Requisites

This Time The Drum’s On Me ~ Stan Levey | By Eddie Carter

Stan Levey, one of the great Bebop drummers, enters the spotlight with his second album as a leader, This Time The Drum’s On Me (Bethlehem BCP-37). Stan was born in Philadelphia, Pennsylvania, and started playing with Dizzy Gillespie at age sixteen. He left for New York City, where he worked with Gillespie, Charlie Parker, and Oscar Pettiford. Levey also spent some time with the Stan Kenton Orchestra before moving to the West Coast and becoming an essential contributor to West Coast Jazz with Howard Rumsey, Don Joham, and The Lighthouse All-Stars. Here, he’s accompanied by Conte Condoli on trumpet, Frank Rosolino on trombone, Dexter Gordon on tenor sax, Lou Levy on piano, and Leroy Vinnegar on bass. The copy in this report is a friend’s original 1956 US Mono deep groove release.

Diggin’ For Diz, by George Handy, sets the album in motion with a danceable beat for the sextet’s collective melody featuring a few comments by the front line. Conte swings into the opening solo with a joyful improvisation that builds to an effective climax. Dexter follows with a marvelous statement that cooks convincingly, then Frank follows with a captivating performance. Stan shares the subsequent interpretation with all three horns, and Lou closes with a concise reading into the theme’s restatement and close. Thelonious Monk’s hauntingly beautiful Ruby, My Dear, is a feature for Condoli. He leads the ensemble in a thoughtfully tender melody, then gives an elegant first solo. Before the group’s gentle ending, Levy compliments him with a short, delicately attractive reading.

Tune Up, by Miles Davis, brings the sextet back to a vibrant beat, and the ensemble begins the melody briskly before Dexter starts the solos with some spirited blowing. Conte comes behind him for a quick and agile interpretation; then Frank sparkles on an energetic reading. Lou takes the listener on a swift joyride, followed by Leroy’s scintillating walk. Stan shares a short conversation with Dexter preceding the closing chorus. The first side ends with La Chaloupée by Jacques Offenbach from the 1881 French opera, The Tales of Hoffman. The front line starts the melody collectively at a medium groove, giving way to Frank, Dexter, Conte, Stan, and Lou, who all excel in five utterly charming presentations ahead of the ending theme.

Side Two starts with the sextet’s upbeat rendition of Day In, Day Out by Rube Bloom and Johnny Mercer. Conte leads the ensemble’s theme, then Gordon launches into a scintillating opening statement. Condoli is next to give a vigorous interpretation; then Rosolino delivers a vitalized performance. Levy has the last word and reveals his keyboard artistry with energy to spare, leading to the group’s reprise and climax. Dexter Gordon’s Stanley The Steamer is a bluesy tribute to Stan Levey. Lou brings the song to life with a brief introduction segueing into the sextet’s easygoing theme. Dexter delivers an inspired improvisation as the song’s only soloist to the rhythm section’s infectious accompaniment before the ensemble’s conclusion.

The title tune, This Time The Drum’s On Me, was initially titled Max is Making Wax, Oscar Pettiford’s tribute to drummer Max Roach. The sextet puts the accelerator to the floor at a breakneck pace from the opening chorus to the final note. Gordon ignites the opening statement with blazing heat, then Condoli shines like a bright beacon on the second solo. Rosolino takes over to give a speedy presentation; next, Lou moves into the next spot aggressively. Stan wraps up things nicely in a high-powered workout ahead of the enthusiastic ending. It’s unknown who produced the album, but Val Valentin was the man behind the dials of the recording. The sound quality is excellent, with a clean and crisp soundstage that’s a delicious treat for any jazz fan!

Stan Levey recorded three albums for Bethlehem as a leader but appeared on many more as a sideman with some of the best jazz musicians. Levey retired from music altogether in 1973 and became a professional photographer. He died at age seventy-nine on April 19, 2005. If you’re a fan of Bop like me, I invite you to check out This Time The Drum’s on Me on your next vinyl hunt. It’s a perfect introduction to drummer Stan Levey and an excellent release worthy of a spot in any jazz library and repeated listening on the turntable!

~ Stan Levey Plays The Compositions of Cooper, Holman, and Giuffre (Bethlehem BCP 1017), Grand Stan (Bethlehem BCP-71) – Source: Discogs.com ~ Day In, Day Out, Tune Up – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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Daily Dose Of Jazz

Keith John Smith was born on March 19, 1940 in Isleworth, Middlesex, England. Originally intent on pursuing studies in engineering, he began playing trumpet at the age of 15. Soon after he began playing in local amateur ensembles, including Norrie Cox’s band and the New Teao Brass Band, the latter including Chris Barber and Ken Colyer.

His first professional gig came in 1960 as a member of Mickey Ashman’s Ragtime Jazz Band. In 1962, he started the Climax Jazz Band and began recording. In 1964, Smith visited New Orleans for the first time, where he played with George Lewis. Intending to move to the U.S. permanently, he worked briefly in New Orleans, Louisiana before spending time in California and New York. In 1966, he organized an all-star band to tour Canada and Europe, which included Pops Foster, Jimmy Archey, and Alvin Alcorn.

Moving to Denmark in 1972 he remained there until 1975, playing with Papa Bue in his Viking Jazz Band. Afterwards he returned to England, where he founded a new band, Hefty Jazz. This group lasted over a decade, toured internationally and over the years featured George Chisholm, Mick Pyne, Peanuts Hucko, Nat Pierce, Johnny Mince, and Barrett Deems. Concurrently, he was named leader of the Louis Armstrong All-Stars in 1981, and in 1984 served as producer for Stardust Road, a televised film made as a tribute to Hoagy Carmichael. Late in his life he lived in Germany, still active as a performer.

Trumpeter Keith Smith, principally active on the trad jazz and Dixieland revival scenes, transitioned on January 4, 2008 in London, England from a heart attack at the age of 67.

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LIZZIE THOMAS

New York-based vocalist Lizzie Thomas presents her career-defining fifth album, DUO Encounters. The inventive jazz singer – gifted with an inviting voice and a swinging style – teams up with a dozen of her favorite artists to perform a set of intimate and adventurous duets. Over the course of twelve tracks, Thomas digs deep into the lyrics, and uplifts each song with her individualistic approach. Turning away from the conventional, these interpretations of carefully curated tunes are fun and adventurous. The result is a memorable set of superbly sung, and often surprising music and it’s Lizzie Thomas’ most rewarding recording to date.

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Daily Dose Of Jazz…

Alfred Wesley Hall was born on March 18, 1915 and grew up in Philadelphia, Pennsylvania. He played cello and tuba early in life before settling on bass at the age of 17. Moving to New York in 1936, Al played at different times through and into the Forties with Billy Hicks, Skeets Tolbert, and Teddy Wilson in both big band and small ensemble format.

Following time with Ellis Larkins and Mary Lou Williams, Hall took a job as a staff musician at CBS, working in Paul Baron’s orchestra on the Mildred Bailey Show. He also worked in Broadway theater pit orchestras for the next several decades. In 1946, he founded his own label, Wax Records, which was bought by Atlantic Records in 1949. He led five numbers on his own label in the mid Forties and four on Columbia Records Europe in 1959.

Hall had an extended partnership with Erroll Garner, playing with him intermittently from 1945 to 1963. He also played later in life with Benny Goodman in 1966, Hazel Scott, Tiny Grimes, and Alberta Hunter from 1977 to 1978, and Doc Cheatham. He recorded with Helen Merrill, Paul Quinichette, Duke Ellington, Harold Ashby, Eddie Condon, Della Reese, Teddy Wilson and numerous others.

Double bassist Al Hall, who recorded thirty albums as a sideman but none as a leader,  transitioned on January 18, 1988.

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AARON LESSARD GROUP

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