Requisites
Cunningbird ~ Jimmy Knepper Quintet | By Eddie Carter
A few years back, during our anniversary trip to Honolulu, Hawaii, my wife and I took a walk along Bethel Street in Chinatown and found our way into Skull-Face Books and Vinyl. There, I came across an album by the Jimmy Knepper Quintet, which I listened to a few nights ago, inspiring me to feature it in this morning’s discussion. Cunningbird (SteepleChase Records SCS-1061) is a 1977 Danish release, the trombonist’s fourth as a bandleader. He’s best known for working with Charles Mingus, Gil Evans, the Mingus Dynasty, and the Thad Jones-Mel Lewis Orchestra. Here, he’s joined by Al Cohn on tenor saxophone, Roland Hanna on piano, George Mraz on bass, and Dannie Richmond on drums. The copy I own is the 1980 U.S. stereo reissue that shares the original catalog number.
Side One opens with Figment Fragment, the first of six originals by Jimmy Knepper. The opening ensemble is a spirited romp by the group with Knepper and Cohn at the forefront. Jimmy is up first and gives an energetic solo, then Al jumps in with a lively bounce. Roland follows with a delightful reading, and George walks with assurance next. Knepper and Cohn share a short workout ahead of the closing chorus. Languid is a lovely ballad that begins with a touchingly tender ensemble melody. Knepper’s opening solo is executed with warmth and intimacy. Hanna delivers a short statement, delicately leading to the group’s elegant reprise and ending.
Just Tonight is a fast bopper that gets busy right from the start of the ensemble’s speedy theme. Jimmy kicks things off with a fiery opening statement. Cohn takes over, pouring energy into every note. Roland builds the third reading with a compelling intensity next. George steps in last and walks briskly before the quintet wraps up with a vigorous restatement of the theme. Cunningbird, the title selection, opens the second side solemnly, then picks up the pace for Knepper to state the theme. Knepper cruises comfortably into the lead solo. Mraz follows and solos effectively. Cohn swings lightly next, and Hanna takes aim last, making a concise comment into the reprise and close.
Noche Triste is a haunting ballad with a Latin groove underpinning the ensemble’s graciously inviting melody. Jimmy leads the way with a thoughtfully tender solo. Al fills the next interpretation with a soft, elegant beauty. Roland etches a reading of lyrical grace next, and George gets the last words to deliver a wonderfully soothing statement preceding the group’s gentle reprise and fadeout. Spotlight Girl ends the album on an upbeat note with the quintet’s theme. Knepper gets to the point right away in the first solo. Mraz responds vigorously in the following reading. Hanna finds new avenues to explore in the third statement, and Knepper and Cohn have a brief conversation that leads back to the lively reprise and climax.
Nils Winther produced Cunningbird, and Elvin Campbell managed the recording console. The album’s sound quality is excellent with no harshness from top to bottom. The record is silent until the music starts, and the soundstage of each instrument is splendid. If you’re a hard bop fan and are in the mood for a great ensemble album, I invite you to consider Cunningbird by the Jimmy Knepper Quintet on your next record-shopping trip. It’s a terrific album by one of the unsung heroes of the slide trombone, who’s deserving of greater recognition and serves as a perfect introduction to his discography as a leader and sideman!
© 2026 by Edward Thomas Carter
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Requisites
Club Date ~ Yusef Lateef | By Eddie Carter
A few nights ago, I spent time with an album I hadn’t listened to in a while and thought it deserved discussing. Club Date (ABC Impulse ASD-9310), by multi-instrumentalist Yusef Lateef, was released in 1976 and showcases his live performance at Pep’s Lounge on June 29, 1964, first heard on Live at Pep’s. My introduction to Lateef’s artistry came through his work on Cannonball Adderley Sextet in New York, Nippon Soul, and Jazz Workshop Revisited. The tracks on Club Date were not available before this release. The group includes Richard Williams on trumpet; Yusef Lateef on flute (tracks B1, B3), oboe (track B1), and tenor saxophone (tracks A1 to A3, B2); Mike Nock on piano; Ernie Farrow on bass; and James Black on drums. The copy I own is the 1976 U.S. Stereo release.
The set opens with Oscarlypso by Oscar Pettiford, a lively tune featuring a Caribbean groove from the start of Ernie’s introduction to the quintet’s theme. Yusef takes the opening solo, as smooth as velvet. Richard follows with a cheerfully festive performance. Mike enters the spotlight last, with a relaxing reading, before both horns share a short exchange leading to the reprise and a vibrant finish. Gee Sam Gee by Yusef Lateef is a slow-moving ballad that begins with the saxophonist stating a hauntingly dreamy theme and opening solo. Williams and Nock follow with two delicately gentle statements preceding Lateef’s return for the closing chorus.
Richard Williams’ Rogi brings the beat way up to end the first side with the group’s collective melody. Yusef steps up first with a spirited performance, then Richard vigorously launches into the following solo. Mike has the last word with an energetic statement ahead of the theme’s return and climax. Brother John, Yusef Lateef’s tribute to John Coltrane, opens the second side with the rhythm section’s trio to Lateef’s switching to oboe for the melody and adventurous opening statement. Williams takes flight next in a scintillating solo. Nock keeps the listener captivated, sailing smoothly until the final note, while Yusef’s flute comments shadow him, before the quintet returns to take the song out.
Yusef Lateef introduces P-Bouk, a speedy original by the saxophonist that the ensemble takes out of the gate at a vigorous pace. Yusef soars upward into the sky on the opening solo with joyful exhilaration. Richard comes in cooking hard next, then Mike meets the challenge with a robust reading, leading to the theme’s restatement and the introduction of Nu-Bouk, also by Yusef Lateef, which he describes as a new blues. He’s back on the flute as he glides over the rhythm section for the soulful melody and lead solo. Williams makes his case in a short statement, returning to the theme and the group’s down-home ending.
Bob Thiele produced the initial session for Club Date, and Esmond Edwards supervised this release, but the identity of the engineer who recorded it remains unknown. The sound quality is very good for a ‘60s live date, with an excellent soundstage that transports the listener to the club’s audience. If you’re new to the music of Yusef Lateef, or are in the mood for a wonderful live album to listen to after a long day or week, I offer for your consideration Club Date by Yusef Lateef. It gives a glimpse into an incredible musician who transcended hard bop through music inspired by exotic locales. While the recording’s live atmosphere adds raw authenticity, it’s the interplay among the players that truly shines, making this record a rewarding listen for both longtime fans and newcomers to Lateef’s work!
~ Cannonball Adderley Sextet in New York (Riverside RLP-404/RLP-9404), Jazz Workshop Revisited (Riverside RM 444/RS 9444), Live at Pep’s (Impulse! A-69/AS-69), Nippon Soul (Riverside RM 477/RS 9477) – Source: JazzStandards.com
© 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Tiny Parham was born Hartzell Strathdene Parham on February 25, 1900 in Winnipeg, Canada. The pianist and bandleader grew up in Kansas City and worked at The Eblon Theatre, mentored by ragtime pianist and composer James Scott. He would later tour with territory bands in the Southwest before moving to Chicago in 1926.
He is best remembered for the recordings he made in Chicago between 1927 and 1930 working with Johnny Dodds along with several female blues singers and with his own band. Most of the musicians Parham played with are not well known in their own right, though cornetist Punch Miller, banjoist Papa Charlie Jackson, saxophonist Junie Cobb and bassist Milt Hinton are exceptions.
His entire recorded output for Victor are highly collected and appreciated as prime examples of late 1920’s jazz. Tiny favored the violin and many of his records have a surprisingly sophisticated violin solos, along with the typical upfront tuba, horns and reeds.
After 1930 he found work in theater houses, especially as an organist and his last recordings were made in 1940. The cartoonist R. Crumb included a drawing of Parham in his classic 1982 collection of trading cards and later book “Early Jazz Greats” of which Parham was the only non-American born so included in addition to the book’s bonus cd containing a Parham track.
Tiny Parham passed away on April 4, 1943 in Milwaukee, Wisconsin.
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Requisites
Jackie’s Bag ~ Jackie McLean | By Eddie Carter
Alto saxophonist, Jackie McLean, enters this morning’s spotlight with an excellent 1961 hard bop album, Jackie’s Bag (Blue Note BLP 4051/BST 84051). It comprises two sessions from 1959 and 1960, and two all-star ensembles join him. Donald Byrd (tracks: A1-A3), Blue Mitchell (B1 to B3) on trumpet, Tina Brooks (B1 to B3) on tenor sax, Sonny Clark (A1 to A3), Kenny Drew (B1 to B3) on piano, Paul Chambers on bass, Philly Joe Jones (A1 to A3), and Art Taylor (B1 to B3) on drums. The copy I own is the 2008 Classic Records mono audiophile deep groove reissue, sharing the original catalog number.
Side One opens with Quadrangle, the first of five originals by Jackie McLean. It takes off straight into the stratosphere from the start of the quintet’s brisk melody. Jackie takes a sharp corner into an energetic opening solo, then Donald continues navigating traffic in the next lively statement. Philly Joe tackles the final solo vigorously, leading back into the closing chorus. Blues Inn begins with the ensemble’s relaxed theme. McLean opens with an easygoing solo, then Byrd compels the listener to leave their troubles behind in the following statement. Clark has an enjoyable interpretation next, and Paul’s short walk leads the group back into the theme’s restatement and close.
Fidel gets going with Philly Joe’s introduction to the group’s upbeat melody. Donald has the first solo and makes the most of every note. Jackie takes over and swings so passionately that the listener is sure to be tapping his toes and snapping his fingers. Sonny’s rhythmic agility in the closer flows efficiently into the closing chorus and ending. Appointment in Ghana starts the second side with the front line’s introduction segueing into the sextet’s lively melody. McLean leads off and shows he can cook with the best of them. Mitchell adds some bite to the second solo, then Brooks ignites the next reading with plenty of heat. Drew gets the last word ahead of the group’s tasty finale.
A Ballad For Doll is a heartfelt tribute from Jackie to his wife, Dolly. The sextet gently slows things down for a warm and affectionate opening chorus. Kenny shines in the solo spotlight with a delicately beautiful interpretation that builds into the group’s touching climax. Isle of Java by Tina Brooks brings the album to a close, picking up the tempo one last time for Brooks, setting the spirited melody in motion against the sextet. McLean comes out swinging first with a lively interpretation. Mitchell maintains the groove with an effervescent solo. Brooks responds with a statement full of zest. Drew is on the trail of the front line in the following reading, and Chambers gets a moment to shine, preceding the theme’s reprise and fadeout.
Alfred Lion produced Jackie’s Bag, and Rudy Van Gelder managed the recording console. The album’s sound quality is clean and crisp, leaping from the speakers with stunning fidelity and absolutely no background noise. Bernie Grundman mastered the audiophile reissue, and the record was pressed on 200-gram Quiex SV-P Hand Made Super Vinyl. The record is also silent until the music starts. If you’re in the mood for an excellent hard bop album, Jackie’s Bag, by Jackie McLean, is an outstanding entry point to his artistry and discography. The album also offers a vivid picture of the music landscape in the late 1950s and early 1960s, and should make a welcome addition to any jazz fan’s library!
© 2026 by Edward Thomas Carter
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Requisites
Nights At The Keystone ~ Dexter Gordon | By Eddie Carter
Dexter Gordon’s return to the United States generated significant excitement among his fans. After his triumphant return to the Village Vanguard and his 1976 performance, which produced the album Homecoming, he began touring regularly. This morning’s album from the library features the tenor saxophonist and his quartet at one of San Francisco’s notable jazz clubs. Nights At The Keystone (Blue Note BABB-85112) is a two-record set documenting his performances over several nights in 1978 and 1979 at the Keystone Korner. George Cables on piano, Rufus Reid on bass, and Eddie Gladden on drums round out the group. The copy I own is the 1985 U.S. stereo release.
The album opens with the quartet’s tender rendition of Sophisticated Lady by Duke Ellington. Dexter introduces the song with a dreamy melody, which he sustains with remarkable sensitivity in his opening statement. George’s subsequent solo evokes a bygone era of innocence and joy. Dexter returns to add a few final gentle thoughts before the closing ensemble and audience’s applause. Gordon speaks to the audience and introduces It’s You or No One by Jule Styne and Sammy Cahn. The quartet launches into a spirited theme, then Gordon takes charge on the first solo, soaring into the stratosphere. Cables tackles the following solo at a brisk pace, then Gordon trades lively choruses with Gladden, paving the way for a swift return to the theme and a spirited finish.
The rhythm section opens Dexter Gordon’s Antabus with an energetic introduction. The quartet then is off to the races with a brisk melody. Dexter ignites the opening interpretation with fiery tenor saxophone lines. George continues cooking with agility in the following statement, then Dex takes the reins again briefly before the quartet takes the song out. Easy Living by Ralph Rainger and Leo Robin comes from the 1937 film of the same name and slows the ensemble down for the pianist’s introduction, segueing to the quartet’s gentle theme. Dexter’s opening statement is sure to melt all the tension in your body away with delicacy and tender warmth. Cables responds with a deceptively elegant approach that picks up the pace to midtempo ahead of Gordon’s return for the theme’ restatement and ending.
The tempo moves upward again to begin side three with the quartet’s lively version of Tangerine by Johnny Mercer and Victor Schertzinger. The rhythm section provides a lush foundation for Dexter’s melody to flow comfortably at an easy beat. Dexter takes the spotlight first with a down-home, soulful flavor that swings from the first note to the finale. George has the next spot and makes his presence felt preceding the closing chorus. More Than You Know by Vincent Youmans, Edward Eliscu, and Billy Rose begins with the group’s elegantly graceful introduction and melody. Gordon again shows off his sentimental side with a hauntingly tender lead solo. Cables steps up next for a short, serene statement that builds as it unfolds. Gordon has the final say ahead of the group’s gorgeous finale.
Side Four concludes the album with Come Rain or Come Shine, by Harold Arlen and Johnny Mercer, giving everyone a lengthy solo. The quartet’s medium tempo sets the song’s introduction and opening chorus in motion. Dexter is up first with a neatly paced stroll, then George delivers a splendid performance. Rufus walks with a soulful groove next, and Dexter and Eddie engage in a brief exchange before the quartet’s return and finale. Todd Barkan produced Nights at the Keystone, and Rich McKean managed the recording console. Malcolm Addey was the mixing engineer, and Rudy Van Gelder mastered the album.
The sound quality of this live album is exceptional, truly capturing the ambiance of Keystone Korner and offering an impressive soundstage that highlights The Dexter Gordon Quartet at their finest. If you’re searching for a top-notch live performance by one of jazz’s legendary tenor saxophonists, Nights at the Keystone by Dexter Gordon is well worth checking out during your next visit to the record store. It spotlights the tenor saxophonist in peak form, blending technical brilliance, improvisational flair, and deep musical chemistry throughout the set!
~ Homecoming (Columbia PG 34650) – Source: Discogs.com ~ Come Rain or Come Shine, Easy Living, More Than You Know, Tangerine – Source: JazzStandards.com © 2026 by Edward Thomas Carter
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