Requisites
Greensleeves ~ Shoji Yokouchi Trio plus Yuri Tashiro | By Eddie Carter
I was looking for something interesting to play at the start of my Tuesday morning when I came across an album by the Shoji Yokouchi Trio and Yuri Tashiro. Greensleeves (Three Blind Mice TBM-5011) is a 1978 release with a program of four jazz standards and three creative originals. The personnel consists of Yuri Tashiro on Hammond organ (tracks A1 to A4, B3), Shoji Yokouchi on folk guitar (tracks A1, A2), electric guitar (tracks A4, B1, B2), and gut guitar (tracks A3, B3), Kunimitsu Inaba on bass, and Hajime Ishimatsu on drums. The copy I own is the 2017 Impex Records U.S. Limited Edition stereo audiophile reissue, sharing the original catalog number. No. 2581 of 3000.
Side One opens with Willow Weep For Me by Ann Ronnell. Shoji’s gentle introduction gets things off to a good start for the quartet’s slow-paced melody. Shoji has the first say and tenderly embraces the opening solo. Yuri follows with a thoughtfully passionate reading, while Kunimitsu and Hajime complement both elegantly into the theme’s reprise and finale. Bobby Timmons’ Moanin’ affords everyone solo space beginning with the quartet’s happy, upbeat theme. Shoji takes the song’s first lively reading, then Yuri makes her presence felt with skillful assurance. Kunimitsu follows with a brief statement, and Shoji and Hajime share a short exchange, preceding the closing chorus and vibrant climax.
Misty by Erroll Garner and Johnny Burke begins with Shoji setting the stage as he leads the ensemble through the gorgeous theme. He continues to reveal his lyrical side in a delicate opening statement. Yuri then enhances the song’s charm with a graceful interpretation. Kunimitsu and Hajime contribute the romantic, disciplined accompaniment, leading into the reprise and a soothing finale. The first of three compositions by Shoji Yokouchi, Drink Up, Vodka Martini, features the guitarist in a playful mood throughout the introduction and melody. As the song’s only soloist, Shoji conveys a driving vitality that bounces along, and the band’s chemistry shines, supporting him ahead of the melody’s restatement.
New Orleans Sunday is a trio performance featuring Shoji, Kunimitsu and Hajime. The trio puts the song through its paces with a catchy melody out of the gate. Shoji launches the opening with a driving rhythm, then Kunimitsu mines a vein of unsuspected riches in the following solo. Shoji and Hajime add a tasty treat in a short conversation before the trio’s reprise and conclusion. Greensleeves begins with a haunting intro, before picking up pace for the trio’s theme. Shoji takes the lead solo in a series of infectiously propulsive choruses. Kunimitsu goes for a lightly swinging walk next, then Hajime enters the spotlight to give a brief workout, leading back to the ending theme and soft summation.
Your Watch Is Ten Minutes Slow picks up the tempo one final time to wrap up the album. The quartet’s agile melody starts things off, then Shoji gets down to business on the opening solo. Yuri responds with a spirited reading ahead of the foursome’s return to the theme and close. Takeshi Fujii produced the initial session, and Yoshihiko Kannari managed the recording console. Bernie Grundman mastered this audiophile reissue, and Chris Bellman engineered it. The reissue features a thick cardboard cover; the sound quality is excellent, with a spacious, clear, and detailed soundstage. The record was pressed on 180-gram audiophile vinyl and is silent until the music begins.
Shoji Yokouchi recorded 46 albums over his career, and Yuri Tashiro released 51 titles over her career. If you’re in the mood for an album that weaves together beloved jazz standards with fresh, creative compositions, I invite you to check out Greensleeves by the Shoji Yokouchi Trio and Yuri Tashiro, the next time you’re out record-shopping. It’s an excellent place to start discovering the music of both artists. A delightful album that’s perfect for late-night listening and is sure to please any jazz enthusiast and fans of guitar and organ-centered ensembles!
~Misty, Moanin’, Willow Weep For Me – Source: JazzStandards.com ~ Greensleeves – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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Requisites
Afternoon in Paris ~ John Lewis and Sacha Distel | By Eddie Carter
My mother was a big fan of The Modern Jazz Quartet, and today’s selection from the library highlights its founder and musical director, pianist John Lewis, joining French guitarist Sacha Distel on their 1957 collaborative album Afternoon in Paris (Atlantic 1267). It was one of her favorite records to play during our Sunday dinners growing up,and I had almost forgotten how enjoyable this album truly is. The supporting cast is superb: Barney Wilen on tenor saxophone, Pierre Michelot (tracks A1-A3) and Percy Heath (tracks B1-B3) on bass, Connie Kay (tracks A1-A3) and Kenny Clarke (tracks B1-B3) on drums. The copy I own is the 2021 French limited-edition mono audiophile reissue (Versailles MEDX 12005) released by Sam Records.
I Cover The Waterfront by Johnny Green and Edward Heyman, which opens side one, begins with John’s beautiful introduction. Sacha takes over to state the tasteful theme, and leads the way in a gorgeous reading. Barney has the last word in a warm performance that picks up pace until the pianist ends the way he began, softly. Dear Old Stockholm opens with piano, guitar, and tenor sax playing a brief segment of the melody, incorporating Pierre’s bass interlude, until it concludes. The pace picks up significantly for Barney’s swinging opening statement. Sacha delivers straight passion in the following solo, then John builds the third reading with smooth efficiency. All three soloists engage in a short exchange ahead of the pianist’s reprise and gentle ending.
The title tune, Afternoon in Paris by John Lewis, slows the pace to mid-tempo as the group begins the melody. Barney is the first to solo and cooks aggressively. Sacha steps in next to offer a splendid study in soulful improvisation. John makes his entrance with a perfectly locked-in groove. Pierre has the last word, and his sturdy bass lines lead the ensemble into the melody’s restatement. All The Things You Are by Jerome Kern and Oscar Hammerstein II gets side two underway with John’s pretty introduction. Barney launches into a swinging performance, then Sacha takes the reins and gets into a fantastic groove. John follows with a short solo, then he shares a brief word with Kenny before taking the song out softly.
Bags’ Groove by Milt Jackson got its title from the composer’s nickname. It opens with Barney stating the theme, leisurely, alongside Percy and Kenny. Sacha then begins the opening solo. John taps a creative vein next. Barney begins the third reading at ease, but gradually cruises to a satisfying climax. Percy and Kenny share a brief conversation preceding the theme’s reprise and summation. Ann Ronnell’s Willow Weep For Me begins with John’s gentle piano introduction, setting the stage for Sacha’s elegant, understated approach to the melody and his opening statement. The spotlight shifts to Barney, who delivers one of his most memorable solos on the album. John steps in last, providing a gorgeous improvisation that guides the ensemble to a graceful finish.
Although the producer of the original Afternoon in Paris session remains unidentified, Disques Versailles recorded the initial album, and Fred Thomas oversaw this audiophile reissue for Sam Records. The album’s sound quality is exceptional for a 1950s recording, with a warm, airy soundstage that makes you feel as if you’re in the studio with the musicians as they’re performing. It was remastered from the original tapes and pressed on 180-gram vinyl at Optimal Press using the Metal Mothers process from Pallas in Germany. This edition offers a listening experience that truly captures the album’s essence.
This was Sacha Distel’s sole album collaboration with John Lewis, yet both ensembles seamlessly integrate Lewis’s lyrical piano sensibility with Distel’s refined guitar elegance. The musicians’ interaction is both spontaneous and intuitive, culminating in six extraordinary performances. If you’re in the mood for an engaging blend of Bop and Cool Jazz, I cordially invite you to spend an Afternoon in Paris with John Lewis and Sacha Distel on your next record-shopping trip. I’m confident you’ll encounter a memorable album that will leave a lasting impression well beyond the record’s end!
~ All the Things You Are, I Cover The Waterfront, Willow Weep For Me – Source: JazzStandards.com ~Afternoon in Paris, Bags’ Groove, Dear Old Stockholm – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Carmine D’Amico was born on December 22, 1954 in Brooklyn, New York. His father gave him the choice of piano or the guitar and he chose the latter. Taught by his father who instilled in him that each note must have meaning. At age 9 he recorded Who Wears Short Shorts, which became a big hit. He was then signed to Capitol Records and went on tour , including television appearances on American Bandstand, The Allen Fried Show, and Soul Train. From age 9 – 11 during the 1950s he played on hit records by the Shirelles, Connie Francis, Fabian, Frankie Avalon, and others.
He won academic scholarships to both high school and college, graduating valedictorian from Trinity High School with a 99.9 average. Carmine found himself in pre-med but then transferred to Queens College and majored in music. Studying in between touring with Tammy Grimes, Liza Minelli and Ed Ames, he graduated with a B.A. in Music Education.
Then came military service with an assignment with an Army Dance Band. Discharged, he returned to New York and resumed his career activities, first joining Ed Ames, recording two of his biggest hits, Try To Remember and My Cup Runneth Over.” D’Amico then became staff guitarist on the Mike Douglas Show and remained for three years.
He went on to work with Bobby Darrin, Sergio Franchi, Patti Austin, Englebert Humperdinck, Vic Damone, Manhattan Transfer, Shirley Maclaine, Henry Mancini, Michele Legrande, Bernadette Peters, The Pointer Sisters, The O’Jays, Jack Jones, Lainie Kazan, Elisa Kashi, Connie Francis, Cleo Laine, Shirley Bassey and Josephine Baker.
He worked with Bernard Purdie, Steve Gadd, Ron Carter, John Faddis, Lou Marini, Lionel Hampton, Teo Macero, Bob Cranshaw, Tom Barney, John Frosk, Doc Severinsen, John Tropea, Mel Torme, Mel Lewis, and Thad Jones, among others.
Outside of jazz he recorded with Bee Gees, the Stylistics, Ray, Goodman and Brown, Stephanie Mills, Vanessa Williams, Patti LaBelle, Freda Payne, Tina Turner, Ben Vereen and played on all of the Sugar Hill Productions. During this prolific period and seemingly height of opportunities for working musicians, NARAS voted him Most Valuable Guitar Player in 1986 and 1987.
Guitarist, producer, composer, arranger and sideman Carmine D’Amico, who over the course of his career received 16 Grammys, died at the age of 67 in Casa Grande, Arizona on Oct. 2, 2011.
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Daily Dose Of Jazz…
Jerome Darr was born on December 21, 1910 in Baltimore, Maryland. His first major professional affiliation was a jug band, the Washboard Serenaders. As a member of this group from 1933 through 1936, the guitarist enjoyed a well-received European tour.
During the 1940s he focused on work as a studio musician showing up on sessions from blues to bebop. His incredibly versatile and prolific career had him playing behind Frankie Lymon & The Teenagers.
Between 1935 and 1973 Jerome participated in roughly twenty jazz recording sessions. in total for this artist. Such a thin statistic indicates that the hefty, complete list of recordings Darr appears on include many other styles besides jazz.
He recorded and/or performed with the Marlowe Morris Trio, Paul Quinichette All-Stars and his Quartet, Rex Stewartand the Charlie Parker Quintet. In his final years, Darr was mostly swinging in the busy band of trumpeter Jonah Jones, in a sense coming full circle with the type of playing he had started out with.
Guitarist Jerome Darr died October 29, 1986 in Brooklyn, New York.
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Daily Dose Of Jazz…
Graham Leslie Lionel Clark was born on December 16, 1959 in England. He plays the violin as his first instrument, sings and also the electric guitar. As a freelance violinist he is adept in most styles of jazz, rock, blues and pop, however, he specializes in improvisation.
He worked with Daevid Allen from 1988 to 2014, and has also worked with Andy Sheppard, Keith Tippett, Tim Richards, Phil Lee, Paz, Brian Godding, Elbow, Lamb, Bryan Glancy, Little Sparrow, Jah Wobble, Graham Massey, Louis Gordon and Liz Fletcher.
Violinist Graham Clark, who has been featured on seven albums, continues to perform and record.
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