Requisites
Green Street ~ Grant Green | By Eddie Carter
Grant Green steps into the spotlight with the second of four albums he released in 1961. Grant was one of the most interesting guitarists in jazz, possessing a gorgeous tone, speed of execution, and a distinctive lyricism in his playing that proved remarkably durable. He never failed to please his critics, fans, and peers throughout his career, but his time at Blue Note was particularly successful. Green Street (Blue Note BLP 4071/BST 84071) is a trio album like his label debut, Grant’s First Stand.
However, here the guitarist takes a different path than the usual organ/guitar/drums trio or a larger group featuring horns, a piano, or vibes to augment the rhythm section on later albums. His colleagues are Ben Tucker on bass, and Dave Bailey on drums. Both men provide a perfect backdrop for Grant to communicate a swinging style of jazz to the listener with rhythmic precision and finesse throughout the five-song set. My copy used in this report is the 2015 Music Matters Stereo audiophile reissue (MMBST-84071).
The first stop, No. 1 Green Street is a mid-tempo blues by the leader beginning with the trio presenting the catchy melody in unison. Grant takes over for the song’s only solo, giving him ample space to build an engaging statement that’s an ear pleaser with Ben and Dave pacing themselves behind him. ‘Round About Midnight by Bernie Hanighen, Thelonious Monk, Cootie Williams opens with a delicately tender theme by the trio continuing with an elegantly graceful showcase by the guitarist preceding a touching ending.
Green’s composition, Grant’s Dimensions ends Side One with high-spirited energy allowing Ben and Dave their first solo opportunity. Grant crafts a marvelous improvisation driving the rhythm firmly. Ben turns in a fine performance next with a bouncy bass interpretation flowing steadily into Dave’s impressive exchange with Green and Tucker ahead of the out-chorus.
Green With Envy by Grant begins Side Two affording each member a chance to speak individually with the leader giving the longest talk. After a vivacious melody by the trio, Grant delivers one of his most creative interpretations with a satisfying summation. Ben is up next, carefully selecting and bending his notes into an excellent reading with feeling. Bailey participates in an aggressive exchange with Green and Tucker for the final performance possessing a youthful intensity before a superb end theme.
Alone Together by Arthur Schwartz and Howard Dietz was written in 1932 and featured in the Broadway musical, Flying Colors. The trio’s rendition lowers the temperature by a few degrees, opening with a subdued introduction and theme evolving into a virtuoso lead solo by Grant punctuated by the inspired foundation from Ben and Dave. The bassist provides a walking bass line on the final reading that’s clearly expressed and well-defined, swinging smoothly into the theme’s return and slow fade.
Anyone who’s heard or owns a Music Matters Jazz reissue knows of the attention to the music through their remastering of the original tapes by Rudy Van Gelder. The amazing gatefold photos, and the covers themselves are worthy enough to be considered as album art plus the meticulous pressing by RTI. I listened to Green Street after hearing my 1995 Blue Note Connoisseur Series Stereo reissue, using it for comparison since both are 180-gram audiophile reissues. I was impressed by the Connoisseur LP’s sound and the detail of the instruments is clearly defined. In my opinion, it’s one of the best-remastered albums I’ve ever heard from that series by Capitol Records. However, when the stylus dropped on the MMJ 33 1/3 reissue, I discovered an extraordinary soundstage across the treble, midrange, and bass spectrum that’s absolutely mind-blowing.
There’s only one error on the LP, it appears on the Side Two label. Track Two is incorrectly listed as the 1937 song, Where Are You? by Jimmy McHugh and Harold Adamson. That tiny issue aside, if you’re a fan of jazz guitar by Kenny Burrell, Pat Martino, Wes Montgomery, Jimmy Raney, and Joe Pass, I enthusiastically invite you to take a trip to Green Street on your next record hunt. There you will find a jazz album that’s a real pleasure to listen to and sounds just as fresh today as when first released by one of the elite guitarists of Hard-Bop, Grant Green at the peak of his creativity! ~ Grant’s First Stand (Blue Note BLP 4064/BST 84064); Green Street (Blue Note Connoisseur B1-32088) – Source: Discogs.com ~ ‘Round About Midnight, Alone Together – Source: JazzStandards.com © 2020 by Edward Thomas Carter
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Daily Dose Of Jazz…
Akira Sakata was born on February 21, 1945 in Hiroshima, Japan and first heard jazz on short-wave radio and Voice of America, then became more interested in it from listening to film soundtracks. His serious study of music began in high school where he played clarinet. He played alto sax in a jazz band when at Hiroshima University and trained as a marine biologist before moving to Tokyo, Japan in 1969.
From 1972 to 1979 Sakata was a member of the Yamashita Yosuke Trio and toured internationally with them. In 1986, he performed with the group Last Exit with Bill Laswell. This performance was released as The Noise of Trouble: Live in Tokyo. Laswell went on to play bass on and produce Sakata albums such as Mooko, Silent Plankton and Fisherman’s.com, the last of which also featured the reclusive Pete Cosey on guitar. He later worked with DJ Krush and Chikamorachi with Darin Gray and Chris Corsano.
His career nearly ended in 2002, when he had a brain haemorrhage and he had to relearn the saxophone, only to return to performing after three months, but still had some remaining restrictions years later. Akira is also a television and film actor, as well as being a writer.
Free jazz saxophonist Akira Sakata, who has recorded fifteen albums as a leader, continues to perform and record.
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Daily Dose Of Jazz…
Frederick L. Robinson was born on February 20, 1901 in Memphis, Tennessee. He learned to play trombone as a teenager, and studied music in Ohio before moving to Chicago, Illinois where he played in the Carroll Dickerson Orchestra.
Robinson went on to play on Louis Armstrong’s Hot Five recordings and continued working with both Dickerson and Armstrong until late 1929, when he took a position in Edgar Hayes’s band. In the 1930s he worked extensively as a sideman, with Marion Hardy, Don Redman, Benny Carter, Charlie Turner, Fletcher Henderson, and Fats Waller.
In 1939-1940 he was in Andy Kirk’s band, and played later in the 1940s with George James, Cab Calloway, and Sy Oliver. Early in the 1950s he worked with Noble Sissle, but after 1954 he was less active as a performer. Trombonist Fred Robinson passed away on April 11, 1984 in New York City.
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Daily Dose Of Jazz…
Emile Barnes was born on February 18, 1892 in New Orleans, Louisiana. His first instrument was a toy fife. He soon moved on to the flute, and then the clarinet, which was given to him by the great Bunk Johnson. He studied under Lorenzo Tio Jr., Alphonse Picou, George Baquet, and Big Eye Louis Nelson Delisle. By 1908, at sixteen, he became active professionally in New Orleans, Lousiana by 1908, he was long well regarded locally for his bluesy and distinctively individualistic style.
He played with the Chris Kelly band from the late 1910s through the 1920s. He never became widely known to jazz fans outside of New Orleans until he made recordings during the revival era for American Music Records. He performed at the opening night of Preservation Hall and also in his later years.
In the 1930s he played with Wooden Joe Nicholas, and in the 1940s with Kid Howard. During this time, Barnes also had standing gigs with Lawrence Toca at the Harmony Inn, a New Orleans venue, and with Billie and DeDe Pierce at Luthjen’s dancehall. As a brass band musician, he performed with the Superior and Olympia Brass Bands, among others.
Emile was featured on several Folkways Records New Orleans compilation albums during the 1950s, and again in the early 60s as a solo artist. When British trumpeter Ken Colyer jumped ship and visited New Orleans in 1953, he recorded with a pick-up band including Barnes.
Clarinetist Emile Barnes, ragtime and brass band player, passed away on March 2, 1970 in his hometown.
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The Quarantined Jazz Voyager
It’s All Over But The Swingin’ is a studio album by Sammy Davis, Jr. that was recorded on July1~2 and 9~10, 1957 and released the same year on the Decca Record label. The music was arranged by Jack Pleis and Morty Stevens and the session was produced by Lee Gillette.
Track List | 43:13- Guess I’ll Hang My Tears Out To Dry (Sammy Cahn, Jule Styne) ~ 4:43
- But Not for Me (George Gershwin, Ira Gershwin) ~ 3:24
- Where’s That Rainbow? (Lorenz Hart, Richard Rodgers) ~ 3:27
- I Cover the Waterfront (Johnny Green, Edward Heyman) ~ 3:19
- Don’t Blame Me (Dorothy Fields, Jimmy McHugh) ~ 2:52
- Better Luck Next Time (Irving Berlin) ~ 2:43
- Can’t Help Lovin’ Dat Gal (Oscar Hammerstein II, Jerome Kern) ~ 4:53
- It Never Entered My Mind (Hart, Rodgers) ~ 4:05
- Someone to Watch over Me (G. Gershwin, I. Gershwin) ~ 3:23
- I’ve Grown Accustomed to Her Face (Alan Jay Lerner, Frederick Loewe) ~ 2:47
- Spring Is Here” (Hart, Rodgers) ~ 4:03
- I Can’t Get Started” (Vernon Duke, I. Gershwin) ~ 3:29
- Sammy Davis, Jr. – vocal
- Dan Lube, M. Sosson – violin
- Al Dinkin, Paul Robyn – viola
- Eleanor Slatkin – cello
- Harry Klee – flute
- Harry Edison, Conrad Gozzo, Virgil Evans, Mannie Klein – trumpet
- Milt Bernhart, Frank Howard, George Roberts – trombone
- Harry Klein, Ronnie Lang – alto saxophone
- Babe Russin, Don Raffell – tenor saxophone
- Bob Lawson – baritone saxophone
- Roger Renner – piano
- Tony Rizzi, Bob Bain – guitar
- Mort Cobb, Joe Comfort – double bass
- Irving Cottler, Alvin Stoller – drums
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