Requisites
Wheelin’ & Dealin’ ~ Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor | By Eddie Carter
This morning’s album from the library is an excellent 1957 jam session by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor. Wheelin’ & Dealin’ (Prestige PRLP 7131) is an outstanding album featuring an impressive team of musicians. The ensemble consists of John Coltrane and Paul Quinichette on tenor saxophones, Frank Wess on flute (tracks: A1, B1, B2) and tenor saxophone (track: A2), Mal Waldron on piano, Doug Watkins on bass, and Arthur Taylor on drums. The copy of this album that I own is the 2025 Worldwide Stereo audiophile reissue (Craft Recordings CR00862).
The album opens with Things Ain’t What They Used To Be by Mercer Ellington and Ted Parsons. Frank’s flute sets a welcoming tone for the sextet’s laid-back melody before moving into a relaxing first solo. Paul soars with graceful ease, then John follows him effortlessly with a mellow reading, then the saxophones revisit the sequence. Mal responds with a breezy interpretation, and Doug takes a quick walk, leading to the closing chorus. Wheelin’ by Mal Waldron takes off with the ensemble’s spirited theme. Coltrane leads the way with an energetic statement. Quinichette lets loose next, then Wess wails on the tenor saxophone. Waldron delivers a lengthy, vigorous performance. Taylor adds a brief footnote that leads to the ensemble reprising the theme and a rousing finish.
Side Two opens with Robbins’ Nest by Illinois Jacquet, Bob Russell, and Sir Charles Thompson, a tribute to DJ Fred Robbins. Frank, returning on flute, gently guides the ensemble through the melody, then enters like a cool breeze for the first solo. Paul then offers some down-home cooking; John makes every note count in a relaxed interpretation. Mal then keeps the mood easygoing, and Doug takes a brief walk before the closing ensemble. Mal Waldron’s Dealin’ starts with the sextet’s collective melody; Waldron leads with an inviting opening solo. Wess, on flute, produces a warm, fluid sound. Quinichette steps in for a few relaxing choruses, then Coltrane flows with fresh, creative ideas. Wess makes a short return on tenor sax, and Waldron has the last word before the group reunites to close the set.
The dynamic combination of Coltrane and Quinichette on tenor saxophones infuses the sextet with vibrant energy, establishing an engaging lead voice for the group. Coltrane, poised on the threshold of stardom, plays with deep emotion and a sense of adventurousness, while Quinichette’s silky, relaxed approach pays homage to Lester Young’s signature sound. Frank Wess further elevates the ensemble’s texture, seamlessly alternating between flute and tenor sax; his flute contributions, in particular, bring a light, breezy quality to the arrangements. Supporting them, the rhythm section of Waldron, Watkins, and Taylor lays down a consistent, swinging foundation, artfully mixing delicacy with spirited drive to enhance each soloist’s performance throughout the album.
Bob Weinstock supervised the first session, and Rudy Van Gelder was at the recording console. Kevin Gray did an excellent job mastering this audiophile reissue from the original tapes at Cohearant Audio. The sound quality truly shines, offering a spacious soundstage and vibrant clarity that makes you feel like the musicians are right in front of you. The record is pressed on 180-gram Virgin Vinyl and is silent until the music begins. If you’re craving a fantastic Hard-Bop album, I highly recommend checking out Wheelin’ & Dealin’ by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, and Arthur Taylor on your next record-shopping trip. It’s an outstanding album by the talented group that later became The Prestige All-Stars, and I believe it will become a beloved favorite in the libraries of both new and seasoned jazz fans for many years to come!
Things Ain’t What They Used To Be – Source: JazzStandards.com © 2025 by Edward Thomas Carter
Wheelin’ & Dealin’: 1957 | Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, Arthur Taylor
For the serious collector of jazz… #Jazz #Classic #Collectible #Music #Notorious
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Daily Dose Of Jazz…
Nicholas Stabulas was born on December 18, 1929 in New York City, New York. After working in commercial music, Stabulas was a member of Phil Woods group from 1954 to 1957.
Through the Fifties he did extensive work as a sideman in the 1950s, with Jon Eardley, Jimmy Raney, Eddie Costa, Friedrich Gulda, George Wallington, Al Cohn, Zoot Sims, Gil Evans, Mose Allison, Carmen McRae, and Don Elliott.
In the 1960s he worked with Chet Baker, Kenny Drew, Bill Evans, Lee Konitz and Lennie Tristano. He remained active into the Seventies.
Drummer Nicholas Stabulas, who recorded fourteen albums as a sideman, died in a car crash on February 6, 1973 in Great Neck, New York.
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EITHER/ORCHESTRA
In the decades since the Either/Orchestra debuted on December 17, 1985 at the Cambridge MA Public Library, the group has made over 1000 performances in 38 of the United States and 12 foreign countries, as well as releasing a dozen albums and being nominated for a Grammy, winning five Boston Music awards and numerous Downbeat Critics Poll placements, among many other honors. From prestigious festivals like Glastonbury Pop and Chicago Jazz to tiny clubs, schools and churches in out of the way places, the group has been “dependably marvelous,” according to the Village Voice.
No obstacles deterred leader Russ Gershon and his intrepid musical explorers from visiting new musical worlds – until the Covid pandemic. The band’s most recent performance was in December of 2019 at Tufts U., with one of their distinguished Ethiopian collaborators, vocalist Teshome Mitiku. But now, they’re coming back!
To celebrate the exact 40th anniversary of their first show, the Either/Orchestra returns to the stage not a mile from where they started. The E/O began playing the Regattabar when the club was band new in the ’90’s. There is no better and more appropriate venue for them to inaugurate their fifth decade.
The E/O will be making selections from their vast catalog of originals and original arrangements of classic and obscure jazz, as well as dipping into their unparalleled repertoire of Ethiopian music in honor of their upcoming release, éthiopiques 32: Nalbandian the Ethiopian.
Their second release on the legendary éthiopiques series features music by Nerses Nalbandian, a teenage refugee of the Armenian genocide who rose to become music director of Emperor of Ethiopia Haile Selassie’s National Theater in Addis Ababa. Nalbandian’s interest in American music helped set the stage for the birth of the modern Ethiopian pop music which has bewitched music aficionados the world over the past couple of decades. His music has seldom been played since the totalitarian revolution which deposed Haile Selassie in 1974, and the E/O was asked by the Nalbandian family and éthiopiques producer Frances Falceto to reconstruct and play it at the National Theater of Ethiopia. The album is a record of that labor of love.
E/O personnel:
Tom Halter | trumpet
Dan Rosenthal | trumpet
Joel Yennior | trombone
Sam Spear | alto sax
Russ Gershon | tenor sax
Charlie Kohlhase | baritone sax
Alexei Tsiganov | piano
Rick McLaughlin | bass
Brooke Sofferman | drums
Vicente Lebron | congas
Cover: Sold Out
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Daily Dose Of Jazz…
Dannie Richmond was born Charles Daniel Richmond on December 15, 1931 in New York City and grew up in Greensboro, North Carolina. He started playing tenor saxophone at the age of thirteen, and went on to play R&B with the Paul Williams band in 1955.
His career took off when he transferred his talents to the drums, which he had taught himself to play in his early twenties, through the formation of what was to be a 21-year friendship and an indispensable ingredient of the Mingus sound. Upon Mingus’ death Richmond became the first musical director of the group Mingus Dynasty in 1980.
Drummer Dannie Richmond, best known for his work with Charles Mingus, died of a heart attack in Harlem, New York on March 16, 1988, at the age of 56.
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LENNY ROBINSON TRIO
Lenny Robinson has become one of the foremost voices of jazz at the drums. He grew up in Baltimore, Md. in a very rich musical environment. He played piano and organ in his father’s church in his early teens. He also played trumpet in both junior high and high school. The love of percussion was felt in the ninth grade and the rest, as they say, is history.
He studied at the Peabody Conservatory of Music as well as Morgan State University and has gone on to perform or record with a who’s who of artists. A partial list would include: Dewey Redman, Clifford Jordan, Warren Wolf, Carter Jefferson, Vanessa Rubin, Lou Donaldson, Roy Hargrove, Charles McPherson, Kenny Barron, Eartha Kitt, Gary Bartz, Eddie Henderson, Joey DeFrancesco, Ahmad Jamal, Keter Betts, John Hicks, Sean Jones, Larry Willis, Don Braden,Terence Blanchard as well as the Bill Cosby show “You Bet Your Life”. He was also a member of the late Stanley Turrentine’s working band and has toured and recorded with Marlena Shaw.
Lenny is the leader of The Lenny Robinson Group as well as the co-leader of Lenny Robinson and ThreeForAll. He has an organ group called the “Organic Trio”, and he leads the piano-less trio “MadCurious which features Brian Settles on saxophone and Tarus Mateen on bass.
Dining & Jazz Cover: $10.00 per person
Bar & Jazz: No Cover
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