Daily Dose Of Jazz…

Marlowe Morris, born May 16, 1915 in New York City, New York and learned drums, harmonica, and ukulele as a child. He accompanied June Clark from 1935 to 1937, then played solo for a few years before playing with Coleman Hawkins in 1940–41.

After serving in the Army during World War II, he worked with Toby Browne, Al Sears, Sid Catlett, and Tiny Grimes in addition to leading his own trio in the early and middle 1940s. Marlowe also appeared in the film Jammin’ the Blues in 1944. He quit playing full-time and worked in a post office in the late Forties, then returned in 1949 to play primarily solo organ.

He led a trio in the 1960s with Julian Dash as one of his sidemen, recording for Columbia Records. Morris also recorded with Lester Young, Ben Webster, Big Joe Turner, Sister Rosetta Tharpe, Joe Williams and Jimmy Rushing.

A distant relative of jazz pianist Fats Waller, pianist and Hammond organist Marlowe Morris passed away on May 28, 1978 at the age of 63 in New York City.

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Daily Dose Of Jazz…

Joe Mooney was born in Paterson, New Jersey on March 14, 1911 and went blind when he was around 10 years of age. His first job, at age 12, was playing the piano for requests called in to a local radio station. He and his brother, Dan, played together on radio broadcasts in the late 1920s, and recorded between 1929 and 1931 as the Sunshine Boys and the Melotone Boys, both sang while Joe accompanied on piano. They continued performing together on WLW in Cincinnati, Ohio until 1936, after which time Dan Mooney left the music industry.

In 1937, he began working as a pianist and arranger for Frank Dailey, a role he reprised with Buddy Rogers in 1938. Through the early 1940s, Joe arranged for Paul Whiteman, Vincent Lopez, Larry Clinton, Les Brown, and The Modernaires. Putting together his own quartet in 1943, he sang and played the accordion with accompaniment on guitar, bass, and clarinet.

In the last half of the 1940s his group experienced considerable success in the United States. By 1946, a newspaper columnist wrote that Mooney’s music “has the most cynical hot jazz critics describing it in joyous terms, such as exciting, new, the best thing since Ellington, and as new to jazz as the first Dixieland jazz band was when it first arrived”. As for Mooney himself, the columnist wrote that he “played in virtuoso fashion … a fellow who knows not only his instrument, but jazz music, both to just about the ultimate degree.”

In the 1950s, Mooney sang with the Sauter-Finegan Orchestra and played with Johnny Smith in 1953. After moving to Florida in 1954 he concentrated more on the organ and recorded in 1956. 1963 saw a group of friends form a company to produce a record, Joe Mooney and His Friends. He recorded again in the middle Sixties. Accordionist, organist, and vocalist Joe Mooney passed away after a stroke at age 64, on May 12, 1975, in Fort Lauderdale, Florida.

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Requisites

House Party is the fourteenth album by jazz organist Jimmy Smith featuring performances recorded in 1957 and 1958 and released on the Blue Note label. Rudy Van Gelder chose the Manhattan Towers Hotel Ballroom in New York City for the recording sessions in 1957-1958, while he was still using his parents’ Hackensack, New Jersey home studio to record artists for Blue Note.

1. Au Privave (Charlie Parker) – 15:09
2. Lover Man (Jimmy Davis, Ram Ramirez, James Sherman) – 7:00
3. Just Friends (John Klenner, Sam M. Lewis) – 15:15
4. Blues After All (Kenny Burrell) – 6:06

• Jimmy Smith – organ
• Lee Morgan – trumpet (tracks 1, 3, 4 & 5)
• Curtis Fuller – trombone (tracks 3 & 4)
• George Coleman – alto saxophone, (tracks 3 & 4)
• Lou Donaldson – alto saxophone, (tracks 1, 2 & 5)
• Tina Brooks – tenor saxophone (tracks 1 & 5)
• Kenny Burrell – guitar, (tracks 1, 4 & 5)
• Eddie McFadden – guitar, (track 2 & 3)
• Donald Bailey – drums, (tracks 2, 3 & 4)
• Art Blakey – drums, (tracks 1 & 5)

• Alfred Lion – producer
• Rudy Van Gelder – engineer
• Reid Miles – design
• Francis Wolff – photography
• Robert Levin – liner notes

Psychologists call it déjà vu, the distinct impression of having had the same experience before, that’s what it was alright, believe me. I was eight years old when I first discovered Jimmy Smith after hearing him on The Sermon (BLP 4011/BST 84011). His contributions to the development of modern jazz on the Hammond organ as a solo instrument helped to popularize it for others who would follow. Smith would ultimately lead me to discover the music of Charles Earland, Richard “Groove” Holmes, Jack McDuff, Jimmy McGriff, Don Patterson, John Patton, Freddie Roach, Shirley Scott and Dr. Lonnie Smith who made the organ their primary instrument. Houseparty

(Blue Note BLP 4002) hit the stores in 1958 and was the second album I would hear by the man who jazz critics, fans and fellow musicians called “incredible”.

It was recorded at the same session which produced The Sermon and is Smith’s fourteenth album for Blue Note since his debut, A New Sound, A New Star, Volumes 1 & 2 (BLP 1512/BST 81512 – BLP 1514/BST 81514) in 1956. The supporting cast joining the organist are Lee Morgan on trumpet; Curtis Fuller on trombone; Lou Donaldson and George Coleman on alto sax; Tina Brooks on tenor sax; Kenny Burrell and Eddie McFadden on guitar; Art Blakey and Donald Bailey on drums. I became a huge fan of his playing and purchased as many of his albums as my meager allowance would allow. My copy used for this report is the 1959 US Mono reissue (Blue Note Records, Inc. – 47 West 63rd NYC on the Side 1 label and the Deep Groove only on Side 2 with the label showing Blue Note Records, Inc. – NewYork USA), the 2nd US pressing.

The album opens with a vigorous uptempo workout of the 1951 jazz standard, Au Privave by alto saxophonist Charlie Parker who recorded it for Mercury Records on a 78-rpm single (11087), released the same year. It would reappear on Charlie Parker’s 1958 posthumous Verve Records LP, Swedish Schnapps (MG V-8010). Jimmy opens with a brief introduction, afterward, Lee provides a solo chorus of the melody first, followed by the ensemble who add their own excitement to the uptempo theme. Smith is first in the solo spotlight on the attack with a wailing performance, possessing amazing fluency on each chorus. Morgan adds some bite to the second statement with an intense groove that maintains the cooking intensity from beginning to end.

Donaldson steps in next for a torrid performance which gives off intensive heat. Tina Brooks comes in next, riding hard on the next robust reading, providing scorching verses of infinite effervescence delivered with an aggressive impact. At its conclusion, I wished he could have been featured elsewhere on the LP. Burrell takes over, adding a vigorous reading of his own with skillful authority preceding Jimmy’s returns for a short solo spot ahead of the ensemble’s strong finale.

Of all the songs in The Great American Songbook, Lover Man, in my opinion, is the pinnacle standard of jazz, pop, and soul. It was written by Jimmy Davis, Roger Ramirez, and Jimmy Sherman for Billie Holiday who made it a hit on the pop and R&B charts in 1945. This rendition of the timeless classic highlights Lou Donaldson as the featured soloist with Jimmy’s trio of guitarist Eddie McFadden and drummer Donald Bailey. A hauntingly beautiful bass line by Smith makes the introduction, prior to the saxophonist’s warm, affectionate theme statement. Lou’s alto sax moves up to a sprightly tempo for two lively verses of stimulating solo work before returning to a softer mood for his final chorus.

Eddie and Jimmy each deliver one chorus of intensely persuasive passion, then Lou returns to lead the quartet into a thoughtfully, modest climax. Just Friends, the 1931 popular song by John Klenner and Sam M. Lewis kicks off Side Two at medium-tempo with McFadden leading Smith and Bailey through the bluesy melody. Eddie takes the lead solo, offering the first two of four choruses that are infectiously propulsive with a flowing beat. Jimmy takes the next turn, toning down his searing attack to presenting four choruses of low-keyed swing with a down-home flavor as scrumptious as a good meal. Lee is up next, delivering the next reading with a bright tone,

exemplary poise, and accuracy which is executed beautifully. George Coleman enters the spotlight next, establishing long flowing, graceful lines from his alto sax for a lightly swinging performance of carefree verses. Curtis Fuller conjures up some mellow phrases on the final interpretation preceding the final two choruses by McFadden with Smith and Bailey providing the foundation into the close.

Blues After All is from the pen of Kenny Burrell and our final stop on Houseparty. This slow-tempo blues is of the soul food variety and serves up a solo order of Coleman, Morgan, Fuller, Smith, Burrell. Jimmy brings the song to life with one of the smoothest introductions you’ll ever hear. He also provides the bass line with his left foot while playing chords with his left hand, harmonic and rhythmic lines with his right hand. Kenny’s sensitive approach to the melody is shown to fine advantage as he provides the initial theme. The three horns join the trio when the theme is repeated during the opening and closing chorus. The lead solo by George is a tasteful delight to tempt you for what’s to come, followed by Lee who produces a savory broth of the blues that is slowly simmered to perfection. Curtis comes to the table with a plate of appetizing notes that gives the song a wonderful flavor. Jimmy adds the red beans and rice to our dish on the next performance and Burrell delivers the final ingredient to make the meal complete and end the album on a scrumptious note.

Houseparty was recorded by Rudy Van Gelder who used the Manhattan Towers Hotel Ballroom in New York City for recording sessions with larger groups of musicians that would not fit in his parent’s living room. Both, Houseparty and The Sermon were recorded there and are among the outstanding releases in Smith’s discography. The sound is well done and each of the instruments a delight to hear with a wonderful soundstage. Jimmy exhibits a style of playing that is completely comfortable in the Hard-Bop or Soul-Jazz genres. He recorded a total of six studio albums for Blue Note featuring his trio, plus special guests. The other five LP’s are A Date With Jimmy Smith, Volume 1 & 2 (BLP1547/BST 81547 – BLP 1548/BST 81548) in 1957, The Sermon in 1959, Open House (BST 84269) and Plain Talk (84296) in 1968. If you’re a fan of the jazz organ, I offer for your evaluation, Houseparty. It’s an amazing album by Jimmy Smith that though out of print on LP in the US since the 1985 Stereo Cadre Rouge DMM Audiophile Edition (BST 84002), won’t break the bank when seeking a Mono or Stereo copy for your library. It’s also an LP you can enjoy alone, in the company of friends or guests at your next Houseparty! The Blue Note RVG Edition CD-album (7243 524542 8) released in 2000 adds an additional song, Confirmation by Charlie Parker.

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Daily Dose Of Jazz…

Fred Van Hove was born on February 19, 1937 in Antwerp, Belgium. He studied musical theory, harmony, and piano, beginning his association with saxophonist Peter Brötzmann in 1966, playing on his early quartet and sextet recordings including 1968’s Machine Gun album. He then was a part of a trio with Brötzmann and drummer Han Bennink.

A pioneer of European free jazz he is a pianist, accordionist, church organist, and carillonist, an improviser and a composer. He has performed in a variety of duos and as a solo artist, notably with saxophonists Steve Lacy and Lol Coxhill and with trombonists Albert Mangelsdorff and Vinko Globokar.

He has composed for film and theatre and taught local musicians in Berlin, Germany, as well as holding workshops in Germany, France, England, Belgium, and the Netherlands. Fred has held studios at the University of Lille III, has collaborated with a number of his fellow Belgian musicians and in 1996 was given the title of Cultural Ambassador of Flanders by the Belgian government. Pianist, improviser, and composer Fred Van Hove, who also played the accordion, organ, and carillon, passed away on January 13, 2022.

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Requisites

The year was 1967 when a young lady from Philadelphia recorded the first of two sessions for the album Girl Talk. Her name was Shirley Scott. On January 12th & 13th the organist went into the studio and recorded nine tracks that were released on the Impulse! label.

The cover design was by Robert and Barbara Flynn with photography by Charles “Chuck” Stewart. The sessions were produced by Bob Thiele.

The Trio

• Shirley Scott — organ
• George Duvivier – bass
• Mickey Roker – drums

The Songs | 34:32

• Girl Talk (Neil Hefti, Bobby Troup)
• Come Back To Me (Burton Lane, Alan Jay Lerner)
• We’ll Be Together Again (Carl Fischer, Frankie Laine
• Love Nest (Louis Hirsch, Otto Harbach)
• Swingin’ the Blues (Count Basie, Ed Durham)
• Keep The Faith, Baby (Shirley Scott)
• Chicago, My Kind of Town (Jimmy Van Heusen, Sammy Cahn
• On The Trail | From Grand Canyon Suite (Ferde Grofé
• You’re A Sweetheart (Jimmy McHugh, Harold Adamson)

  Recorded at Capitol Studios in New York City on August 22, 1966 (tracks 1, 4, 6 & 7) and January 12, 1967 (tracks 2, 3, 5 & 8).

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