Requisites

Serenade To A Bus Seat ~ Clark Terry Quintet | By Eddie Carter

This morning’s spotlight shines on a remarkable trumpeter who, in my view, always delivered flawless performances. Serenade To A Bus Seat (Riverside RLP 12-237) by the Clark Terry Quintet is the subject of this discussion. Clark enjoyed an illustrious career performing with Charlie Barnet, Count Basie, Duke Ellington, Quincy Jones, and Oscar Peterson. He was also a member of The Tonight Show Band from 1962 to 1972. Terry’s influence extended far beyond his performances; his jazz career spanned more than 70 years, and he became one of the most-recorded jazz musicians, appearing on more than 900 recordings. He also mentored Terry Lyne Carrington, Miles Davis, Herbie Hancock, Quincy Jones, Wynton Marsalis, Pat Metheny, and Dianne Reeves.

On his third album as a leader, Clark Terry is working with Johnny Griffin, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; and Philly Joe Jones, drums. The copy I own is the 1977 Riverside Original Recording Series Japanese mono reissue (SMJ-6209M) by Victor Musical Industries. The opener, Donna Lee by Charlie Parker, begins with Philly’s introduction ahead of the quintet’s brisk melody. Johnny ignites the first solo with bursts of passionate fire, then Clark and Philly share an energetic conversation. Kenny caps off the solos with an impressive display of vibrant energy ahead of the group’s lively closing chorus and dead stop.

Boardwalk by Clark Terry is a blues that begins with an enjoyable, medium-tempo theme by the ensemble. Terry opens with a poised, almost dignified solo, then he engages in a friendly exchange of ideas with Griffin. Kelly then provides the exclamation point with a laid-back interpretation before the group reconvenes for the climax. Terry’s second creation, Boomerang, is a lively little original that takes off with the front line’s melody in unison. Clark gives his undivided attention to the opening solo, then Johnny enters and simply swings. Wynton follows with a strong statement that’s a joy to listen to. Paul takes a short walk preceding the group’s return to the theme’s reprise and close.

Digits by Clark Terry turns the temperature down for an easygoing theme by the ensemble. Terry steps up first to give a relaxing solo, then shares the next happy statement with Griffin. Kelly wraps up everything with a leisurely reading until the quintet returns for the closing chorus. The title tune, Serenade To a Bus Seat by Clark Terry, is a swinging homage to the trips musicians took from city to city with big bands. It’s off to the races with the ensemble’s melody, then Johnny is up first to ignite the first solo with passionate fire. Clark meets the challenge with an effervescent interpretation. Wynton gets the last spot and handles it comfortably before the front line’s fine blowing signals the end.

Hoagy Carmichael and Mitchell Parish’s classic, Stardust, is one of the most recorded songs in history. Both horns deliver a gentle introduction leading to Terry’s delicately phrased melody. Terry and Griffin are the featured soloists, and both turn in two beautiful solos that complement each other until the theme returns and the song ends softly. Cruising by Clark Terry opens with an easy-flowing theme led by both horns, before stepping aside for Johnny to lead off with an excellent first solo. Clark speaks his piece in the following statement, then Wynton follows at an unhurried pace, leading to the restatement of the theme and climax.

That Old Black Magic by Harold Arlen and Johnny Mercer is an old favorite from 1942 that first appeared in the film, “Star Spangled Rhythm.” The quintet wraps the album up in a bow with a short Latin rendition, which begins and ends with Terry using a cowbell and Griffin on the claves. In between, both Terry and Griffin, on trumpet and tenor sax, make swinging comments. Orrin Keepnews produced the initial session, and Jack Higgins was behind the recording console. The Victor Japanese mono reissue is a delight to hear, with a breathtaking soundstage that places the musicians in your listening room’s sweet spot with stunning fidelity.

For anyone who admires Clark Terry or is just beginning to discover his discography and enjoys hard bop, I strongly recommend picking up Serenade To a Bus Seat by the Clark Terry Quintet the next time you’re at your favorite record store. It’s a fabulous album that should make a meaningful addition to any jazz library, especially for those who appreciate the artistry of a masterful trumpeter!

~Stardust, That Old Black Magic – Source: <ahref=”http://jazzstandards.com”>JazzStandards.com

CALIFORNIA JAZZ FOUNDATION

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THEO CROKER

Grammy-nominated trumpeter, composer, producer, and bandleader Theo Croker continues to expand the boundaries of modern jazz with his new album, Dream Manifest (Dom Recs / Fat Beats, June 13). Hailed by the LA Times as “a path to jazz greatness,” the project blends jazz, experimental hip-hop, and cosmic soul into a genre-defying sonic journey.

Singles like the high-energy “We Still Wanna Dance” (produced by D’LEAU), the soulful “High Vibrations” (featuring Malaya), and the hypnotic “Crystal Waterfalls” showcase Croker’s dynamic vision — a sound both timeless and forward-facing (Wall Street Journal). NPR describes his vibe as “chill,” driven by a “clear musical approach and determination,” qualities that have made him a standout collaborator with Ari Lennox, Common, J. Cole, Jill Scott, and Wyclef Jean.

Croker’s live performances are cinematic and immersive, guided by a producer’s mind and a jazz artist’s spontaneity. As DownBeat notes, he “layers music and lyrics with the deft touch of a hip-hop producer and the spontaneity of a jazz trumpeter.” His trumpet becomes both melody and texture within a rich production landscape performed live with his acoustic band.

In 2025, he premiered Dream Manifest at London’s Barbican Theatre with designer Nicholas Daley. The Evening Standard called it “jazz, just not as we know it,” while Jazzwise praised its emotional depth and “total stage control.”

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LIZZ WRIGHT

Through an inimitable voice that The New York Times touts as, “a smooth, dark alto possessed of qualities you might associate with barrel-aged bourbon or butter-soft leather,” renowned vocalist and songwriter Lizz Wright sings with a soaring reflection of the cultural fabric of America. She lies beneath the script of history, transcending social divides with an offer of love and deep sense of humanity. Her music accepts the beauty of reality and creates a collective experience of belonging for the listener. Wright’s songs embody a tradition that allows us to always feel at home.

Wright’s 2024 studio album release, Shadow, presents Lizz in a gentle and triumphant light. With five originals penned by Wright, Shadow is anchored by acoustic guitars and layered with string quartets, harp, Carnatic Indian classical strings, gospel vocals, and bare emotion. It celebrates the intimacy of romantic love, loss, community, and healing. The album was produced by Chris Bruce and executive produced by Wright on Blues & Greens Records (with licensing/distribution through Lightyear Entertainment/Virgin Music). Wright worked with renowned engineer Ryan Freeland (who recorded Grace and has also worked with music legend Bonnie Raitt), and the album features acclaimed guest artists Angelique Kidjo and Meshell Ndegeocello.

At the age of 22, Wright first made a name for herself nationally as a vocalist with a touring concert tribute to Billie Holiday. At 23, she signed with Verve Records for the release of Salt, which topped Billboard’s contemporary jazz charts. She went on to record for Universal Music Group and released the albums Dreaming Wide Awake (2005), The Orchard (2008), and Fellowship (2010). On Concord, Wright released Freedom & Surrender (2016) – featuring the single “Lean In,” which landed on President Obama’s Summer 2016 playlist – and Grace (2017). Wright’s (2022) release of Holding Space (a live recording of a concert in Berlin at the Columbia Theater) was her debut live album on Blues and Greens Records.

Wright looks forward to the release of a duo album in 2026.

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Requisites

Open Sesame ~ Freddie Hubbard | By Eddie Carter

I’ve been a huge Freddie Hubbard fan since I was ten years old, and he’s always been one of my favorite trumpet players. It was while listening to a few of his albums that the inspiration for this morning’s discussion was born. Submitted for your consideration is his first release as a leader, a 1960 release, Open Sesame (Blue Note BLP4040/BST 84040). Freddie was 22 years old when he recorded it, and he’s joined by an excellent ensemble: Tina Brooks on tenor saxophone, McCoy Tyner on piano, Sam Jones on bass, and Clifford Jarvis on drums. The copy I own is the 1999 Classic Records U.S. stereo audiophile reissue sharing the original catalog number.

The title tune, Open Sesame by Tina Brooks, gets the first side off to a good start with the rhythm section’s intro to the quintet’s lively theme. Freddie launches into the first solo with vigorous zest. Tina follows him into the second statement enthusiastically, then McCoy explores the third reading at a consistently high level before the group reassembles for the closing chorus and ending. But Beautiful by Jimmy Van Heusen and Johnny Burke is a pretty ballad whose gentle melody begins with Freddie leading the group. Brooks starts the first solo gracefully, then Tyner continues with a wonderfully rich interpretation. Hubbard shares the song’s final elegant reflection, leading to the ensemble’s reprise and tender close.

Gypsy Blue by Tina Brooks is a medium blues that the quintet brings to life with an easygoing melody. Tina starts the opening solo at an unhurried pace, then Freddie takes over, giving a soulful interpretation. McCoy follows, feeding fresh ideas into the third statement, and Sam takes a carefree walk toward the ensemble’s restatement of the theme and fadeout. Tyner’s introduction sets the stage for the group’s speedy melody of All or Nothing at All by Arthur Altman and Jack Lawrence. Hubbard flies swiftly out of the gate first, then Brooks swings to perfection next. Tyner follows with a spirited statement, and Hubbard and Jarvis share a short exchange preceding the group’s return to the theme.

The trio’s bluesy introduction segues to the ensemble’s relaxed theme, One Mint Julep by Rudolph Toombs. Tina opens with a laid-back swing as comfortable as a favorite outfit. Freddie follows, demonstrating great poise and precision in every note. McCoy then steps into the spotlight for a few easy, flowing lines before the theme returns and the song fades out. The closer is a toe-tapper original by Freddie Hubbard, Hub’s Nub. After the sextet establishes the theme, Freddie takes the lead and constructs a joyous interpretation. Tina is right on his heels with a sprightly statement, and McCoy gets the last word before the theme’s reprise and fadeout.

The original session was produced by Alfred Lion, with Rudy Van Gelder at the controls. The Classic Records audiophile edition was expertly remastered by Bernie Grundman, delivering exceptional audio quality and an outstanding soundstage that places the musicians right in your listening room. Pressed on 180-gram vinyl, the record is perfectly quiet until the music fills the room. Fans of Freddie Hubbard’s Blue Note releases will find this album essential for their library. Open Sesame is a remarkable showcase of musicianship, and this album marks the beginning of a remarkable career. It’s also a title I’m proud to own and wholeheartedly recommend for your shelves!

~ But Beautiful – Source: JazzStandards.com ~ All or Nothing at All – Source: Wikipedia.org © 2026 by Edward Thomas Carter

CALIFORNIA JAZZ FOUNDATION

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CHRISTIAN MCBRIDE & URSA MAJOR

Eleven-time Grammy Award-winning bassist, composer, and bandleader Christian McBride will delight audiences with his unique musical style influenced by jazz, R&B, pop/rock, neo soul, and classical music.

Whether behind the bass or away from it, Christian McBride is always of the music. A luminary with one hand reaching for new heights and the other extended in fellowship, McBride invites audiences to join in his love of jazz, R&B, pop/rock, hip-hop, neo soul, and classical. An eleven-time Grammy Award-winning bassist, composer, and bandleader, McBride has served as Artistic Director of the historic Newport Jazz Festival, New Jersey Performing Arts center (NJPAC) and the TD James Moody Jazz Festival, as well as the National Jazz Museum in Harlem.

Cover: $30.00 ~ $60.00 | VIP ~ $80.00

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