Requisites

Mercy, Mercy, Mercy! ~ The Cannonball Adderley Quintet | By Eddie Carter

Have you ever heard a record so good it literally got into your head and stayed there forever? This morning’s album is one of those for me. Mercy, Mercy, Mercy! (Capitol Records T 2663/ST 2663) is a live album by the Cannonball Adderley Quintet. It was initially said to have been recorded in 1966 at The Club in Chicago. But it was actually recorded at the Capitol Records Tower with an invited audience and an open bar. The discrepancy arose because Adderley and the clUB’s new manager were friends, and the saxophonist offered the club free publicity. That aside, it’s a terrific album that’s worth the money if you enjoy live jazz. 

The quintet consists of Nat Adderley on cornet, Cannonball Adderley on alto saxophone, Joe Zawinul on piano (tracks: A2, A3, B1 to B3) and electric piano (A4), Vic Gatsky on bass, and Roy McCurdy on drums. I own the 1967 U.S. Mono release. The announcer’s introduction sets the stage for Fun, the first of two tunes by Nat Adderley that immediately energizes the audience with the quintet’s lively melody. Cannonball’s brisk lines soar effortlessly in the opening statement, Nat’s spirited response adds warmth, and Joe’s vigorous interpretation ties it all together, showcasing their tight musical chemistry and improvisational skill that truly captures the audience’s excitement.

Cannonball announces the song title to the audience, then notes that their next tune is titled Games, which kicks off with the quintet’s upbeat introduction and theme. Cannonball opens with one of his most inventive solos, then Nat settles into an effervescent groove perfect for finger-popping and toe-tapping. Joe responds with a marvelous interpretation that builds to a satisfying finale. Joe switches to the electric piano as the rhythm section provides a warm backdrop for Cannonball’s intro to the album’s defining moment, Joe Zawinul’s Mercy, Mercy, Mercy. The quintet’s memorable theme and Joe’s soulful solo make this track a highlight, inviting listeners to experience the album’s emotional depth firsthand.

Sticks by Julian Adderley shifts the album into a finger-snapping tempo, opening the second side with the quintet’s danceable melody. Nat takes the lead with an energetic reading, leaving room for his brother to soar next. Joe comes in last and adds an indelible contribution before the ensemble’s theme restates and ends firmly. Hipadelphia by JosefZawinul begins with the ensemble’s relaxed melody. Cannonball has the first say and moves comfortably through the rhythm section with an easy-flowing stream of ideas. Nat rocks the second reading with a light, airy sound. Joe wraps up everything smoothly in the closer before the horns return to take the song out.

The set wraps up with Cannonball’s warm introduction to his tune, Sack O’ Woe. The rhythm section softly sets the mood for the quintet’s lively melody, a heartfelt blend of blues and church influences. Cannonball takes the spotlight first with a soulful sermon. Nat brings everyone to their feet with his finger-snapping, toe-tapping performance. Joe adds emotional intensity in his turn, and Vic finishes off ahead of the ensemble, bringing it all together in the closing chorus. David Alexrod produced Mercy, Mercy, Mercy, while the recording engineer remains a mystery. The album’s sound quality is excellent, making you feel like you're right there in the studio audience, sharing in the joy of the music as it happens.

Mercy, Mercy, Mercy truly shines as a jazz album that is both beautifully crafted and immediately captivating. The quintet’s arrangements and performances flow together smoothly, letting each musician shine and filling the album with warmth and vibrant energy. The title track really highlights what makes this album so special, while the other songs show that Cannonball Adderley and his band could groove in many different ways. I’m sure those in attendance walked away feeling like they had experienced something truly memorable. If you’re already a fan of the Cannonball Adderley Quintet or discovering their music for the first time, I encourage you to pick up Mercy, Mercy, Mercy on your next record shopping trip. It’s a lively and cohesive album that’s perfect for focused listening and relaxing enjoyment!

© 2026 by Edward Thomas Carter

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THAD WILSON JAZZ ORCHESTRA

The Thad Wilson Jazz Orchestra performs a special tribute to two of jazz’s most beloved vocal legends, Billy Eckstine and Sarah Vaughan. Led by acclaimed trumpeter, composer, and arranger Thad Wilson, the orchestra brings together some of the finest musicians in the DMV for an evening celebrating the elegance, swing, and sophistication of these iconic artists.

Featuring special guest vocalists Alison Crockett and Steve Washington—two of the region’s most respected and in-demand jazz performers—the concert will showcase classic standards, romantic ballads, and swinging favorites associated with Eckstine and Vaughan. With lush big band arrangements, inspired improvisation, and unforgettable vocal performances, this tribute honors the enduring legacy of two voices that helped shape the sound of jazz, while offering fresh interpretations for today’s audiences.

Cover:  $45.00 ~ $55.00 | $4.16 – $4.86 Fees

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FREDA PAYNE

This lady will be paying tribute to the legendary voices of jazz: Nancy Wilson, Sarah Vaughn, Peggy Lee, Dinah Washington, GloriaLynne, Dakota Staton, Lena Horne, Eartha Kitt & Ella Fitzgearld.

As an artist with over 6 decades of performing & recording under her belt, Freda is so much more than the Pop/soul diva with million selling hits like: “Band of Gold” & “Bring Boys Home” She is a jazz chanteuse that can swing, scat, and bebop with the best of them. How can she not be? -, especially with musical interest at the early age of 13 by Motown founder, Berry Gordy and later by the legendary Quincy Jones, who produced her first jazz album: “After the lights go down and much more” in 1963”.

She has toured with Duke Ellington, Pearl Bailey & Lionel Hampton on the road didn’t hurt either. ennyIn addition to concerts all over the world, some of her Broadway credits include: “Jelly’s Last Jam”, “Sophisticated Ladies” & “Blues In The Night”. The evening will be hosted by R&B legend, Kenny Lattimore who will also perform a song with Freda.

Special Guest Vocalist Thomasina Gross Sings Eartha!.

The evening of music will be accompanied by a 5-piece band under the musical direction of maestro, Josh Nelson.

Cover: $62.15

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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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