Requisites
Intermission Riff ~ Sonny Criss | By Eddie Carter
In 1951, producer Norman Granz, the founder of several jazz labels and the chief architect behind the Jazz at The Philharmonic concerts, began a tour featuring Billy Eckstine at the Shrine Auditorium in Los Angeles, California. During the intermission, an all-star septet led by alto saxophonist William “Sonny” Criss took the stage. The result of their performance is this morning’s album from the library, Intermission Riff (Pablo Records 2310-929), released in 1988 after archivist Eric Miller discovered the tapes. His bandmates are Joe Newman on trumpet, Bennie Green on trombone, Eddie “Lockjaw” Davis on tenor sax, Bobby Tucker on piano, Tommy Potter on bass and Kenny Clarke on drums. My copy is the original U.S. Mono release.
Intermission Riff by Ray Wetzel and Michael H. Goldsen opens the set. Eddie begins with a robust introduction before the ensemble’s lively melody. “Lockjaw” gets busy first in the opening solo. Joe motors along in the next spirited statement, and then Sonny follows with an electrifying reading that receives a huge ovation from the audience at its climax. Green provides an exclamation point with an exhilarating solo into a thrilling ending. How High The Moon by Nancy Hamilton and Morgan Lewis starts with the trio’s calypso introduction preceding the high-spirited theme. Newman starts things off, and then Davis is remarkably assured on the next solo. Potter gives an impressive reading next. Green excels on the following reading, and Criss cooks with passionate enthusiasm on the closer.
A rocking version of Perdido by Juan Tizol, Ervin Drake and Hans Lengsfelder starts with the septet’s vigorous melody. Criss makes a strong impression on the first solo. Newman shows assurance and confidence in the second reading. Tucker takes over with an energetic performance, followed by Davis’ unrestrained enthusiasm. Green enters the next solo with a vengeance, then Clarke closes with a brisk workout into the reprise and ending. Body and Soul by Johnny Green, Edward Heyman, Robert Sour and Frank Eyton begins with Green’s soothing introduction before the pace moves to mid-tempo for the ensemble’s melody. Newman, Tucker, Criss, and Davis all contribute concise readings that are expressed very well.
High Jump by E. Greene culminates the set in a blowing session as fast as the Road Runner after the septet’s joyous exuberance in the melody. Bennie speaks his piece first with the added horsepower of the front line in one chorus. Sonny meets the challenge on the second statement, and then Newman gives an aggressive reading that dares the rhythm section to keep up with him. Davis infuses his solo with a few bars of Wild Blue Yonder while exchanging a few thoughts with Kenny, who responds in explosive form preceding the closing chorus. George Horn initially mastered Intermission Riff and it was digitally remixed by Danny Kopelson. The album’s sound quality does have a few momentary sound dropouts, but Eric Miller thought the music was too important to be edited, so he didn’t remove them.
Intermission Riff gives a glimpse of Sonny Criss, who possessed a beautiful sound that was capable of creating emotional solos. He had much to offer the jazz world, as demonstrated on his albums for Imperial, Impulse, Muse Peacock, Prestige and Xanadu. In 1977, he was diagnosed with stomach cancer, and on November 19 of that year, at age fifty, he took his own life as a result of the constant pain. Whether you’re just discovering his music or are already familiar with his discography, I offer for your consideration on your next record shopping trip, Intermission Riff. It’s a remarkable live performance by
Sonny Criss that swings with the best of them and is recommended for a spot in any jazz library!
~ Body and Soul, How High The Moon, Perdido – Source: JazzStandards.com ~ Sonny Criss – Source: Wikipedia.org © 2024 by Edward Thomas Carter
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Hank Frederic Gregson Wayland was born January 21, 1906 in Fall River, Massachusetts. He learned music from his father who was a musician and played in high school bands. He moved to New York City in 1926, where he played the double bass in theater orchestras and in the studios.
In the 1930s he performed and/or recorded with Benny Goodman, Red Norvo, Artie Shaw, Bunny Berigan, and Larry Clinton. During The Depression, Wayland was forced to send his sons to Florida to live with his wife’s brother while he toured the US and in Europe.
In the early Forties Hank played with Bob Chester, then moved to California the following year where he played with Eddie Miller and Wingy Manone in addition to more work as a studio musician. He appeared in bit parts in low budget Hollywood films, however he did appear without credit in the film Stars and Stripes Forever.
During The Depression, Wayland was forced to send his sons to Florida to live with his wife’s brother while he toured the US and in Europe. He eventually relocated his family to Glendale, California and faded from the scene after the 1950s. He officially retired from his music career in 1968.
Diagnosed with colon cancer in 1978 he underwent a colectomy. Later that year he was suspected of suffering from Alzheimer’s disease. Double bassist Hank Wayland, who never led a recording session, died peacefully on March 27, 1983 while living in a retirement home.
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Antoine Hervé was born on January 20, 1959 in Paris, France. He studied composition at the Conservatoire National Supérieur de Musique. Between 1987 and 1989 he was director of the French National Jazz Orchestra.
Next to musicals, soundtracks for movies and dance shows Hervé has composed a concert for trumpet and a piece for drums and orkest. During 1997 he and Markus Stockhausen founded a quintet.
Emerging as a gifted representative of his generation of improvisers, his delve into fusion music, European classical music, contemporary and modern jazz led him and 12 other musicians to form the group Bob 13. He would go on to create a trio with bassist Michel Benita and drummer Peter Gritz.
His influences have been Bill Evans, Wynton Kelly, Oscar Peterson and McCoy Tyner, as well as Chopin, Debussy and Bartok.
Pianist Antoine Hervé continues to explore the realm of jazz through his compositions and performance.
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Raymond Eberle was born on January 19, 1919 in Mechanicville, Saratoga County, New York. He started singing in his teens without formal training. In 1938 while looking for a male vocalist for his big band asked Bob Eberly if he had any siblings at home who could sing and his brother was hired on the spot.
Eberle went on to find success with Miller, deeming the songs for the film Orchestra Wives, such as the jazz standard “At Last”, to be among his favorites, as they were songs he could make a story out of. During the Forties he appeared in Twentieth Century Fox movies, and several Universal Studios films, singing mostly ballads.
He led his own orchestra, The Ray Eberle Orchestra, as well as the Serenade In Blue Orchestra from 1943. In the 1950s and 1960s.he also appeared on numerous television variety shows. He maintained his band until his death.
After his departure from Miller, Eberle briefly joined Gene Krupa’s band before launching a solo career. He later joined former Miller bandmate Tex Beneke’s orchestra in 1970 for a national tour, and reformed his own orchestra later in the decade.
Vocalist Ray Eberle died of a heart attack in Douglasville, Georgia on August 25, 1979, aged 60.
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James Charles Jackson Jr. was born on January 18, 1957 and raised in Kalamazoo, Michigan. Hailing from a musical family, he grew up surrounded by instrumentalists and vocalists. Before reaching high school, he was the drummer in his brother’s band, Ripple, that recorded and played gigs in the area. When it was time to go on the road his mother was adamant that he must finish high school.
Graduating in 1977 he landed a job in Atlanta, Georgia as the drummer for The Counts. Jimmy played with them for a few years until they disbanded, then transitioned to the Mose Davis Trio. Though much younger than his bandmates, he played well beyond his years.
Getting his big break came with meeting jazz organist Jimmy Smith, who had a show in Atlanta and Davis loaned him his Hammond organ for the performance. After moving the instrument, Jackson asked if he could sit in on the sound check. Blowing Smith away with his playing during the sound check landed him a job with the organist. He would tour the world with the band.
While residing in Atlanta, Jimmy played with the Paul Mitchell Trio at Dante’s Down the Hatch, as well as freelancing around town. Leaving Atlanta in 2006 for New York City and then on to the Washington, D.C. area a year or so later. His heart always considered Atlanta as his second home
Drummer and vocalist Jimmy Jackson, who was affectionately known by most as Junebug, died on January 28, 2012 of complications associated with congestive heart failure at the age of 55.
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