grinder’s Swing – Source: Wikipedia.org © 2025 by Edward Thomas Carter

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Requisites

Bud Powell – A Portrait of Thelonious | By Eddie Carter

Submitted for your approval this morning is an underrated, yet excellent 1965 trio album by pianist Bud Powell. A Portrait of Thelonious (Columbia CL 2292/CS 9092) is a wholehearted tribute to Thelonious Monk, one of the most influential figures in jazz. Pierre Michelot joins him on bass, and Kenny Clarke is on drums. Together, this trio of giants captures the spirit, complexity, and emotional depth of four Monk compositions, one standard and three little- known originals, as seen through Powell’s interpretations. The chemistry between the musicians yields a dynamic exploration of Monk’s repertoire, rendering the album both a reverent homage and a fresh reimagining of the jazz piano tradition. My copy of this album is the 1980 U.S. Columbia Jazz Odyssey Series stereo reissue (PC 36085).

Monk’s Off Minor opens the first side at a medium beat for the friendly melody. Bud is the featured soloist and glides through an enchanting performance with Pierre and Kenny providing a crisp, driving foundation right up to the song’s finish. There Will Never Be Another You by Mack Gordon and Harry Warren is a joyous interpretation that the trio brings to life with a playful spirit during the theme, which is sure to bring a smile to the listener’s face. Again, Powell is the lone soloist and provides a leisurely presentation, possessing a carefree zest that’s consistently rewarding, leading to the theme’s reprise and climax.

Thelonious Monk created some of jazz’s most memorable standards, and Ruby, My Dear is one of his most beautiful compositions, named for his first love, Rubie Richardson. The trio opens with a delicate melody. Bud presents a haunting, poignant performance, marked by gentle sensitivity, layered over the warm, supportive accompaniment of Pierre and Kenny, ahead of a gorgeous conclusion. No Name Blues by Earl Bostic is a catchy tune that begins with the trio’s effective medium-tempo beat for the theme. Powell’s lead solo is an ear-pleaser that swings comfortably into Michelot’s relaxing performance, fueled by Clarke’s brushwork preceding the trio’s bouncy closing chorus.

Thelonious is another of Monk’s inventive melodic ideas from 1947, like Off Minor and Ruby, My Dear. The trio immediately grabs the listener with a catchy hook and a solid medium-tempo groove during the introduction and theme. Powell swings effortlessly in the song’s only solo before the ensemble’s reprise and ending. Monk’s Mood is a pretty ballad by Thelonious Monk that’s luxurious yet straightforward. Powell has the solo spotlight to himself and delivers a gorgeous performance of beauty, elegance, and affectionate warmth, while Michelot and Clarke keep close preceding the song’s peaceful conclusion.

The beat moves upward for I Ain’t Foolin’ by Charles Albertine next. It’s a toe-tapper from the start of the ensemble’s bubbly introduction and melody. Bud navigates the tune’s lively structure in a spirited performance blending bebop lines and Monk-inspired blues inflections until the theme’s restatement and exit. Squatty by Brian Fahey concludes the album, with Clarke setting the tone ahead of the trio’s infectious groove on the melody. Powell establishes a relaxed rhythm, inviting listeners to unwind during the first solo. Michelot steps forward next with a concise reading of lively notes before the trio’s finale.

Julian “Cannonball” Adderley produced A Portrait of Thelonious, and it’s unknown who the original engineer was.Arthur Kendy was behind the dials of the reissue. The album’s sound quality across the highs, midrange, and bass is superb, placing the musicians in your listening room. Each instrument is captured with remarkable clarity, and the balanced mix highlights the interplay between the trio, making every note feel immediate and intimate. If you’re seeking a superb piano trio album for your library, I enthusiastically invite you to check out A Portrait of Thelonious by Bud Powell on your next record shopping trip. It’s an excellent introduction to his music that’s sure to become a welcome addition to any fan’s library who appreciates piano jazz!

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Requisites

Stablemates ~ Jon Eardley and Al Haig | By Eddie Carter

You really know your godchildren truly care and love you when they surprise you for your birthday with an album by two artists whose music you’re aware of, yet whose records have never found a place in your library. This morning’s spotlight shines on flugelhorn and trumpet player Jon Eardley, who was passing through London on a brief 1977 tour and pianist Al Haig, who was in town to visit friends. The two musicians seized the moment to head into the studio to record their only album together, Stablemates (Spotlite Records SPJ LP11). It was released two years later, and rounding out the ensemble are Art Themen on tenor sax, Daryl Runswick on bass, and Alan Ganley on drums. My copy of this album is the 1979 U.K. stereo release.

The first side opener, Tangerine by Johnny Mercer and Victor Schertzinger, begins with Al’s upbeat piano intro to Jon’s lively melody. Art kicks off the opening solo briskly, then Al flows smoothly into the following reading. Jon entersnext with a strong, assertive tone. Art and Jon share a final conversation leading back to the theme’s reprise and close. Speak Low by Ogden Nash and Kurt Weill raises the temperature with the quintet’s swinging melody. Themen opens the solos with an inspired improvisation that sets the tone. Eardley follows with plenty of bounce and effervescence on the second statement. Themen is off to the races next with impeccable precision, then Runswick and Ganley engage in a spirited exchange until the theme’s restatement fades out.

‘Round Midnight by Bernie Hanighen, Thelonious Monk and Cootie Williams is a quartet showcase that opens with Al and Daryl’s pensive introduction ahead of Jon’s tender melody. Al begins the opening solo with dreamlike softness, then the pace moves upward slightly for Jon’s elegant interpretation before the ensemble’s gentle ending. The second side gets underway with the pianist’s soothing introduction to Embraceable You by George and Ira Gershwin. Eardley states the gentle melody with Themen. In the first solo, Haig offers a tender, thoughtful statement with a soft touch of elegant beauty. Eardley truly shines in the closing reading with notes so deeply heartfelt that it’s bound to move you to tears, leading to Themen’s closing chorus and a gentle climax.

Don’t Blame Me by Dorothy Fields and Jimmy McHugh receives a gorgeous treatment by the quintet, beginning with Jon’s slow-paced theme that radiates inviting warmth, and Art’s perfectly placed inserts. Al leads off, skillfully blending composure and gentleness, before Art continues this lovely standard with a solo that truly touches the spirit. Jon delivers an exquisitely soft, poignant horn passage preceding the theme’s return. The beat moves upward on final time for Eardley’s theme to Love Walked In by George and Ira Gershwin. Themen opens the solos with an energetic drive, then Haig contributes a robust interpretation. Eardley matches the intensity with swift execution, and Ganley and Runswick meet on common ground in the closer, leading to the theme’s reprise and climax.

Tony Williams produced the album, and Steve Waldman served as the recording engineer. It delivers an exceptional soundstage, as though the ensemble is performing live in your listening room. The mix is impressively balanced, offering remarkable clarity and fidelity from your speakers. Stablemates is one of six albums Jon Eardley led as a leader, and he contributed as a sideman on ten additional records. Al Haig, meanwhile, led twenty-five albums and played as a sideman on eight more. If you haven’t yet experienced the artistry of Jon Eardley or Al Haig, I highly encourage you to seek out Stablemates on your next search for great jazz records. This outstanding album invites fresh appreciation with each play and remains as relevant today as it was over forty years ago!

~ Don’t Blame Me, Embraceable You, Love Walked In, ‘Round Midnight, Speak Low, Tangerine – Source: JazzStandards.com

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Requisites

Bird Songs ~ Sphere | By Eddie Carter

Sphere initially came together to celebrate the music of Thelonious Monk; however, the quartet soon expanded its repertoire to include original albums as well. I first heard “I Didn’t Know What Time It Was” on WNOP, Cincinnati’s then-jazz station, and I immediately purchased the album right after work. Listening to it again a few nights ago inspired me to share my thoughts this morning. Bird Songs (Verve Digital 837 032-1), the quartet’s sixth release, is an excellent showcase of the underrated artistry of tenor saxophonist Charlie Rouse. Also on board are Kenny Barron on piano, Buster Williams on bass, and Ben Riley on drums, as the quartet celebrates the legacy of Charlie Parker. My copy of this album is the 1988 U.S. digital stereo release.

Side One opens with the quartet’s introduction and theme to Red Cross. Kenny sparkles with inventive runs and unexpected turns in the opening statement. Charlie follows, paying homage to Bird’s rhythmic playfulness, driven by Buster and Riley’s groundwork into the group’s rousing closing chorus. I Didn’t Know What Time It Was by Richard Rodgers and Lorenz Hart is a beloved jazz standard that was a staple in Parker’s repertoire. Williams and the rhythm section set the scene elegantly. Rouse enters next with a smoky, reflective melody, before taking flight in the first solo. The trio’s brief, tasteful interlude clears the way for Barron’s swinging interpretation. After a second trio interlude nudges the tempo forward, Rouse returns for the reprise, and the song gently fades out with the trio’s subtle touch.

The ensemble moves into Dewey Square next, with the rhythm section’s introduction paving the way for Charlie todeliver the melody. Buster begins the solos with a delightfully spirited walk, then Charlie steps into the second statement with a passionately frisky tone that’s crisp, well-structured and executed vivaciously. Kenny tackles the closing reading with youthful zest that’s right on the beat. Ben adds a concise comment during the theme’s reprise and exit. Moose The Mooche shifts the energy upward to begin Side Two with the quartet’s brisk introduction and theme. Rouse fires off the first solo with an infectiously cheerful solo. Barron leaves a memorable mark in the second reading, then Riley takes the spotlight next with youthful vigor. Barron places a few inserts during the theme’s restatement.

Barbados showcases Parker’s take on the calypso rhythm, infused with a bebop twist. The quartet’s melody is joyous, setting the stage for Charlie’s opening solo, which captures the tune’s Caribbean sunlight. Buster walks with a buoyant swagger next, then Kenny weaves a zesty spell with uplifting confidence. Ben evokes the gentle ebb and flow of island waves, carrying the quartet to the closing chorus. The ensemble’s brisk, buoyant introduction to Ah-Leu-Cha leads to an exuberant melody. Rouse draws on his robust tone and melodic inventiveness in the first solo. Barron opens the following reading with playful fragments derived from the central theme. Williams steps forward last, threading a stream of flawlessly constructed musical thoughts until the quartet reconvenes for the melody’s return and climax.

The album’s closer, Quasimodo, slows the pace one final time, for the group’s medium theme. First up is Kenny, who unfolds his solo gradually, with lines marked by crisp articulation and a deft touch. The baton then passes to Charlie, who enters with a relaxed warmth and expressiveness. He listens and responds to the rhythm section, ahead of the theme’s restatement and finale. Joanne Klein and Sphere produced the album, with Richard Seidel serving as executive producer. Rudy Van Gelder was behind the recording dials, and the album was recorded directly to two-track digital using the Sony 3402 DASH Reel-to-Reel Recorder. The album’s sound quality possesses a superb soundstage that emerges from your speakers as if the musicians are positioned directly in front of your sweet spot.

Bird Songs was the final recording Charlie Rouse made with the quartet, as he sadly passed away from lung cancer eight months later, on November 30, 1988, at the age of 64. The ensemble delivers a tight and cohesive performance throughout, and this is truly one of those thoughtfully crafted sessions that invites listeners to return again and again. For anyone who treasures bebop, I enthusiastically suggest adding Bird Songs by Sphere to your library during your next visit to the record store. The album serves as a stirring homage to Charlie Parker, with four remarkable musicians breathing new life into his legacy, creating an experience rich in pure joy, surprise, and profound artistry!

~ I Didn’t Know What Time It Was – Source: JazzStandards.com

~ Postscript Excerpt: DASH – The Digital Audio Stationary Head standard is a reel-to-reel digital audio tape format introduced by Sony in early 1982 for high-quality multitrack studio recording and mastering, as an alternative to analog recording methods. Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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Requisites

Coltrane ~ John Coltrane | By Eddie Carter

As someone who has enjoyed John Coltrane’s music for years, I’ve revisited this morning’s album from the library countless times, and each time I listen, it reveals something fresh and exciting. Coltrane (Prestige PRLP 7105) is the first chapter in a body of work that continues to challenge, inspire, and uplift listeners. John Coltrane’s path to his debut album was anything but easy. He grappled with addiction and periods of self-doubt, which eventually led to his dismissal from Miles Davis’s quintet. After returning to Philadelphia to end his addiction, John overcame his dependencies and embarked on a profound spiritual journey, allowing him to discover his singular musical voice and ultimately his first Prestige recording session.

Joining the tenor saxophonist are Johnnie Splawn on trumpet (tracks: A1, B1 to B3), Sahib Shihab on baritone sax (A1, B1, B3), Red Garland (A1 to A3), and Mal Waldron (B1 to B3) on piano, Paul Chambers on bass, and Albert “Tootie” Heath on drums. My copy of this album is the 2023 Analogue Productions mono audiophile reissue, sharing the original catalog number. “Bakai” by Cal Massey opens the first side, unveiling the ensemble’s relaxing melody. Red initiates the solos with a gentle and lyrical touch, as smooth as a calm sea. John’s following statement is grounded in a steady, unwavering rhythm of harmonic exploration. Sahib then steps in with an exquisite statement that nearly steals the show, leading back to the sextet’s theme restatement and ending.

Violets For Your Furs is a charming ballad from the 1940s by Tom Adair and Matt Dennis, which Red brings to life with a tender introduction to Coltrane’s lyrical sensitivity in the quartet’s theme, and a softer, more romantic side in the opening solo. Garland comes in next for a thoughtful, reflective reading until Coltrane gracefully reenters for the theme’s elegant climax. “Time Was” by Gabriel Luna de la Fuente, Paz Miguel Prado, and Bob Russell moves the beat upward for the quartet to give a lively melody. John leads off the solos with an abundance of passion, then Red continues soaring with joyful exuberance in the second reading. Paul has the last word and takes a short walk ahead of the theme’s return and finish.

Straight Street by John Coltrane gets the second side off to a good start. This song announces the spiritual dimension that would become central to his later albums. The sextet returns to full voice for a swinging melody with Mal taking over the piano duties. Coltrane gets right to work and wails on the opening statement. Splawn steps in next, firing on all cylinders, then Waldron takes the final spotlight preceding the group’s return for a vivacious exit. The pace slows down again for the album’s second 1940s ballad, “While My Lady Sleeps,” by Gus Kahn and Bronislaw Kaper. The ensemble presents a splendid study in soulful improvisation, with John paving the way through the melody into an affectionately intimate reading that ends as beautiful as it began.

Chronic Blues by John Coltrane opens with the sextet easing into the theme at a laid-back, comfortable tempo. Shihab launches the opening solo with rhythmic grace and effortless flow. Coltrane next delivers a smooth and inviting swing, as warm and familiar as a favorite homemade dish. Splawn’s turn brings a light and airy touch, infusing the piece with an appealing charm. Waldron closes things out with a breezy reading that leaves the sextet’s finale deeply satisfying. Bob Weinstock supervised the initial session, and Rudy Van Gelder was behind the recording dials. Kevin Gray mastered this audiophile reissue at Cohearant Audio. The album’s sound quality is spectacular, with a gorgeous soundstage that places the musicians directly in front of your sweet spot.

The record was pressed on 180-gram audiophile vinyl and offers an absolutely silent background until the music unfolds. Upon its release, “Coltrane” was met with excitement from jazz lovers and critics alike, though it didn’t propel John Coltrane to instant fame. That recognition would eventually arrive with “Giant Steps,” “My Favorite Things,” and “A Love Supreme.” Still, his debut firmly established Coltrane as a bandleader, composer, and innovator. It also marked the beginning of an extraordinary journey, where he would push the boundaries of jazz, explore spiritual themes, and redefine musical expression. If you haven’t experienced “Coltrane” yet, I highly recommend searching for it on your next record store visit. It’s an outstanding album by John Coltrane that provides a calming, immersive listening experience, gently enveloping you in its soothing melodies from the very first note!

A Love Supreme (Impulse A-77/AS-77), Giant Steps (Atlantic 1311/SD 1311), My Favorite Things (Atlantic 1361/SD

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