Three Wishes

Julian “Cannonball” Adderley told the Baroness that his three wishes were: 

1. “I wish that racial discrimination would be eliminated from the face of the earth, in all directions.”
2. “I wish for some sort of subsidy for the jazz art, so that those truly dedicated artists may create music, let’s say unscathed or distorted because of social and economic necessity. Only under these circumstances may there exist jazz expression free from bitterness, jealousy, grief, and the put-down syndrome.”
3. “I must honestly confess that I would wish for certain various and sundry circumstances indigenous to healthy and happy home life for my wife and myself.”

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Requisites

Lee Konitz With Warne Marsh ~ Lee Konitz & Warne Marsh | By Eddie Carter

This morning’s choice from the library is an album bringing together two of the best musicians from the Cool Jazz school, Lee Konitz on alto sax and Warne Marsh on tenor sax. Lee Konitz With Warne Marsh (Atlantic 1217) was recorded and released in 1955. Ronnie Ball (track: B3), Sal Mosca (tracks: A2, A4 to B2, B4) on piano, Billy Bauer on guitar, Oscar Pettiford on bass, and Kenny Clarke on drums round out the stellar supporting cast. My copy used for this report is the 2018 Speakers Corner Mono audiophile reissue sharing the original catalog number.

Side One begins with Topsy by Edgar Battle and Eddie Durham. Oscar starts an elegant bass introduction segueing into a collective subtle theme minus both pianists. Lee opens with a relaxing informality on a lyrical, soft-spoken statement.  Oscar delivers the next reading with exquisite skill and Warne excels on the final solo before both saxes take the closing chorus into a soft climax. The sextet turns the beat upward on There Will Never Be Another You by Harry Warren and Mack Gordon. It opens with a quick collective theme led by Konitz who also cooks briskly on the opening statement. Marsh follows with a passionately assertive solo, then Pettiford delivers something special on the next vigorous reading.  Both horns return to share the final solo ahead of the close.

I Can’t Get Started by Vernon Duke and Ira Gershwin tells the story of a man who’s achieved great success in everything, except the affection and love of the woman he desires. Both pianists lay out on this tune also. Lee takes the lead this time with a dreamy melody and reading that’s delicately crafted. Warne approaches the next solo with tender sincerity. Oscar walks a short distance on the closer leading to a gentle exit. Donna Lee by Miles Davis is named for the daughter of bassist Curly Russell and begins with an expedient theme that’s breathtaking. Konitz opens with a very impressive reading, then Mosca takes over for an energetic interpretation. Marsh charges into the next searing statement and Clarke shares a fiery conversation with both saxes into the reprise and abrupt ending.

Side Two opens with Two Not One by Lennie Tristano that gets underway a vibrant opening chorus. Lee takes off first like a jolt of electricity traveling through the body. Warne adds some additional power on an inspired solo as steady as the rock of Gibraltar. Sal responds with an exhilarating reading shadowed closely by both saxes in the background. Kenny shares a brief statement with the principal soloists into the climax. Don’t Squawk is by Oscar Pettiford, a blues he makes his presence felt on the introduction and the melody with the rhythm section. Konitz takes the first solo for a slow stroll, then Mosca swings softly and smoothly into the next interpretation. Marsh also makes his point in a relaxed manner, followed by Pettiford who gives a slow, easy groove gently sailing over the rhythm section.

Ronnie Ball takes over the piano chair on his uptempo original, Ronnie’s Line.  Lee begins with an upbeat, energetic theme, then adds exuberant vitality to the opening solo. Ronnie takes the next spot for a swiftly paced statement. Marsh swings into the next performance vigorously, and the front line energizes the closing chorus with a spirited ride ending with an attractive exit. The album ends with a little Background Music by Warne Marsh opening with a collective theme.  Lee applies some serious blowing to the opening statement. Sal gives an exhilarating reading next, followed by Warne who executes the third solo with high-voltage precision. Oscar and Kenny exchange their ideas on the finale into a soft summation. Lee Konitz With Warne Marsh was produced by Nesuhi Ertegun and engineered by Tom Dowd.

Speakers Corner reissues are remastered using pure analog components only, from the master tapes through to the cutting head. The soundstage on this album is immense and absolutely stunning, drawing you in completely the moment your stylus touches the lead groove. You don’t just hear the musicians and their instruments; you almost feel their presence in your listening room. In my opinion, the album’s not only remarkable for its musicianship, but an underrated jewel of fiery and relaxed tempos by both saxophonists. If you’re a fan of Cool Jazz and in the mood for some great sax, I invite you to check out, Lee Konitz With Warne Marsh for your library.  It’s a terrific album of pure bliss that’s perfect in every way!

~ Tom Dowd – Source: Discogs.com ~ Donna Lee, I Can’t Get Started, There Will Never Be Another You, Topsy – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Daily Dose Of Jazz…

George F. Clarke was born on August 28, 1911 in Memphis, Tennessee. He attended Manassas High School, where he was Jimmie Lunceford’s pupil before joining the orchestra and playing with Lunceford until 1933.

Relocating to Buffalo, New York, there he played with Guy Jackson, Lil Armstrong and Stuff Smith in 1935. He and Smith worked together again on tour in 1939-1940 and in the recording studio. Returning to Buffalo, Clarke led an ensemble at a local club from 1942 to 1954.

Following this he moved to New York City and worked with Wild Bill Davis and Jonah Jones, and toured internationally in Europe in 1959 with Cootie Williams and Africa with Cozy Cole in 1962. He was occasionally active through the ‘60s in New York City. Tenor saxophonist George Clarke passed away in September 1985 in the Bronx, New York.

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Daily Dose Of Jazz…

William English was born on August 27, 1925 in New York City and studied at the Greenwich House of Music in the Village. His early career hit just as rock & roll was on the rise and he played with rhythm and blues musicians in the 1950s, such as Sonny Thompson and Amos Milburn.

He went on to venture into jazz working with Julian Dash, Bennie Green, and Erskine Hawkins in the mid-1950s before becoming the house drummer at New York’s Apollo Theatre. Later in the decade he worked at Connie’s with his own ensemble, and during the 1960s he freelanced playing with Coleman Hawkins,  Earl Hines, Prestige Blues Swingers, Gene Ammons, Quincy Jones Orchestra & Big Band, Sonny Stitt, Philly Joe Jones, Frank Foster Quintet, Etta jones, Joe Newman, Stanley Turrentine, Kenny Burrell, The Ray Bryant Combo and Eddie Jefferson, among others.

He remained active into the 1970s, working with the Eric Dixon Sextet among others. Drummer Bill English passed away on March 4, 2007 in his home city.

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Daily Dose Of Jazz…

Louis “King” Garcia was born on August 25, 1905 in Juncos, Puerto Rico and played early in his life in the Municipal Band of San Juan, whose director was Juan Tizol’s uncle, Manuel Tizol. This led to some work with the Victor Recording Orchestra.

Moving to the United States in the early 1920s during the Jazz Age, he played with the Original Dixieland Jazz Band and the Emil Coleman Orchestra. The Thirties saw him increasingly working in the studios, including his most important association, Jimmy and Tommy Dorsey, which he recorded with both together and separately. He also played with the Vic Berton Orchestra, Richard Himber, Nat Brandwyne, Amanda Randolph, Louis Prima, and vocalist Amanda Randolph.

In the 1940s he returned to play with Coleman again, and led his own Latin ensemble that decade. By the 1960s he had moved to California and faded from the scene, essentially retiring due to failing health.

Trumpeter and bandleader King Garcia, who spent most of his career in the United States, passed away in Los Angeles, California on September 4, 1983.

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