Requisites

Dark Beauty ~ Kenny Drew Trio | By Eddie Carter

It had been a long while since I heard this morning’s album by The Kenny Drew Trio. I put the record on my turntable and listened to it while reading a few nights ago, which inspired this week’s discussion. Dark Beauty (SteepleChase Records SCS-1016) is the first of two trio dates featuring Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Albert “Tootie” Heath on drums. Both were recorded in the same sessions over two days in May, and this release hit the stores in 1974. The companion album, If You Could See Me Now, came out a year later. My copy is the 1976 SteepleChase Series US Stereo reissue (Inner City Records IC 2016).

Side One leads off with Run Away by Danish flutist and saxophonist Per Carsten. The trio begins the introduction and melody, then Kenny starts things with a festive opening solo. Niels-Henning makes a stunning impression on the following reading, and Albert has a brief comment leading to the group’s rousing closing chorus. The title tune, Dark Beauty by Kenny Drew, is one of his most beautiful compositions. Drew and Pedersen open the ballad with gentle cascades on the piano and a gorgeous bowed solo in the introduction, central theme, and closing chorus, which weaves a haunting spell. In between, the pianist gives an intimately tender interpretation matched by the softness of the bassist and drummer’s accompaniment.

The group’s first of four jazz standards is Summer Nights by Harry Warren and Al Dubin. It opens with an elegantly constructed introduction by Niels-Henning; next, Kenny and Albert enter to complete the nostalgically dreamy melody. Drew caresses the song’s lyrics with sensuous beauty in his playing of the only statement into the ending theme and gentle climax. All Blues by Miles Davis closes the first side. Drew and the rhythm section get things underway with an energetically charged melody, and the opening statement by Kenny is hotter than fireworks in July. The closing interpretation allows Heath’s drums a brisk workout while Pedersen’s bass keeps the beat flowing ahead of the song’s lively conclusion.

Side Two starts with It Could Happen To You by Jimmy Van Heusen and Johnny Burke. Kenny introduces the jazz standard slowly and then moves up the tempo to a brisk melody and first interpretation. Albert engages in a zesty exchange with the leader preceding the theme’s reprise and exit. Love Letters by Victor Young and Edward Heyman is up next. This song is featured in the 1945 film of the same name, and the ensemble’s rendition begins with a gorgeous introduction by Niels-Henning and Kenny. The pianist has the first say and turns the tempo up for the opening statement. Pedersen takes his first opportunity to solo with an extensive presentation that flows into the trio’s closing chorus and finish.

Silk Bossa comes from the pen of Danish pianist Thomas Clausen, and Niels-Henning sets the mood with a solo introduction that grows into a pleasant melody by Kenny. The rhythm section lays a lush foundation for the pianist to present a delicately expressed statement. Pedersen ends the way he began with an unaccompanied bowed solo which ends softly. The album ends with Blues Inn by Kenny Drew, which starts with the trio swinging at an easy beat during the melody, giving way to Drew’s charming opening statement. Pedersen is equally adept in the dazzling display that follows; then, Heath carries on a concise conversation with Drew in the finale ahead of the theme’s reprise and fade out.

Nils Winther produced the initial session, and Freddy Hansson was the recording engineer. The music on Dark Beauty is as lovely as the young woman in the front cover photo, Kenny’s daughter, Sabrina. This reissue’s sound quality is excellent, with an outstanding soundstage that transports the trio to the sweet spot in your listening room with superb definition. If you are a fan of Kenny Drew and enjoy jazz piano trios, I invite you to consider Dark Beauty by The Kenny Drew Trio on your next vinyl shopping trip. It’s an excellent trio album that is perfect for late-night listening and highly recommended for a spot in your library!

~ If You Could See Me Now (SteepleChase Records SCS-1034) – Source: Discogs.com ~ All Blues, It Could Happen To You, Summer Nights – Source: JazzStandards.com ~ Love Letters – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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LOSTON HARRIS TRIO

Meet Loston Harris. His piano playing has been described as “percussive” with “incredibly fluid”. His vocals noted as “suave.” Loston himself will tell you he has worked hard during his career but knows he’s been blessed with the opportunities to play the music closest to his heart, jazz.

For more than a decade Loston has headlined at a “home” that shares his passion for timeless music. The Legendary Bemelmans Bar located in The Carlyle in Manhattan’s storied Upper East Side, has a legacy of hosting great cabaret and jazz greats from the likes of Bobby Short, Eartha Kitt, Elaine Stritch, John Pizzarelli and the Modern Jazz Quartet (MJQ).

The innate and dazzling talent of Loston is a beacon of quality in a cacophonous world. He is contemporary, stylish, joyful, playful, powerful, soulful and an immensely satisfying musician. Simply put, his music is a combination of humanity and genius.— MICHAEL FEINSTEIN

Loston Harris – piano & vocals | Gianluca Renzi – acoustic bass | Mike Lee – tenor saxophone 

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TAL COHEN TRIO

SONGS FROM A CHILDHOOD IN ISRAEL

Tal Cohen is a Grammy Award winning jazz pianist currently located in Miami. He has received much acclaim during his young career including winning the Barry Harris National Piano Competition and was the recipient of the prestigious Freedman Fellowship performed to a sold out crowd at the Sydney Opera House.

Recently, Tal Cohen has been playing around the Globe with Terence Blanchard, Greg Osby, Ignacio Berroa, Joe Lovano and others. He currently leads his own ensemble, which has performed at Iconic jazz festivals and venues that include Jazzbez Jazz Festival (Ukraine), Detroit Jazz Festival, Melbourne Jazz Festival (Australia), and a three-week residency at the Black Cat (San Francisco).

His most recent album- “Gentle Giants” has received international acclaim including a 4 star review from the historic Downbeat Magazine.

Cohen’s become one of the most in demand pianists around as he continues to tour the globe with his unique blend of Jewish melodies, traditional jazz Harmony and an impeccable rhythmic palette forging a path to be remembered.

BAND MEMBERS
David Chiverton
Tal Cohen
DIon Kerr

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The Jazz Voyager

Coming off a fantastic performance by Cecilé McLorin Salvant in Miami, The Jazz Voyager is heading out of the South and up the East Coast for colder temperatures in Beantown to hang out at Scullers Jazz Club, and catch a pianist I haven’t seen in more than two decades. I was extremely impressed by his talent and his name is Loston Harris. As usual, after a relaxed dinner, I’ll be catching the second set which for me is the best.

After meeting Harry Connick, Jr. at the 1st Thelonious Monk Jazz Competition in Washington, DC, Connick led Loston to study with his mentor, Ellis Marsalis, who encouraged him to switch from drums to piano. The rest, as they say, is history. Blending jazz, gospel and blues with his own unique styling, Harris takes the Great American Songbook to new heights. He has toured and performed with numerous Grammy Award and Pulitzer winner Wynton Marsalis, and appeared in the PBS special Portraits in Blue with Grammy nominated pianist Marcus Roberts.

Since 1989 Scullers has presented the biggest names in straight ahead,Latin and Contemporary jazz along with blues, soul, r&b, and world music. It swet a new standard for jazz clubs in Boston with a world-class roster of renowned jazz artists.The club is located at 400 Soldiers Field Road, Boston, Massachusetts 02134. In the area or flying in and have the time, support jazz and hear a phenomenal musician and vocalist.

Sculler’s number is 617-747-2261. If you want to get more information visit https://notoriousjazz.com/event/loston-harris.

CALIFORNIA JAZZ FOUNDATION

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Daily Dose Of Jazz…

B.J. Papa was born on February 9, 1936 in Mobile, Alabama and as a child in the 1940s he was listening to all kinds of jazz and blues on the radio. Drafted into the Army in 1954 he became a medic and was stationed in San Francisco, California at Letterman Hospital in the Presidio. However, he ended up spending much of his service time playing on Army ball teams. By the time he turned 19 he found himself intrigued with the jazz bands booked into the Army noncommissioned officers clubs.

After his discharge from the service in 1956 Papa stayed in town and began saxophone lessons. He also made his first forays into the heart of the bustling Fillmore Street jazz community and would show up to listen and learn at the famous after-hours jams at Jimbo’s Bop City.

Over the course of his fifty year career Papa became a North Beach institution mentoring dozens of young cats making their transition from student to professional musician. He played with the biggest names in jazz to come through the city as well as passionate laymen sans pedigree.

Settling in at Jazz At Pearl’s, one of the few remaining jazz clubs that still possessed an air of authenticity before closing its doors, for thirteen years he shared the stage with an eclectic, enthusiastic audience nightly.

Pianist B.J. Papa, who always fed on and drew from the energy of the audience but has no recordings on line, transitioned on August 31, 2008.

SUITE TABU 200

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