Requisites

Motor City Scene ~ Thad Jones Sextet | By Eddie Carter

This morning’s record submitted for your consideration is Motor City Scene (United Artists UAL 4025/UAS 5025) by The Thad Jones Sextet. It hit the stores in 1959 and consists of tunes composed by the leader. Thad comes from a musical family; both his brothers were excellent musicians. His older brother Hank was a consummate pianist, and his younger brother Elvin was a dynamic drummer whose birthday was recently observed on September 9. The ensemble is Thad Jones on cornet (tracks: A1, B1, B2), and flugelhorn (track: A2), Al Grey on trombone, Billy Mitchell on tenor sax, Tommy Flanagan on piano, Paul Chambers on bass, and Elvin Jones on drums. The copy used in this report is a friend’s US original Mono deep groove album.

Side One gets underway with Let’s Play One, an easy-going blues that Tommy opens with a brief introduction that evolves into the sextet’s collective theme. Tommy starts the solos with a relaxing presentation, next Al comes in for a laid-back statement. Billy steps up next to give a marvelous reading, then Thad contributes a very pleasant presentation. Paul walks leisurely into the finale preceding the ensemble’s finish. Minor on Top picks up the pace gradually on the group’s lightly-swinging melody. Thad leads off with a charming flugelhorn statement, then Billy hits a relaxed groove on the next solo. Paul constructs a delicious bass performance next. Al delivers the next reading with absolute assurance, followed by Tommy and Elvin who share an attractive exchange into the closing chorus.

Like Old Times takes the tempo up a few notches to start Side Two with the front line leading a brisk melody. Billy takes the lead this time with a swinging solo. Tommy says his piece next in a rollicking reading. Al romps through a lively presentation next. Elvin makes a brief appearance, followed by Paul who puts together a passionate performance. Thad gets the last word and cooks on muted cornet leading to the sextet’s ending. No Refill begins with a soft introduction by Elvin segueing into the sextet’s soothing opening chorus. Thad’s first solo on muted cornet is restrained in its mood of gentle warmth and graciousness. Billy handles the second statement discreetly, and Tommy adds the exclamation point with a thoughtful performance ahead of the sextet’s ending theme and slowly fades into silence.

Motor City Scene was produced by Tom Wilson, and the man behind the dials was Lewis Merritt. I was impressed with the sound quality of the recording. The album has a superb soundstage with vivid sonics. The instruments emerge from your speakers as if the sextet’s playing in front of your favorite chair and the record is quiet for its age. Thad and his colleagues are in excellent form throughout, and this album highlights Thad’s ability as a composer. If you’re a Hard-Bop fan, I invite you to check out Motor City Scene by The Thad Jones Sextet, the next time you’re out shopping for records. It may be hard to find, as the few LPs I’ve seen online are already at collector’s prices, but your diligence will be rewarded with a great album for your library that’s highly recommended!

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Daily Dose Of Jazz…

Steve Marcus was born September 18, 1939 in The Bronx, New York, and studied at the Berklee College of Music in Boston, Massachusetts between 1959 and 1961. He gained experience playing in the bands of Stan Kenton, Herbie Mann and Larry Coryell from 1963 to 1973.

His debut album as a leader included an arrangement of the Beatles’ song, Tomorrow Never Knows, which also was the album’s title. He worked with jazz drummer Buddy Rich for the last twelve years of the drummer’s life. After Rich died, Marcus led the band and renamed it Buddy’s Buddies.

Saxophonist Steve Marcus transitioned on September 25, 2005 in New Hope, Pennsylvania. He was 66.

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Daily Dose Of Jazz…

Bill McKinney was born William McKinney on September 17, 1895 in Cynthiana, Kentucky. Early in his career he worked as a drummer in a circus band until he was inducted into the Army in World War I. After service, he settled in Springfield, Ohio where he took over leadership of the Synco Jazz Band.

After hiring drummer Cuba Austin, McKinney worked as leader and business manager. After touring the U.S. Midwest, they got a residency at the Arcadia Ballroom in Detroit, Michigan in 1926. While there, they were heard by bandleader and music promoter Jean Goldkette, who arranged a more lucrative home base for the band in Detroit’s Graystone Ballroom. The band was renamed McKinney’s Cotton Pickers.

During the Great Depression the band broke up in 1934 and Bill led and played with a dance band in Boston, Massachusetts for a time. From 1937 on McKinney managed a Detroit Cafe with a dance floor and live bands who McKinney booked, while booking bands for other locations on the side.

Drummer Bill McKinney retired in the 1950s and spent his last years in his childhood hometown of Cynthiana, where he transitioned on October 14, 1969 at 74.

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Daily Dose Of Jazz…

Charles Bullock, known in the industry as Chick, was born on September 16, 1898 in Montana to immigrants from England.. He belonged to a select group of mostly freelance vocalists who sang the vocal refrains on hundreds of New York sessions, which included Smith Ballew, Scrappy Lambert, Irving Kaufman, Arthur Fields, and Dick Robertson. Some of these vocalists were also musicians leading bands, but their singing was more often featured.

Though he began his career in vaudeville and sang in movie palaces, he rarely performed live because his face was disfigured due to an eye disease. His career as a studio musician took off in the late 1920s, and in the 1930s he sang with musicians such as Duke Ellington, Luis Russell, Cab Calloway, Bunny Berigan, Bill Coleman, Jack Teagarden, Tommy Dorsey, Jimmy Dorsey, Joe Venuti, and Eddie Lang.

Bullock’s recordings proved so popular that he used pseudonyms for some recordings, including the name Sleepy Hall. However, in the 1940s the World War II recording ban essentially ended Bullock’s career and he quit the music business in 1942. He moved to California in 1946 and took up real estate, opening his own company.

Chick was mostly associated with the ARC group of labels including Melotone, Perfect, Banner, Oriole, and Romeo. Many of his records were issued under the name Chick Bullock and his Levee Loungers.

Jazz and dance band vocalist Chick Bullock, who recorded some 500 tunes over the course of his career,  transitioned on September 15, 1981, in California at the age of 82.

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Daily Dose Of Jazz…

George Colar, better known as Kid Sheik or Kid Sheik Cola, was born on September 15, 1908 in New Orleans, Louisiana. In his youth he started playing blues piano around 1920, but took up trumpet after being inspired by and taking lessons from Wooden Joe Nicholas and Chris Kelly for whom he sat in from time to time. During this period he briefly had a band of his own.

In the Thirties he played second trumpet with Buddy Petit, marched with Kid René’s band and from 1952 was a member of the Eureka Brass Band. He worked with George Lewis in the mid-1940s. His Gin Mill Blues is considered a nice fish fries boogie.

Over the years, Kid Sheik performed with many jazz notables, including Harold Dejan’s Olympia Brass Band and Louis Armstrong. By the 1960s he had his own band. He was still blowing strong in New Orleans in 1970.

Kid Sheik was the subject of the official New Orleans Jazz & Heritage Festival poster in 1990. He is featured in a 35mm twelve-minute black and white film directed by Frank Decola titled The Cradle Is Rocking, a copy of which is in the Folkstreams Collection in the Southern Folklife Collection of the Wilson Library at the University of North Carolina in Chapel Hill.

He is most associated with Dixieland jazz and was a long-term performer with the Preservation Hall Jazz Band. In his later years, he married pianist Sadie Goodson. Trumpeter Kid Sheik Cola, who got his nickname from his chic style of dress, transitioned on November 7, 1996.

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