Requisites

Portraits at The Penthouse – Live in Seattle ~ Bill Evans –| By Eddie Carter

I was still in a mindset to hear another pianist-led release after listening to Mal Waldron, so I chose a Bill Evans album that has become a favorite in my household. Portraits at The Penthouse: Live in Seattle (Resonance Records HLP-2979) is the 8th album reissued by the Bill Evans estate and captures the pianist and his trio in performance over two May nights. The program consists of eight originals and two standards. Sharing the spotlight with Bill Evans are Eddie Gomez on bass and Joe Hunt on drums. The copy I own is the 2025 U.S. Record Store Day, Deluxe Edition, Limited Edition, mono audiophile pressing. Number 1849 of 5000.

The trio’s introduction welcomes the audience into the Penthouse’s intimate atmosphere. They then begin the first night’s set with a lively rendition of How My Heart Sings by Earl Zindars, the title tune from Bill’s 1964 release. Bill steps up first after the opening chorus for a jaunty statement, with an almost dance-like resilience. Eddie takes over, showing how he can build an outstanding solo, while Joe provides excellent support behind them into the reprise and close. ’Round Midnight by Thelonious Monk, Bernie Hanighen and Cootie Williams is one of jazz’s most beloved and recorded standards. The trio honors the classic by beginning the theme that gently glows like embers in a hearth. Evans opens with a graceful solo, radiating warmth and charm. Gomez responds with a tender, heartfelt statement, leading to a beautiful conclusion.

Up next is Come Rain or Come Shine by Harold Arlen and Johnny Mercer, which begins with Bill’s solo introduction, segueing into the ensemble’s medium melody. Bill gets things off to a good start in the opening statement with an infectious swing. Eddie comes in next and conveys his message with authority, preceding the trio’s theme restatement and soft climax. The second night’s set gets underway with Nardis by Miles Davis, and the trio begins by cruising comfortably on the opening melody. Eddie kicks off the opening solo with a lengthy, leisurely walk that swings easily. Bill comes in next and dines on a splendid performance, leading to the theme reprise and soft finale that receives a warm ovation from the club audience.

Earl Zindars’ second contribution to the album is his beautiful ballad, Elsa, which first appeared on “Explorations.” Bill has the stage to himself for the introduction, ahead of the lovely opening ensemble. Evans sets things in motion with a lyrical solo that builds to an effective climax. Eddie follows with one of his most thoughtfully sensuous interpretations, and Bill brings the trio back to the ending theme with a few final thoughts. The second side starts with Bill’s gorgeous introduction to Time Remembered by Bill Evans. The trio’s melody gets things going before stepping aside for Bill’s opening solo that gradually shifts from a gentle, understated mood to a livelier one. Eddie steps in next with a tender reading, until the groups return to the ending theme, with approving applause from the crowd.

Who Can I Turn To? by Leslie Bricusse and Anthony Newley debuted in the 1965 Broadway musical, “The Roar of the Greasepaint – The Smell of the Crowd.” Bill’s solo introduction adds emotional depth, leading to the trio’s lightly swinging theme. Eddie sets the tone with a wonderfully delicate interpretation, then Bill rolls ahead in the following solo before the trio’s closing chorus ends the song on a good note. The beat slows down again for Bill’s tender introduction to Detour Ahead by Lou Carter, Herb Ellis, and Johnny Frigo. The lightly swinging pace picks up for the group’s theme. Eddie is up first and walks with a lively bounce that’s easy to listen to. Bill then effectively illustrates a few melodic ideas, leading back to the out-chorus and the crowd’s approval.

A sprightly piano introduction by Evans sets the tone for Autumn Leaves by Jacques Prévert, Johnny Mercer, and Joseph Kosma. The trio’s melody dresses up this old favorite for Eddie’s opening statement, shared with Joe’s spirited brushwork. Bill follows with a short solo that sizzles with exhilaration ahead of the theme’s restatement and ovation from the audience. The ensemble’s theme returns, a bright-tempoed rendition of How My Heart Sings by Earl Zindars, beginning with a lively opening chorus. Bill leads the way in the first of two solos, and his first swings with scintillating skillfulness, matched by the steady support of Eddie and Joe. Eddie follows with energetic exuberance on the second statement, then the pianist cooks on a vigorously spicy comment before the group takes it out.

I Should Care by Sammy Cahn, Alex Stordahl, and Paul Weston brings the album to a close with a fun tune from the first few notes of the trio’s brisk theme. Eddie has the solo spotlight to himself in a happy, effervescent performance, which flows efficiently to the out-chorus and a very fulfilling finish. Zak Shelby-Szyszko was the album’s production manager. Zev Feldman produced Portraits at The Penthouse for release. Charlie Puzzo, Jr., and Zak Shelby-Szyszko were the associate producers. George Klabin was the executive producer, and Jim Wilke was the engineer. Matthew Lutthans mastered the album. It’s a good recording, but not perfect. The piano tends to be somewhat subdued and less forward in the mix compared to the bass. Occasionally, tape is noticeable, though it doesn’t persist throughout the album.

The record was pressed on 180-gram vinyl in a deluxe-edition gatefold and transferred from the original master tapes. Also included in this album is a 16-page booklet with rare photos by David Azoze and others, plus interviews with Joe Hunt, Eddie Gomez, and Bob James. Even though a few tracks may not have perfect sound quality, fans of Bill Evans seeking relaxing music after a busy day or week will find Portraits at The Penthouse to be an enjoyable live album with comforting moments and musical gems you’re sure to enjoy!

~ Explorations (Riverside RLP 351/RLP 9351), How My Heart Sings (Riverside RM 473/RS 9473) – Source: Discogs.com Autumn Leaves, Come Rain or Come Shine, I Should Care, ‘Round Midnight – Source: Jazz Standards.com ~ Detour Ahead, Nardis, Time Remembered, Who Can I Turn To? – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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LAVIE & ALLEN PAUL TRIO

C

aribbean vocalist LaVie performs alongside pianist Allen Paul for an outdoor concert on Ocean Drive as part of the Promenade Sunday Concert Series.

Known for her expressive vocals and stage presence, LaVie blends elements of soul, pop and inspirational music, while Allen Paul brings a background in composition, arranging and live performance shaped by his work as a musical director and educator in South Florida. Together, the performance offers a mix of familiar songs and original material in a relaxed, open-air setting.

Cover: Free

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Daily Dose Of Jazz…

Pops Foster was born George Murphy Foster on May 19, 1892 on a plantation near McCall in Ascension Parish outside Baton Rouge, Louisiana. When his family moved to New Orleans he started playing cello at age 10 but then switched to string bass.

Foster was playing professionally by 1907 working with Kid Ory, Jack Carey, Armand Piron, King Oliver and other prominent hot bands of the era. In 1921 he moved to St. Louis and joined the Charlie Creath and Dewey Jackson bands, in which he would be active for much of the decade. He would rejoin Kid Ory in Los Angeles and acquire the nickname “Pops” because he was far older than any of the other players in the band.

By the end of the Roaring Twenties he was back in New York City playing in the bands of Luis Russell and Louis Armstrong till 1940.  From that point he would gig with Sidney Bechet, Art Hodes and other various New York bands along with regular broadcasts on the national This Is Jazz radio program.

He toured widely during this period throughout Europe and the United States and was well loved in France. He would return to New Orleans and California regularly. Through the 50s and 60s he played with Jimmy Archey, Papa Celestin, Earl Hines and the New Orleans All-Stars. Bassist Pops Foster, who also played tuba and trumpet, passed away on October 29, 1969 in San Francisco, California. His autobiography was published two years later.

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Daily Dose Of Jazz…

Lou Bennett was born May 18, 1926 in Philadelphia, Pennsylvania and first learned to play the piano before switching to the organ. It wasn’t until hearing Jimmy Smith play, that Bennett chose to stop playing bebop piano and make this instrument his professional calling.

Lou toured the U.S. with an organ trio between 1957 and 1959, and then moved to Paris in 1960. There he recorded and performed at the Blue Note with Jimmy Gourley, Kenny Clarke, Philip Catherine, Franco Manzecchi and Rene Thomas. He returned to America only once, for the 1964 Newport Jazz Festival.

By the 1980s he played in his own quintet and during this period toured extensively throughout Spain. As a leader he recorded twelve albums for RCA, Impulse, BelAir, Fonatana, Vogue and other labels into the Nineties. Jazz organist Lou Bennett passed away on February 10, 1997 in Paris, France.

 

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Requisites

Left Alone ~ The Mal Waldron Trio | By Eddie Carter

This morning’s album from the library is Mal Waldron, a jazz pianist, arranger, and composer who’s recording a dedication to Billie Holiday, Left Alone (Bethlehem Records (BCP 6045/BS 6045). Mal was born in New York City on August 16, 1925. Mal began his professional career after graduating from college in 1950. As the house pianist for Prestige Records, he appeared on numerous recordings and contributed compositions. He also performed with John Coltrane, Eric Dolphy, Jackie McLean and Charles Mingus. Waldron worked with several vocalists and was Billie Holiday’s pianist from April 1957 until her passing in July 1959. On this 1960 release, he’s joined by Jackie McLean on alto saxophone (track: A1); Julian Euell on bass; and Al Dreares on drums. The copy I own is the 1981 Japanese Stereo reissue (Trio Records PAP-23001).

The title tune, Left Alone by Billie Holiday and Mal Waldron, opens the album with a solemn introduction by the pianist, leading to Jackie’s entrance to deliver the melancholy theme. Mal leads off with a delicately tender performance, then Jackie responds with a reading conveying beauty and elegance, before the quartet’s affectionate closing chorus ends softly. Catwalk is a Mal Waldron creation, and Julian makes the initial introduction, segueing into the group’s melody. Waldron has the first say and gives a tasty treat, then Euell takes a delightful walk in the following solo. The pianist concludes the solos with a final thought before restating the theme into a soft finish.

The tempo slows down for the trio’s introduction to You Don’t Know What Love Is by Gene de Paul and Don Raye. Mal sketches a lengthy musical portrait as the song’s only soloist with a delicate touch, solidified by Julian’s and Al’s accompaniment ahead of an immensely satisfying finale. Another Mal Waldron original, Minor Pulsation, gets the second side started with a two-instrument conversation between piano and drums that leads into the lively theme. Waldron takes the wheel first and drives the opening solo aggressively. Dreares gets his first solo opportunity and fuels the finale with uptempo precision preceding the group’s return to take the song out the way it began.

The threesome tackles a swinging rendition of Sonny Rollins’ Airegin next. A solo introduction by the pianist leads tothe trio’s melody. Waldron goes first again and gives a vigorous presentation, then Euell follows with a jaunty walk in the second statement. The pianist and drummer share the song’s final spotlight in a spirited exchange of ideas before the ensemble’s brisk finale takes it out. The album closes with Mal Waldron sharing a heartfelt, reflective and tender remembrance of Billie Holiday, offering a glimpse of what she was really like to work with. Teddy Charles produced Left Alone, and Peter In was behind the dials of the recording console.

The album’s sound quality is excellent, possessing a gorgeous soundstage that draws the listener into the music. Mal Waldron, renowned for his contributions as a jazz pianist and composer, built an extensive discography over five decades. Between 1952 and 2002, he released over 100 albums as a bandleader and appeared on more than 80 recordings as a supporting musician. His creative output also includes film soundtrack compositions. If you appreciate jazz piano, I highly recommend checking out Left Alone by the Mal Waldron Trio the next time you’re searching for new music at your favorite record shop. It’s a thoughtful and captivating work from an exceptionally gifted and versatile artist, making it a worthy addition to any jazz library!

p>~ You Don’t Know What Love Is – Source: JazzStandards.com ~ Left Alone – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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