Three Wishes

When asked what his three wishes would be, Chuck Wayne answered with:

1. 1. “The funny part is, I really… you know, frankly? I can’t think of any! Because frankly, I like things the way they are. I really don’t want to be rich, I love my wife, I have wonderful children, and I have a certain amount of security, which is substantial enough for me. I really don’t care for anything else. Between music and my wife and kids’ love, life is pretty good as it is. There are so few other things that count. Would a million dollars help me play a good chorus? Or give me more to the one I love?”

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Daily Dose Of Jazz…

Jimmy Lewis was born April 11, 1918 in Nashville, Tennessee learned to play the bass and though little is known about his early years, he began working professionally with the Count Basie Orchestra and sextet in the 1950s. He went on to perform with Duke Ellington, Cootie Williams, Billie Holiday and Ivory Joe Hunter.

Moving to bass guitar during his time with King Curtis, Jimmy freelanced profusely, recording on over four dozen jazz, soul and R&B albums. He was a sideman and sessionplayer with Solomon Burke, Billy Butler, Al Casey, David Clayton-Thomas, Sam Cooke, Lou Donaldson, Byrdie Green, Grant Green, Tiny Grimes, John P. Hammond, Richard “Groove” Holmes, Alberta Hunter, Willis Jackson, Boogaloo Joe Jones, Charles Kynard, Johnny Lytle, Freddie McCoy, Galt MacDermot, Modern Jazz Quartet, Idris Muhammad, Mark Murphy, Houston Person, Sonny Phillips, Wilson Pickett, Otis Redding, Dave Pike, Arthur Prysock, Horace Silver, Johnny “Hammond” Smith, Buddy Terry, Charles Williams.

Continuing to perform and record up until the Eighties, double bassist Jimmy Lewis, who provided the basslines for the Broadway musical Hair, transitioned in New York City in 2000.

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Requisites

Full House ~ Wes Montgomery | By Eddie Carter

In a game of poker, a full house is a five-card hand containing three-of-a-kind and a pair of another. The three-of-a-kind in this morning’s discussion to begin April is a brilliant trio that at the time was Miles Davis’ rhythm section but also a spectacular group in their own right. The pair is a little giant who was diminutive only in height but possessed a robust sound and an extraordinary guitarist who’d taken the jazz world by storm with his playing. Full House (Riverside RLP 434/RS 9434) is a 1962 live date by Wes Montgomery performed with a world-class quartet, Johnny Griffin on tenor sax, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. My copy used in this report is the 1974 Victor Musical Industries Japanese Stereo reissue (Riverside SMJ-6069).

The opener, Full House is an original by Wes welcoming everyone inside the club with the quintet’s festive theme. The leader cooks on the first solo with an infectiously happy groove. Johnny comes in next, swinging strongly on the second reading. We’re then treated to a rollicking finale by Wynton punctuated by the rhythm section’s groundwork leading to the climax. I’ve Grown Accustomed To Her Face by Frederick Loewe and Alan Jay Lerner made its debut in the musical, My Fair Lady (1956). This is a trio tune with Wes supported only by Paul and Jimmy. The guitarist approaches the melody and song’s only solo with an intimate beauty and graceful lyricism that’s gorgeously rendered culminating in a tender finale receiving appreciative applause from the crowd.

Blue ‘N’ Boogie by Dizzy Gillespie and Frank Paparelli begins with the ensemble’s vigorous melody. Montgomery begins in good spirits with a lively opening statement, then Kelly shows a masterful hand on the keys. Griffin thrills the listener with utter delight on the next interpretation. Cobb shares an energetic exchange with Wes, Johnny, and Wynton before taking the spotlight himself leading to the ensemble’s reprise and exit. Cariba, the guitarist’s second tune opens Side Two with a positively tropical flavor in the quintet’s theme. Paul lays down some bluesy bass lines on the first solo. Wynton opens the second presentation with exceptionally smooth execution. Griff delivers a good deal of happy excitement in the third reading. Wes adds a pleasant punctuation with a light-hearted, friendly finale.

Come Rain or Come Shine by Harold Arlen and Johnny Mercer premiered in the Broadway musical, St. Louis Woman (1946). Montgomery and the trio pick up the tempo on the introduction and theme. Johnny kicks things off with some exciting blowing. Wes propels the second solo with tasteful playing, and Wynton closes with an eminently enjoyable interpretation before the song’s conclusion. This delightful set concludes with an uptempo cooker by Wes, S.O.S. The ensemble soars collectively in the opening chorus, then Griffin delivers the first solo with a fiery passion. Wes follows with an equally assertive second statement. Wynton adds a bit of effervescent energy to the third reading. Jimmy provides the final fireworks in a conversation with Griff and Wes into the group’s finish.

A few months after the quintet recorded Full House, Tsubo closed, later reopening as The Jabberwock, offering its patrons folk music. It remained open a few more years until the doors closed for good in 1967. This album was produced by Orrin Keepnews and Wally Heider was the recording engineer. Victor Musical Industries has done a fantastic job with the mastering because this reissue sounds incredible with an outstanding soundstage placing the listener in the club with exceptional clarity. If you’re a fan of Wes Montgomery, Johnny Griffin, or Wynton Kelly, I offer for your consideration on your next vinyl expedition, Full House. The music throughout is excellent and there’s superb playing from all hands, making this a perfect title for any jazz library!

~ Come Rain or Come Shine – Source: JazzStandards.com

~ Blue ‘N’ Boogie, I’ve Grown Accustomed To Her Face, The Jabberwock – Source: Wikipedia.org
© 2022 by Edward Thomas Carter

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Daily Dose Of Jazz…

Phillip Robert Lee was born on April 8, 1943 in London, England and studied guitar with Ike Isaacs as a teenager. He was a member of the National Youth Jazz Orchestra, and performed at the 1960 Antibes Jazz Festival.

Later in the 1960s he played with John Williams and Graham Collier, as well as in a band with Bob Stuckey, Dudu Pukwana, and John Marshall.

During the 1970s, Phil moved into jazz-rock playing in bands such as Gilgamesh and Axel with Tony Coe and with Michael Garrick, Henry Lowther, and John Stevens.

Lee recorded Twice Upon a Time in 1987) with Jeff Clyne. Later in his career he worked with Gordon Beck, Andres Boiarsky, Benny Goodman, Lena Horne, Marian Montgomery, Annie Ross, and the London Jazz Orchestra.

Guitarist Phil Lee continues his exploration of jazz music.

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Daily Dose Of Jazz…

John Paul Pizzarelli Jr. was born April 6, 1960, in Paterson, New Jersey and started playing guitar when he was six He attended Don Bosco Preparatory High School, an all-boys Catholic school. In his teens, he performed with Benny Goodman, Les Paul, Zoot Sims, Slam Stewart, and Clark Terry.

He played trumpet through his college years, attending the University of Tampa and William Paterson University, but his most important teacher was his father through the Eighties. During that period he established himself as a jazz guitarist and a vocalist and released his debut solo album, I’m Hip (Please Don’t Tell My Father) in 1983.

During the 1990s, Pizzarelli played in a trio with Ray Kennedy and his younger brother Martin. In 1993, the trio opened for Frank Sinatra in Las Vegas, Nevada and four years later, he was starring on Broadway in Dream, a show devoted to the music of Johnny Mercer.

Naming Nat King Cole as the inspiration for his career, he has honored him with the albums Dear Mr. Cole and P.S. Mr. Cole. He has also recorded tribute albums to Frank Sinatra, Duke Ellington, Antônio Carlos Jobim, Richard Rodgers, and Paul McCartney. Along with his father accompanying Annie Ross, they recorded her album To Lady with Love, a tribute to Billie Holiday that Ross recorded when she was eighty-four.

He has hosted a national radio show, Radio Deluxe with John Pizzarelli, and has worked with George Shearing, Rosemary Clooney, Johnny Frigo, Buddy DeFranco, the Clayton-Hamilton Jazz Orchestra, the Boston Pops Orchestra, and the Cincinnati Pops Orchestra.

As a co-producer of the James Taylor album American Standard, he received a Grammy nomination for Best Traditional Pop Vocal Album in 2020. Guitarist and vocalist John Pizzarelli continues to explore and expand his musical vocabulary.

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