Requisites
The Duke Ellington Song Book ~ Monty Alexander | By Eddie Carter
This morning’s selection from the library is by one of my favorite pianists. The Duke Ellington Song Book (MPS Records 821 151-1) by Monty Alexander is a sincere tribute to one of jazz’s legendary composers in a duet setting. Monty was born on June 6, 1944, in Kingston, Jamaica, and he discovered the piano at age four. He could pick out melodies by ear and became interested in jazz piano at fourteen. He attended DeCarteret College in Mandeville, then continued his education at Jamaica College. He later began playing in clubs and recording with Clue J & His Blue Blasters, subbing for his hero, Aubrey Adams, when he was unable to play. Monty Alexander is heard here on a Steinway Concert Grand Piano, and John Clayton is on bass. It was initially released in Germany, and my copy of this album is the 1984 U.S. Stereo release (Verve – MPS Series 821-151-1).
The album opener, I Let A Song Go Out Of My Heart by Duke Ellington, Irving Mills, Henry Nemo, and John Redmond, is a happy swinger that takes off with the duo’s spirited melody. The pianist continues dazzling on the first interpretation, then John flexes his muscles in a short statement before the theme’s reentry dissolves slowly. Sophisticated Lady by Duke Ellington, Irving Mills, and Mitchell Parish begins with a soft musical conversation with Clayton stating the tender theme, while Alexander’s pensive restraint supports him. Monty’s opening statement is especially moving and perfectly executed, and John responds with a gentle, understated reading, ahead of the melody’s thoughtful reprise and conclusion.
Things Ain’t What They Used To Be by Mercer Ellington and Ted Parsons was one of the Ellington orchestra’s most-played tunes, and the duo begins with a lively prance through the melody. Monty takes the solo and delivers a stimulating performance that builds to a peak before descending into the closing chorus. Up next is Love You Madly by Duke Ellington and Billy Strayhorn. Here, the duo provides another example of how the right notes delivered with impeccable timing can transform a classic into a fresh conversation between piano and bass. Their interplay is equally elegant and unhurried, allowing each verse to breathe and every nuance to shine into the theme’s restatement and soft ending.
Monty Alexander has always had a remarkable knack for selecting fresh material, steering clear of overplayed standards, and he does just that with Phil Moore’s Eastside, Westside. The duo opens with a thoughtful introduction and melody, with Alexander immediately making a memorable impact in his initial interpretation. Clayton responds with a subtle, tasteful bass line, then Monty brings everything together with a final flourish, leading into a gentle fadeout. The duo starts Side Two with In A Mellow Tone by Duke Ellington and Milt Gabler, and their introduction and jaunty melody are sure to get your body moving and your toes tapping. Monty takes the opening solo, showing off his considerable technical fluency, while John follows with a performance as enjoyable as a morning stroll in the sunshine.
Caravan, by Duke Ellington, Juan Tizol, and Irving Mills, offers Monty Alexander an expansive space for a brilliant solo performance. The pianist approaches the well-known tune with energetic enthusiasm, reimagining it through his own perspective, culminating in its reprise and conclusion. Just Squeeze Me, by Duke Ellington and Lee Gaines, expresses a longing for affection while also declaring unwavering love, even across distances. Clayton’s introduction gets things started, then Alexander joins in to complete the melody. Monty delivers the opening solo with lovely, sentimental melodic lines. John follows with a deep, thoughtful presentation until the duo gently revisits the theme, allowing the song to fade out slowly.
In A Sentimental Mood, by Duke Ellington, Manny Kurtz, and Irving Mills, is one of the most beautiful jazz standards ever written. Monty and John set a serene mood with a theme of refined grace. Alexander’s delicate touch during the sole solo showcases his remarkable talent for interpreting ballads filled with romantic feeling. Clayton adds a cozy, velvety layer under the piano, leading to a tender, heartfelt finale. The album’s cheerful closing note comes with Duke Ellington’s C Jam Blues, featuring Alexander and Clayton’s spirited opening. Alexander takes the spotlight with a lively, medium bounce that naturally swings, while Clayton adds some playful steps during a brief walk, and both musicians bring the song to a joyful end.
Hans Georg Brunner-Schwer was at the helm as producer and recording engineer for The Duke Ellington Song Book. The album’s sound quality is exceptional, creating a vivid listening experience that places the performers right in the sweet spot of your listening room with remarkable precision. Whether you're already familiar with Monty Alexander’s rich body of work or just discovering him, I highly recommend seeking out The Duke Ellington Song Book during your next record-shopping trip. This album delivers an outstanding introduction for new listeners and serves as a brilliant highlight for longtime fans!
~ C Jam Blues, Caravan, I Let A Song Go Out of My Heart, In A Mellow Tone, In A Sentimental Mood, Just Squeeze Me, Sophisticated Lady, Things Ain’t What They Used To Be – Source: JazzStandards.com © 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
William Sebastian “Sabby” Lewis was born November 1, 1914 in Middleburg, North Carolina. Raised in Philadelphia, Pennsylvania he started taking piano lessons when he was five and moved to Boston, Massachusetts in 1932 at fourteen. After working with Tasker Crosson’s Ten Statesmen two years later, he organized his own seven-piece band in 1936.
The late 1930s and early Forties saw Sabby and his band as mainstays at notable Boston jazz venues. In 1942, Lewis’ band won a listener contest on a broadcast from the Statler Hotel’s Terrace Room in Boston. The win garnered the band a regular gig on NBC’s The Fitch Bandwagon, heard on 120 stations at the time.
Though Lewis did not tour frequently nor leave Boston often, he did perform on Broadway, in ballrooms and clubs in Manhattan on 52nd Street. He performed with Dinah Washington and Billy Eckstine. During World War II his orchestra included tenor saxophonist Paul Gonsalves, and drummer Alan Dawson spent much of the 1950s in the band. His band also included trumpeter Cat Anderson, Sonny Stitt, Roy Haynes, Al Morgan, Idrees Sulieman and Joe Gordon.
Having been seriously injured in an automobile accident in 1962, his performing was greatly curtailed. Sabby became Boston’s first Black disk jockey at WBMS, which later became WILD in the Fifties. He went on to be a housing investigator for the Massachusetts Commission Against Discrimination until his retirement in 1984.
Pianist, bandleader, and arranger Sabby Lewis died on July 9, 1994.
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Requisites
Quartet ~ Russ Freeman and Chet Baker | By Eddie Carter
It had been some time since I last enjoyed Russ Freeman’s piano work, so this morning I chose an excellent collaboration featuring him and trumpeter Chet Baker from my library. Quartet (World Pacific Records, PJ-1232) hit the stores in 1957 and was the eleventh album Freeman and Baker recorded together. The album showcases six original tunes alongside two standards, and they are supported by the outstanding rhythm section of Leroy Vinnegar on bass and Shelly Manne on drums. The copy of this album that I own is a King Record Company Japanese mono reissue (Pacific Jazz GFX-3104).
The first side opener, Love Nest by Otto Harbach and Louis A. Hirsch begins at a brisk pace, with Chet on muted trumpet during the lively melody, which continues into a spirited opening statement. Russ gets the next nod and delivers an energetic reading. Leroy follows up with a swinging interpretation, then Chet and Shelly engage in a brief exchange before the closing chorus returns. Fan Tan, the first of six originals by Russ Freeman, slows the pace to midtempo for the quartet’s theme. Freeman is afforded plenty of room to shape his phrases in the opening statement. Baker is back on the open horn and maintains a laid-back vibe as he effortlessly swings to the closing chorus and ending.
Summer Sketch begins with a gentle piano introduction. Chet Baker’s trumpet playing throughout the track is both poetic and tender, with each note radiating romantic beauty, softly guiding the group to a smooth, unified finish. An Afternoon At Home ends the first side with the rhythm section’s inviting introduction, allowing Baker to glide through the opening chorus at a leisurely, relaxed pace. Freeman’s lead solo is as enjoyable as spending a leisurely afternoon with friends. Then, Vinnegar takes the spotlight next for a captivating solo. Baker has the last word with a charming presentation, before the quartet brings the tune to a satisfying close.
Say When starts Side Two with the quartet’s spirited melody. Chet leads the way with an exciting opening statement. Russ soars into the following presentation, then Shelly swings with great force in a brief, exhilarating closing reading before the theme’s reappearance and the group’s exit. Lush Life by Billy Strayhorn is one of the enduring favorites among jazz standards. The song begins with Freeman’s sensitive introduction, gently segueing to Baker’s rich tone as he introduces the tender theme. The pianist’s solo possesses a sad, reflective beauty, culminating in the trumpeter’s tender and thoughtful finale.
Amblin is a slow blues, introduced by the trio’s soulful introduction, segueing to the leader’s down-home melody. Chet opens with a solo that’s thoughtfully crafted and effortlessly delivered. Russ continues letting each verse glide effortlessly next. Leroy wraps it up with plenty of heart, ahead of the quartet’s theme reprise and climax. Hugo Hurwhey takes off with a short introduction, preceding the ensemble’s upbeat theme. Baker hits an ideal groove in the opening statement. Freeman takes the reins next with a robust reading, then Vinnegar, Manne, and Freeman culminate the solos in a vigorous exchange with Baker, leading to the melody’s restatement and conclusion.
Richard Bock produced Quartet, but the identity of the recording engineer is unidentified. However, this King Record Company reissue possesses outstanding audio quality, with an excellent soundstage that brings the foursome into your listening room with impressive clarity and presence. Whether you’re a Russ Freeman or Chet Baker fan, or are just discovering the discography of either musician, I emphatically recommend and invite you to pick up Quartet on your next trip to the record store. The album is a stellar showcase for both musicians and would make a welcome addition to any jazz library!
~ Lush Life – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Eduardo Puperi was born in Porto Alegre, Rio Grande do Sul, Brazil on October 25, 1969. From 1986 to 1991 he studied music at CLAM, a school directed by Zimbo Trio in São Paulo, Brazil with teachers Fernando Corrêa and Conrado Paulino. He graduated in composition and directing in 1993 from the University of Music and Arts Alcântara Machado (FAAM).
The next year Puperi formed the Ludi & Tiné Quartet with guitarrist Paulo Tiné. The instrumental group that lasted until 1999 and released an album called “Vento Leste” in 1997. He was musical director at Cultura Inglesa in São Paulo from 1996 to 2000, directing the musicals Guys and Dolls, Bye Bye Birdie, Hair, All that Jazz and Fame. From 1991 to 2004 he directed the big bands FAAM Jazz Band, Orquestralha and Swinging Sounds.
His groups have been Aura Tropical and the Edu Puperi Trio, the latter which became a quartet in 2005 with bassist Luis Passos, drummer Humberto Zigler, and tenor and soprano saxophonist and flutist Chiquinho de Almeida. Both groups have released albums.
In 2001 he began teaching piano, guitar and performing practice at Casa de Música Luiz Chaves. Pianist Edu Puperi continues teaching, performing and recording.
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Daily Dose Of Jazz…
Bernard Peiffer was born on October 23, 1922 in Épinal, France and was raised in a musical family, with his father and uncle playing the violin and the organ, respectively. Learning piano at age nine, he studied under Pierre Maire and quickly demonstrated his abilities by repeating long sections of classical works by ear. He won the 1st Prize in Piano at the Paris Conservatory and began his professional career at the age of twenty. playing with André Ekyan and Django Reinhardt.
During World War II, he joined the French resistance after witnessing the execution of a friend by the Gestapo in the streets of Paris. Soon afterwards he was captured, and was incarcerated for over a year. By the early 1950s, he began a successful career, playing with Django Reinhardt, leading his own quintet, composing film soundtracks, and achieving notice in the clubs of Paris, Monte Carlo and Nice, and eventually became nationally known.
He moved to Philadelphia, Pennsylvania in 1954 with his wife Corine and daughter Rebecca. The subsequent loss of his third daughter profoundly affected him, resulting in Poem for a Lonely Child. During his first years in America, Bernard achieved considerable success, performing at Carnegie Hall, Birdland, and the Newport Jazz Festival. He recorded for the EmArcy, Decca and Laurie labels.
Peiffer released his last commercial album in 1965 and, after having kidney surgery a few years later, restricted himself to performing and teaching, mainly in Philadelphia. His students included Uri Caine, Sumi Tonooka, Tom Lawton, and Don Glanden. His last major appearance was at the 1974 New York/Newport Festival at Carnegie Hall. Pianist, composer and teacher Bernard Peiffer, whose nickname was Le Most for his piano skills, died on September 7, 1976. He was 53.
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