Requisites
Live At Sweet Basil Art Blakey and The Jazz Messengers | By Eddie Carter
This morning’s column came about when the alarm went off, and I woke up to Jodi by Art Blakey and The Jazz Messengers on my phone. It got my day started on a jazzy note, and I went to the shelf and picked out Live at Sweet Basil (Paddle Wheel K28P 6357) to discuss. It was initially released in Japan, and the album combines two March 24, 1985, sets of the sextet’s last night at the jazz club. The lineup consists of Terence Blanchard on trumpet, Donald Harrison on alto saxophone, Jean Toussaint on tenor saxophone, Mulgrew Miller on piano, Lonnie Plaxico on bass, and Art Blakey on drums. The copy I own is the 1985 U.S. Stereo release (GNP Crescendo GNPS 2182).
Side One opens with Art’s introduction to the ensemble’s speedy melody of Jodi by Walter Davis. Jean ignites the first exhilarating interpretation. Donald responds energetically next, then Terence carves out a brilliant statement, and Mulgrew makes the most of the following reading. After the theme’s reprise, Art has the last word and gives a vigorous workout, into the close. Benny Golson’s Blues March settles into a comfortable medium tempo for Blakey’s marching introduction, leading to the ensemble’s theme. Harrison and Toussaint get things going in the first two solos, shadowed by the front line as they unfold. Blanchard goes to work next, continuing the easy beat as he explores a few musical ideas. Miller brings out his soulful charm in the next reading, and Plaxico walks leisurely toward the sextet’s closing chorus and finale.
Side Two takes off at a brisk clip with Art’s vigorous introduction to the rapid-fire theme of Mr. Babe by Donald Harrison. Terence is off and running at a furious pace. Donald continues the rapid acceleration in the second statement, then Jean keeps the momentum going with spirited choruses next. Mulgrew closes with a high-speed performance ahead of the melody’s reprise and an abrupt stop. Miller’s introduction brings Bobby Timmons’ classic Moanin’ to life, segueing into the group’s bluesy melody. The solo order is Blanchard, Harrison, Toussaint, Miller, and Plaxico, and all five members of the sextet get into a good groove that flows efficiently back into the closing chorus, a vibrant ending, and the audience’s approval.
Horst Liepolt and Shigeyuki Kawashima produced Live at Sweet Basil, and Kazunori Sugiyama was the recording engineer. Akira Makino was the mastering engineer, and Hatsuro Takanami was the remix engineer. The album was remixed and mastered at King Studios in Tokyo, Japan. The sound quality is excellent and transports the listener to a front row seat at Sweet Basil to enjoy the music. Live at Sweet Basil is an underrated treasure within the Jazz Messengers’ discography, showcasing one of the finest groups Art Blakey ever assembled. If you’re a long-time fan of hard bop or a newcomer, I encourage you to check out Live at Sweet Basil by Art Blakey and The Jazz Messengers on your next record shop visit. It’s a terrific release that I’m proud to own, and I highly recommend it for a spot in your library!
~ Moanin’ – Source: JazzStandards.com
~ Blues March – Source: Wikipedia.org
© 2026 by Edward Thomas Carter
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Requisites
1+1+1 ~ Kenny Barron with Ron Carter and Michael Moore | By Eddie Carter
I’d had a really long week and was looking forward to hearing something soothing, so I turned to one of my favorite pianists, Kenny Barron. Submitted for your approval this morning is an impressive collaboration from 1986. 1+1+1 (BlackHawk Records BKH 50601) has the pianist in the company of two outstanding bassists, Ron Carter (tracks A2, A3, B2, B4), and Michael Moore (tracks A1, A4, B1). This enjoyable album is perfect to listen to whether you need something mellow to accompany your workday, to read along with, or to enjoy during a focused listening session after dinner. The copy I own is the 1986 U.S. Stereo release.
Side One opens with a tune from the twenties, The Man I Love by George and Ira Gershwin. A spirited introduction by Kenny gets the song underway, with Michael joining the melody. The pianist launches into a sizzling solo, pouring radiant energy into each note. Michael takes a short invigorating walk next, preceding the theme’s return and close. United Blues by Ron Carter introduces the bassist in a cheerful performance, beginning with piano and bass sharing the introduction and theme. Barron goes first with some vivacious notes, then Carter steps up for a superb example of choice notes ahead of the closing chorus.
The ensemble enters the thirties next with Prelude to a Kiss by Duke Ellington, Irving Gordon, and Irving Mills. Michael is back on bass as the duo’s introduction leads to a soft, tender melody. Kenny is the song’s only soloist and delivers an interpretation that’s lush and warm, with a touch of beauty, as Moore’s bass shadows him through every verse, into the reprise and the delicate climax. C Jam Blues by Duke Ellington, from 1942, picks up the pace again as Kenny and Michael introduce this old warhorse and present the lively theme. Barron takes the opening solo with a playful bounce, then Moore executes his ideas next. The duo then shares a brief conversation before the ending theme.
Side Two starts with Dave Brubeck’s In Your Own Sweet Way. It’s one of his loveliest compositions from the fifties, and the duo’s beautiful melody sets the tone. Kenny’s opening solo is a lovely demonstration of heartfelt and serene beauty. Michael follows, walking gracefully through the closing statement, leading to the duo’s theme restatement and an elegant ending. Giant Steps by John Coltrane brings Carter back for an upbeat melody with Barron, who continues capturing the sheer joy of this tune in the opening statement. The bassist responds with a cheerfully carefree interpretation that bounces along toward the duo’s culmination.
’Round Midnight by Thelonious Monk, Bernie Hanighen, and Cootie Williams, written in 1944, is Monk’s most famous composition and the jazz standard that has been recorded more than any other. Kenny has the spotlight to himself as he paints a beautiful portrait, soft as an affectionate embrace, from the opening notes to the closing chorus. It’s back to the thirties for the album’s finale, Beautiful Love by Victor Young, Wayne King, Egbert Van Alstyne, and Haven Gillespie. Ron joins Kenny for the upbeat melody. The mood is jubilant from the start of Barron’s opening statement. He then shares the second solo with Carter in a lively conversation that culminates in a splendid reprise and finale.
Don H. Nelson and Karen J. Nelson were the executive producers of this session, and Rudy Van Gelder managed the recording console. The sound quality across the highs, midrange, and bass is astonishing, with superb fidelity that transports the musicians to your listening room. Kenny Barron’s piano consistently captivates, providing a cohesive thread, while Ron Carter and Michael Moore add their own distinctive character to the music. If you’re a fan of jazz piano and in the mood for an album that’s perfect for unwinding after a long day or week, I offer 1+1+1 by Kenny Barron with Ron Carter and Michael Moore for your consideration on your next record shop visit. It’s a terrific album by a jazz master, showcasing remarkable skill and heartfelt expression on every track, and it should become a welcome addition to your library!
~ C Jam Blues, Giant Steps, In Your Own Sweet Way, Prelude To a Kiss, ‘Round Midnight, The Man I Love – Source: JazzStandards.com ~ Beautiful Love – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Lalo Schifrin was born Boris Claudio Schifrin in Buenos Aires, Argentina on June 21, 1932. At the age of six he began a six-year course of study on piano with Enrique Barenboim and at 16 studied piano with Andreas Karalis and harmony with Argentine composer Juan Carlos Paz. By twenty he was attending the Paris Conservatoire during the day and playing at night in jazz clubs.
1955 saw Lalo playing with Astor Piazzolla and on stage at the International Jazz Festival in Paris. Back in Argentina he formed a jazz orchestra, met Dizzy in ’58 and wrote Gillespiana for his big band. He would go on to work with Xavier Cugat, move to New York, take the piano chair in Dizzy’s quintet and wrote a second extended composition titled, The New Continent.
The Sixties had MGM signing Schifrin to his first movie score, he moved to Hollywood, changed The Man from U.N.C.L.E. to a jazz melody and won an Emmy for the theme. He would go on to score television and movies like Mission Impossible, Mannix, Cool Hand Luke, Dirty Harry, The Exorcist, Bullitt and even ABC’s Eyewitness News.
Over the course of his career Lalo Schifrin has recorded over 50 albums and soundtracks, 90 television and film scores as a leader, composer and conductor; and has worked with Cannonball Adderley, Eddie Harris, Count Basie, Luiz Bonfa, Candido Camera, Louis Bellson, Al Hirt, Jimmy Smith, Sarah Vaughan, Cal Tjader, Paul Horn and many others.
In 1997, the composer founded Aleph Records; played an orchestra conductor in Red Dragon, has had his music sampled by hip-hop artists, has been nominated twenty-one times and won four Grammy Awards, one Cable Ace Award, received six Oscar nominations and has a star on the Hollywood Walk Of Fame.
Pianist, composer, arranger and conductor Lalo Schifrin continued to compose, conduct and perform until his death from complications of pneumonia at a hospital in Los Angeles, California at the age of 93 on June 26, 2025.
Daily Dose Of Jazz…
Sam Wooding, born on June 17, 1895 in Philadelphia, Pennsylvania learned to play piano as a child, eventually becoming a bandleader who led several big bands in both the United States and abroad. In 1925 while performing at Small’s Paradise in Harlem, a Russian impresario hired him to be the pit band for the Chocolate Dandies in Berlin. That date led him to a record date for Vox Records with Doc Cheatham, Herb Fleming in the band.
In 1929, with a change in personnel, Wooding’s orchestra made more recordings in Barcelona and Paris for the Parlaphone and Pathé labels. He would remain in Europe, performing on the Continent, in Russia and England through most of the 1930s. He became an expatriate and his overseas stays made him virtually unknown in the States, building staunch jazz fans that liked what his orchestra offered.
Returning home in the late 1930s, when World War II seemed a certainty, Wooding began formal studies of music, attained a degree, and began teaching full-time, counting among his students trumpeter Clifford Brown. During this period he would lead and tour with the Southland Spiritual Choir. By the early 1970s, he formed another big band and took it to Switzerland for a successful concert, but this venture was short-lived. Pianist, arranger and bandleader Sam Wooding passed away on August 1, 1985 at age 89.
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Daily Dose Of Jazz…
Ivan Lins was born on June 16, 1945 in Rio de Janeiro, Brazil. He began studies at the Military College in Rio, received an industrial chemical engineering degree from the Federal University and spending several years in Boston, Massachusetts with his naval engineer father, he continued his graduate studies at M.I.T. He considered a career in volleyball before discovering his considerable musical talent.
As a pianist Luiz Eça and João Donato influenced Lins. While in college he performed in a jazz-bossa trio. In 1970 Ivan started his music career by winning second place in a competition with the song “O Amor É o Meu País” and that same year famed Brazilian singer Elis Regina recorded his composition “Madalena”. He would host the TV Globo show Som Livre Exportaçã, partner with Vitor Martins and the two would become MPB history with romantic verses and political anthems.
His influence of jazz and bossa nova became evident in his music and an invitation from Quincy Jones brought him to international attention. Quincy recorded “Velas” (Sails) which won a Grammy, and George Benson recorded his Love Dance, and Paul Winter recorded “Velho Sertão”, renaming it Common Ground. It wasn’t too longer afterward that jazz artists like Patti Austin, Herbie Mann, Sarah Vaughan, Joe Pass, Diane Schuur, Manhattan Transfer and Ella Fitzgerald were recording his melodies.
He has recorded three-dozen albums, won two Latin Grammy awards, has won Best MPB Album of the Year, and many of his tunes have been part of Grammy winning albums and is one of the three most recorded Brazilian composers outside their native land.