Requisites

Perdido ~ The JATP All-Stars | By Eddie Carter

This morning’s column features some of the best musicians in jazz. Jazz At The Philharmonic was a series of concerts organized by Norman Granz. From 1944 to 1949, this revolving ensemble of all-stars made one of the greatest impacts on the public since the heyday of Swing. Perdido (VSP-Verve VSP-16/VSPS-16) is a 1966 reissue highlighting two performances by The JATP All-Stars from September 27, 1947. The song debuted on Norman Granz’s Jazz At The Philharmonic, Volume Eight. The personnel is Howard McGhee on trumpet, Bill Harris on trombone, Illinois Jacquet, Flip Phillips on tenor sax, Hank Jones on piano, Ray Brown on bass, and Jo Jones on drums. My copy used in this report is the 1966 US Mono reissue.

Side One gets underway with Perdido, a jazz standard written by Juan Tizol in 1941. Ervin Drake and Hans Lengsfelder added lyrics three years later. In Spanish, Perdido means lost and the song refers to the street in New Orleans. The rhythm section introduces the tune, segueing into the ensemble’s mid-tempo melody. Flip opens the solos at a deceptively relaxed groove, before elevating to a joyous swing that captures the enthusiasm of the crowd. Howard adds drive and excitement to the second reading. Illinois energizes the third statement with an invigorating power supply. Next, Hank has a good deal to say, then Bill captivates the audience in the closing statement with a mix of poise and fire ahead of the ensemble’s finish.

Side Two opens with Mordido, a jaunty tune occupying the second side. The composer is listed as Norman Shrdlu but is Norman Granz. Everyone gets an opportunity to solo, and the song gets underway with the septet’s collective melody. Illinois is up first with jubilant shouts of joy in the opening statement. Howard takes over and romps through the second solo with great passion. Hank takes the reins next and cooks with conviction. Bill follows and has an exceptionally brisk conversation with the rhythm section. Ray takes his bass for a very spirited walk, then Flip provides a scintillating statement of concentrated heat. Jo fuels the finale with energetic brushwork leading to the closing chorus and appreciative applause from the crowd.

Val Valentin engineered the concert’s original recording, and the remastering was done by Dave Greene. The sound quality of this reissue is a little bright with no distortion during the highs, midrange, and low end. However, there’s a little noise during the first few moments of the opening track. Norman Granz was one of the most successful jazz promoters and produced Jazz At The Philharmonic concerts in the US, Canada, Europe, and Japan from 1944 to 1983. He also founded five record labels, Clef, Down Home, Norgran, Pablo, and Verve. The roster of musicians and vocalists he toured with is the definitive Who’s Who in Jazz. Granz also fought for equal rights for the black musicians who worked for him, paying them the same wage as white musicians, and providing the same lodging as well.

I chose Perdido for this week’s discussion to honor one of my favorite tenor saxophonists, Illinois Jacquet whose birthday was recently observed on October 31. This album also suspends in time one of the best jazz concerts by The JATP All-Stars during the forties with an enthusiastic audience at one of the greatest concert venues in the world, Carnegie Hall. While it may not be considered an essential record for your library, I hope I’ve piqued your curiosity enough to check out Perdido by The JATP All-Stars on your next vinyl shopping trip. It’s a great introduction to the Jazz At The Philharmonic concerts, and you’ll be rewarded with some of the best live jazz albums you’ll hear that still swing today!

~ Postscript – The date of the recording on my reissue of Perdido is listed as November 1947. However, when checking further in the booklet of my Japanese box set, Norman Granz’ Jazz At The Philharmonic – 1940s (1981), Perdido was recorded on September 27, 1947. Likewise, Mordido and Endido were also recorded that night. – Source: jazzdisco.org ~ Norman Granz’ Jazz At The Philharmonic, Volume Eight (Mercury Records 11000, 11001, 11002), Norman Granz’ Jazz At The Philharmonic – 1940s (Verve Records UMV 9070, 9071, 9072)  – Source: Discogs.com ~ Perdido – Source: JazzStandards.com ~ Norman Granz – Wikipedia.org © 2022 by Edward Thomas Carter

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Warren Bernhardt was born on November 13, 1938 in Wausau, Wisconsin. His early childhood exposure to piano was due to his pianist father and he learned some rudiments of keyboarding from his friends. At five his parents moved to New York City, where he began studying seriously under varied instructors. After his father’s death he suffered a period of depression and quit music opting to study chemistry and physics at the University of Chicago. However, exposure to blues and jazz influenced the rest of his career.

From 1961 to 1964 he worked in Paul Winter’s sextet, which led to his return to New York. He would go on to work with George Benson, Gerry Mulligan, Jeremy Steig among others. He developed a close relationship with the pianist Bill Evans, who served as his mentor. Bernhardt released several solo albums in the Seventies, and eventually became a member of the jazz fusion group Steps Ahead. In 1971, he provided the piano accompaniment on the Don McLean song Crossroads.

Warren has toured as the musical director with Steely Dan and can be heard on their Alive in America album. He has performed on Simon and Garfunkel’s Old Friends tour, on Art Garfunkel’s solo tours, and on the latter’s presentation Across America.

In 2009 he reunited with his 1973 band L’Image, featuring Mike Mainieri, David Spinozza, Tony Levin and Steve Gadd. They released the album L ‘Image 2.0. Pianist Warren Bernhardt transitioned on August 19, 2022 of natural causes.

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James Edward Pugh, born November 12, 1950 in Butler, Pennsylvania began playing the trombone around the age of ten. He attended the Eastman School of Music from 1968 to 1972, where he played in an ensemble under Chuck Mangione.

Pugh toured and recorded with the Woody Herman Band for four years from 1972 and briefly performed with Chick Corea in 1977. He then concentrated on studio session work for jazz and popular musicians. In 1984, he was co-leader for the album The Pugh–Taylor Project. He also composed for and played on the album X Over Trombone.

Trombonist and composer James Pugh continues to perform and record sessions for jazz, pop and Broadway soundtracks.

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Irvin Stokes was born November 11, 1926 in Greensboro, North Carolina. He moved to New York City in 1947 and recorded with a Charlie Singleton sextet in 1949. Throughout the 1950s he worked in the big bands of Tiny Bradshaw, Duke Ellington, Mercer Ellington, Erskine Hawkins, Buddy Johnson, Andy Kirk, and Jimmie Lunceford. 

By the end of the decade Stokes was playing in Austin Powell’s ensemble, then went on to record with Bobby Donaldson and Lou Donaldson in the early 1960s. Principally with Broadway musical bands in the 1970s such as Hair, in 1978 he played on the Thad Jones-Mel Lewis Orchestra’s tour of Europe, and with Panama Francis at the end of the decade. 

His credits in the 1980s included George Kelly, Illinois Jacquet, Oliver Jackson, and the Count Basie Orchestra. He was a regular performer alongside Spanky Davis at Doc Cheatham’s Sunday brunch gig at the Sweet Basil Jazz Club, continuing in this role after Cheatham’s death in 1997, when Chuck Folds took over. He also played with the Statesmen of Jazz late in the 1990s. 

Trumpeter Irvin Stokes, who recorded two albums as a leader, Just Friends and Broadway w/Oliver Jackson, retired from music.

Bestow upon an inquiring mind a dose of a Greensboro trumpeter to motivate the perusal of the genius of jazz musicians worldwide whose gifts contribute to the canon…

Irvin Stokes: 1926 | Trumpet

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David Theak was born on November 10, 1970 in Sydney, New South Wales, Australia and was raised in a house of impromptu parties. His childhood found him listening to his downstairs neighbor teaching piano every afternoon which led to lessons and a piano for Christmas. His bandmistress at Mona Vale PS introduced him to the saxophone but paid his dues on the baritone horn for a couple of years. After a brief stint at the Conservatorium High School, he returned to the local high school with some enthusiastic music teachers. They encouraged us to improvise and created opportunities for us to play in jazz and rock bands.

he following years saw David practicing, composing, gigging, releasing his own albums and organizing tours of Australia & Europe for his quartet, theak-tet, but with limited opportunities in the 90’s, he became involved with a musician led organization, the Jazzgroove Association, which received NSW and Federal government funding that allowed presentation of new music every week as well as create a record label and form an original creative jazz orchestra, The Jazzgroove Mothership Orchestra.

He went on to become involved with SIMA, WAYJO and the formation of the Australian National Jazz Orchestra and ANJO Youth Big Band. David has been running a boutique international jazz festival for the past five years, is currently a Senior Lecturer in Jazz at the Sydney Conservatorium of Music, Artistic Director of the Australian National Jazz Orchestra, an advisory panel member of the Western Australian Youth Jazz Orchestra, President of the Sydney Improvised Music Association and Artistic Director of the Sydney Con Jazz Festival.

Jazz saxophonist, composer, bandleader, educator, festival director and jazz protagonist, David Theak, who continues to compose, perform and tour, is the artistic director of the Jazzgroove Mothership Orchestra and collaborates with a who’s who of international jazz musicians.

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