Requisites

Reflections ~ Frank Morgan Allstars | By Eddie Carter

I discovered Frank Morgan in the 80s while living in Cincinnati, Ohio and listening to WNOP 740 AM, the city’s then jazz station. This morning’s album from the library was his eighth release as a leader and seventh for Lester Koenig’s label. Reflections (Contemporary Records C-14052) by the Frank Morgan Allstars is the only album the group recorded together and isn’t a loose, thrown-together blowing session. The sextet is a powerhouse group of musicians: Frank Morgan on alto sax; Joe Henderson on tenor sax; Bobby Hutcherson on vibraphone; Mulgrew Miller on piano; Ron Carter on bass; and Al Foster on drums. I own the 1989 U.S. stereo release.

The first side gets underway with Old Bowl, New Grits by Mulgrew Miller. The sextet’s easy-flowing melody gives way to Joe’s opening solo, inviting us to settle in. Bobby follows with a blissfully happy reading, then Frank continues motoring along next. Mulgrew gets the final word ahead of the theme's restatement and fade-out. The title track, Reflections by Thelonious Monk, shifts the energy toward Frank and Joe taking center stage for the enticingly delicate theme. Frank shows a tender vulnerability in the first interpretation. Joe takes over with a gracefully emotional response, then Bobby takes a sensitive, poignant turn, leading to the theme’s return and gorgeous ending.

Starting Over by Bobby Hutcherson picks the beat back up with a lively opening ensemble. Bobby comes out swinging hard first, then Frank dives into the second solo with surgical precision. Joe jumps right into the third reading next, then Mulgrew provides the exclamation point, soaring cheerfully into the ensemble’s vigorous reprise and climax. Side Two opens with the rhythm section’s introduction to Black Narcissus by Joe Henderson, segueing into a compelling front-line dialogue between Frank and Joe. Frank paints a delicate palette first, then Joe adds a few more elegant colors. Bobby infuses the third statement with tender beauty, and Mulgrew saves the best for last in a gorgeous finale before the close.

Sonnymoon for Two by Sonny Rollins affords everyone solo space and begins with the trio’s introduction to the sextet’s medium melody. Frank’s first solo is a great example of relaxed lyricism. Bobby follows with a bounce that’s pure artistry. Joe sets up the next reading perfectly, then Mulgrew keeps the line moving forward. Ron takes a short, satisfying walk before Al brings the curtain down, preceding the closing chorus. O.K. by Ron Carter is his tribute to album producer Orrin Keepnews, and the ensemble opens with a leisurely paced theme. The solo order is Frank, Joe, and Mulgrew before the melody’s reprise and Bobby, who gets the last word in a gentle fade to nothingness.

Orrin Keepnews produced the album; Danny Kopelson managed the recording console, and George Horn mastered the album. The recording is fantastic, with an exceptional soundstage and outstanding detail that emerges through your speakers with exceptional fidelity. Reflections by the Frank Morgan Allstars is a gorgeous album with an all- star lineup and a wonderful selection of tunes. If you’re a fan of the alto saxophonist and in the mood for a terrific blend of bop and modal jazz, I invite you to check it out on your next record shop visit. I’m sure it’ll be a welcome addition to your library, and you’ll enjoy it as much as I do!

© 2026 by Edward Thomas Carter

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Requisites

Movin’ Along ~ Wes Montgomery | By Eddie Carter

Submitted for your approval this morning is an overlooked, underrated gem by one of my favorite jazz guitarists: Wes Montgomery. Movin’ Along (Riverside RLP 342/RLP 9342) was his third release as a leader and one of six albums he recorded in 1960. Two as a leader, plus one each with Cannonball Adderley, Nat Adderley, Harold Land and his brothers. All six albums received critical acclaim, underscoring how rapidly Wes Montgomery’s star was rising. The personnel on this release are James Clay on flute (tracks: A1, A2, A4, B1) and tenor sax (B2); Wes Montgomery on guitar (A1, A3, B2, B3) and bass guitar (A2, A4, B1); Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums. I own the 1977 Victor Musical Industries Japanese Mono reissue (Riverside SMJ-6199M).

Wes Montgomery’s Movin’ Along, which opens the album, is a perfect tune to listen to and unwind to after a long workday or week. The quintet’s soothing, soul-pleasing melody starts at a leisurely pace. James steps up first with a relaxing solo as enjoyable as spending time with old friends, then Wes follows with a velvety-smooth reading. Victor takes a mellow stroll last before the group’s theme reprise fades out softly. The temperature moves upward for the ensemble’s spirited theme to Tune-Up by Miles Davis. Wes switches to bass guitar and gets a nice little swing groove going in the opening statement. James cruises into the second interpretation with vigorous enthusiasm, and Victorhas the last word with a few energetic choruses ahead of the theme’s restatement.

Ghost of a Chance by Bing Crosby, Ned Washington, and Victor Young is a beautiful ballad from the thirties that later became a jazz standard. This rendition becomes a quartet showcase for Wes and the rhythm section. The foursome begins the melody delicately, then steps aside for the guitarist’s thoughtful and tender opening solo. Victor shares a reflective moment of lyrical beauty in a short statement leading to the gentle closing chorus. Sandu by Clifford shifts the mood to a medium groove for the opening ensemble, with Wes back on bass guitar. Wes takes the reins first, and the listener will snap their fingers and tap their toes along. Sam comes in next for a short walk before engaging in a brief exchange with Wes before the theme’s return.

Side Two starts with Body and Soul, by Edward Heyman, Robert Sour, Frank Eyton, and Johnny Green. Wes, on bass guitar, introduces a warm, gentle melody as soothing as a summer breeze. The rhythm then becomes lively for James’s spirited opening solo. Wes follows with a wonderful reading, and Victor wraps up with a bright and sparkling finale. Wes slows down softly to conclude the song beautifully. Wes Montgomery’s So Do It slows the ensemble’s beat down slightly to medium for their opening chorus, featuring James on tenor sax. Wes moves right into the first solo with a bouncy effervescence. James handles the second statement with a few inspired ideas. Victor shapes the third interpretation into something special. Wes, Louis, and Sam take turns in a short three-way conversation before the quintet takes the song out.

Sam Jones’s Says You ends the album with the group’s upbeat theme. Wes gets things started with a cheerful, engaging solo. Victor follows with an easygoing interpretation, and Sam takes a brief walk before the quartet returns for the climax. Orrin Keepnews produced the album, and Wally Heider managed the recording console. The Victor reissue sounds excellent, offering a spacious soundstage that emerges from your speakers with superb fidelity. Wes Montgomery possessed a special gift for drawing listeners into his music, giving them a glimpse into the creative world of a true master. is one of the best albums in his discography. With the added talents of James Clay and the Cannonball Adderley Quintet’s rhythm section, I highly recommend checking it out on your next record-shopping trip!

~ Body and Soul, Ghost of a Chance – Source: JazzStandards.com © 2026 by Edward Thomas Carter

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Requisites

Double Take ~ Freddie Hubbard and Woody Shaw | By Eddie Carter

Freddie Hubbard and Woody Shaw were two of my mom’s favorite trumpet players, and one of her favorite albums inspired this morning’s discussion. Double Take (Blue Note BT-85121) is the first of two collaborations by Hubbard and Shaw, the other being The Eternal Triangle, recorded two years later. The sextet features Freddie Hubbard on flugelhorn (track: A3, B2) and trumpet (tracks: A1, A2, A4, B1, B3), Woody Shaw on trumpet, Kenny Garrett on alto saxophone (tracks: A1 to A4, B1, B3) and flute (track: B2), Mulgrew Miller on piano, Cecil McBee on bass, and Carl Allen on drums. I own the 1985 U.S. stereo release.

The set opens with Clifford Brown’s Sandu, and the sextet’s mellow melody is led by the front line. Woody is smooth as velvet on the first solo, followed by Kenny’s warm, mellow notes in a short statement. Freddie is up next and swings comfortably to the rhythm section’s support. Mulgrew takes a final short solo before the group reconvenes for the theme’s return. The trio’s introduction opens the tune for the ensemble’s leisurely melody of Boperation by Fats Navarro and Howard McGhee. Freddie takes the lead this time and gets down to business. Kenny swings through the second solo with rich, melodic lines. Woody follows with renewed vitality in the third reading. Mulgrew and Cecil share the last spot with two concise comments ahead of the sextet’s climax.

Lament for Booker by Freddie Hubbard is his tender ballad dedicated to Booker Little. Mulgrew’s delicately gentle introduction gets things started, with Freddie’s flugelhorn leading the group’s melody. As the song’s only soloist, he gives an elegantly graceful performance as the rhythm section provides a lush foundation, leading to the haunting finale. Hub-Tones, one of Freddie Hubbard’s signature compositions, picks up the pace significantly for the sextet’s brisk theme. Woody launches into an exhilarating opening statement. Kenny meets the challenge with a lively second statement. Freddie is at his sharpest in the third lively interpretation, then Mulgrew continues motoring along in the fourth reading. Carl gets a chance to shine briefly before the sextet’s theme restatement fades out softly.

Side Two takes off with the ensemble’s swinging rendition of Desert Moonlight by Lee Morgan. Woody leads the brisk melody and makes an energetic opening statement. Kenny, who isn’t featured in the theme, gets cooking in the second solo. Freddie takes over to give a short, sparkling interpretation, followed by Mulgrew, who gets one quick chorus before the theme is restated. Just a Ballad for Woody is a very pretty ballad written by Woody Shaw and his wife, Theresa Trainello. Woody leads the group again on the tender theme, with Freddie in a supporting role on flugelhorn and Kenny switching to flute on this tune. Woody has the first spot and gives a hauntingly dreamy performance. Kenny concludes the solos with a beautifully tender statement before the theme’s restatement and soft ending.

The sextet turns the temperature up one final time with Kenny Dorham’s Lotus Blossom. This is a showcase for both trumpeters, with Kenny stepping aside for Woody to lead the melody. Freddie is firing on all cylinders for the first solo; then Woody follows with a scintillating statement that will awaken the listener’s senses. The two trumpeters have a vigorous conversation before Carl makes a concise comment, leading to the spirited reprise and climax. Michael Cuscuna produced Double Take, and Rudy Van Gelder was behind the dials of the recording console. It’s a digital recording, but the sound quality is superb, with a stunning soundstage emerging from your speakers as if the musicians are playing in front of the sweet spot in your listening room.

To me, Double Take is more than an exemplary album showcasing two of jazz’s renowned trumpeters; it embodies a heartfelt love letter to trumpet players everywhere. The musicianship is exceptional, and every track was thoughtfully composed by a trumpeter, adding to its special charm. If you’re a fan of either Freddie Hubbard or Woody Shaw, I cordially encourage you to check out Double Take on your next record-shopping trip. It’s a terrific collaboration and an excellent display of both musician’s artistry that should become a welcome addition to your library!

Album Note. Freddie Hubbard is heard in the center of “Lament for Booker,” and Woody Shaw is heard in the center of “Just a Ballad for Woody.” Hubbard plays lead and is heard on the right channel on “Sandu” and “Boperation.” Shaw plays lead on “Just a Ballad for Woody” and is heard on the right channel on the remaining selections.

~ The Eternal Triangle (Blue Note B1-48017) – Source: Discogs.com © 2026 by Edward Thomas Carter

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Requisites

Doin’ Allright ~ Dexter Gordon | By Eddie Carter

This morning’s discussion came up after dinner a few nights ago, when I chose a few titles to play and considerreviewing for our jazz members. After listening, I’d settled on one of my favorite tenor saxophonists, Dexter Gordon. Doin’ Allright (Blue Note BLP 4077/BST 84077) was released in 1961 and is his Blue Note debut, celebrating his comeback from personal struggles and incarceration. The album showcases Gordon at his very best, backed by Freddie Hubbard on trumpet, Horace Parlan on piano, George Tucker on bass, and Al Harewood on drums. I own the 1992 Toshiba-EMI Japanese Stereo reissue in the Blue Note 4000 Series Ultra Collection, sharing the original catalog number.

The album opens with a classic by George and Ira Gershwin, I Was Doin’ All Right. The quintet gets things going with an easy medium groove on the melody. Dexter makes a relaxed entrance for the first solo, followed by Freddie, who swings smoothly and confidently in the second statement. Horace comes in last, complementing the horns with a laid-back reading before the group returns to reprise the theme and fade out gradually. You’ve Changed by Carl Fischer and Bill Carey slows down to a ballad tempo for an emotionally sensitive melody by Dexter. He continues communicating his heart and soul in the opening statement. Freddie speaks next in a warm, emotional tone, and Horace has a deeply expressive moment before the front line returns and slowly takes the song out.

Dexter’s For Members Only ends the first side with an infectious ensemble theme that gets things started. Dexter goes right to work with a relaxing opening statement. Freddie is next, swinging effortlessly with a bright tone and articulate, precise notes. Horace takes his turn last with a laid-back solo ahead of the ensemble’s restatement of the melody and close. Society Red, a funky blues by Dexter Gordon, gets the second side underway with the quintet’s easy-flowing melody. Freddie puts together the first appetizer of this soulful meal. Dexter then shares a rich, bluesy flavor, simmered to perfection, inviting the listener to savor every note. Horace adds a delightful touch of seasoning, and George adds the final ingredient, wrapping up a musical feast that feels like home ahead of the close.

It’s You or No One by Sammy Cahn and Jule Styne wraps up the album on a brisk note, beginning with Dexter’s introduction before the quintet’s lively theme. Dexter takes center stage first with an energetic solo. Freddie adds some bite with the second statement. Horace follows, delivering exuberant verses with an aggressive impact. George takes a short, robust walk in the fourth reading, and Al brings plenty of heat in the finale preceding the group’s return to take the song out. Alfred Lion produced the session, and Rudy Van Gelder managed the recording console. The album’s sound quality is demonstration-class, with a stunning soundstage that if you close your eyes, you’ll swear the musicians are playing right in front of your sweet spot. The front and back covers are glossy, and the record is absolutely quiet until the music starts.

If you’re in the mood for a terrific hard bop album to enjoy anytime of the day or evening, I highly recommend you check out Doin’ Allright on your next record store visit. It makes a great introduction for jazz newcomers discovering Dexter Gordon, and a title I’m sure will also please seasoned fans. It also proves that the tenor saxophonist was not only back, but definitely Doin’ Allright!

~ I Was Doin’ All Right, You’ve Changed – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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HERBIE HANCOCK

Herbie Hancock Celebrates Miles Davis Centennial

This concert features some of the biggest names in jazz, including two of Miles’ former bassists—Ron Carter, who was a member of the legendary Miles Quintet with Herbie, as well as Marcus Miller, who produced Miles’ electric band classic, Tutu, Grammy winning trumpeter and composer Terence Blanchard, former Miles Davis saxophonist Kenny Garrett, esteemed bassist Christian McBride, and conductor, arranger Vince Mendoza. All told, that’s 45 Grammys on one stage honoring an absolute titan of music.

The program will feature music from throughout Miles’ career, including his collaborations with Gil Evans on the landmark albums Miles Ahead and Porgy and Bess, as well as a reimagining of his iconic late ’60s quartet and his fusion era.

Tickets: $39.00 ~ $759 (fee included)

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