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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The Quarantined Jazz Voyager
This week another great album is being featured for us to listen to titled Street of Dreams recorded at Van Gelder Studio in Englewood Cliffs, New Jersey on November 16, 1964 by jazz guitarist Grant Green. The album was produced by Alfred Lion, however, wasn’t released until August 1967 on the Blue Note label. The photograph used on the album cover features street signs that are at an actual street corner in the North Beach neighborhood of San Francisco, California.
The conversation between these four giants of jazz is comfortable and easy. They play off one another, adding to the strength of the album. Consisting of a mere four songs, one can hear the short story they create.
The album includes Billy May’s Somewhere in the Night, which was the theme of the television program Naked City, and Lazy Afternoon, from the 1954 musical The Golden Apple. On the whole, this is an enjoyable thirty-three minutes of mid~tempo jazz. While you’re listening, think about protecting your community as we continue to experience the ravages of this pandemic… which, by the way, although it may feel like it, hasn’t gone away yet people!
Track List | 33:34- I Wish You Love (Léo Chauliac, Charles Trenet) ~8:46
- Lazy Afternoon (John La Latouche, Jerome Moross) ~ 7:44
- Street of Dreams (Victor Young, Sam M. Lewis) ~ 9:03
- Somewhere in the Night (Billy May, Milt Raskin) ~ 8:01
- Grant Green ~ guitar
- Bobby Hutcherson ~ vibes
- Larry Young ~ organ
- Elvin Jones ~ drums
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The Quarantined Jazz Voyager
The virus is still raging across America and now has a new host… the children. I have personally known a half dozen friends who have contracted Covid from children or grandchildren who are back in school and bring it home. Be vigilant my people and stay safe and healthy.
This week I am putting on the turntable the bossa nova/jazz album titled Jazz Samba. It is an album by Stan Getz and Charlie Byrd released by Verve Records in 1962. It was recorded on February 13, 1962 in Pierce Hall, All Souls Unitarian Church, Washington, D.C. and released the following April. It ws produced by Creed Taylor.
The idea for the album came about while the Charlie Byrd Trio was on a State Department goodwill tour in Brazil, drummer Buddy Deppenschmidt spent his free time with local musicians, teaching them American jazz and learning bossa nova from them. It was his idea to record an album combining jazz and bossa nova with Stan Getz.
Jazz Samba signaled the beginning of the bossa nova craze in America. Stan Getz was the featured soloist and the tracks were arranged by Charlie Byrd. It was recorded live in less than three hours and started a bossa nova craze both nationally and internationally.
It is the only jazz album to reach number one on both the jazz and pop Billboard charts and remained high on the charts for 70 weeks. Desafinado, the hit single from the album, was inducted into the Grammy Hall of Fame in 2000 and the album was inducted into the Grammy Hall of Fame in 2010.
Stan Getz won the Grammy Award for Best Jazz Performance of 1963 for Desafinado, and Robert Dimery included Jazz Samba in his book 1001 Albums You Must Hear Before You Die. The painting on the cover is by Olga Albizu.
Tracks | 33:12
Side One
- Desafinado (Antônio Carlos Jobim, Newton Mendonça) ~ 5:51
- Samba Dees Days (Charlie Byrd) ~ 3:34
- O Pato (Jayme Silva, Neuza Teixeira) ~ 2:31
- Samba Triste (Baden Powell, Billy Blanco) ~ 4:47
Side Two
- Samba de Uma Nota Só (Antônio Carlos Jobim, Newton Mendonça) ~ 6:11
- É Luxo Só (Ary Barroso) ~ 3:40
- Bahia (aka ‘Baia’) (Ary Barroso) ~ 6:38
- Stan Getz – tenor saxophone
- Charlie Byrd – guitar
- Gene Byrd – guitar, bass
- Keter Betts – double bass
- Buddy Deppenschmidt – drums, percussion
- Bill Reichenbach Sr. – drums, percussion
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