Requisites
On The Spur Of The Moment ~ Horace Parlan | By Eddie Carter
Any album by pianist Horace Parlan is always a delightful listen for yours truly. This morning’s choice from the library offered for your consideration is his 1961 release, On The Spur of The Moment (Blue Note BLP 4074/BST 84074). As a child, Horace was stricken with polio, resulting in the partial crippling of his right hand. He managed to develop a left-hand chord-voicing style and also learned to improvise with detailed comping using the right. Horace is supported on this date by Tommy Turrentine on trumpet, Stanley Turrentine (Tommy’s brother) on tenor sax, George Tucker on bass, and Al Harewood on drums. My copy used in this report is the 1984 Toshiba-EMI Japanese Stereo reissue (Blue Note BST 84074 – BNJ 71034).
Side One starts with an original by the leader, On The Spur of The Moment. Horace opens with a brief introduction segueing into the ensemble’s mid tempo melody. Tommy is up first and makes his mark with a gorgeous tone. Horace follows with some light-hearted swinging, then Stanley adds some soulful cooking to the third reading. George does some solid walking on the next solo and Al has a brief exchange with the front line ahead of the quintet’s closing chorus. Skoo Chee by Booker Ervin raises the energy level a few notches on the group’s collective melody. Stanley leads the way with a swinging opener, then Tommy attacks the second statement with spirited energy. Horace delivers a splendid solo next preceding Stanley’s vigorous closing statement and shouts during a slow fade.
And That I Am So In Love by Harold Ousley slows the pace down to midtempo with Stanley and the trio delivering a happy opening chorus. Stanley starts things off with a pleasant opening solo. Tommy follows with some thoughtfully interesting lines and Horace continues to mesmerize with a gorgeous finale before Stanley returns for the gentle dissolve into oblivion. Al’s Tune by Booker Ervin begins Side Two with the quintet’s easy-flowing melody. Tommy takes the lead this time with an exquisite opening statement. Stanley’s tenor brightens the second interpretation like the sun following the rain on a summer day. Horace serves up a sparkling reading next, followed by George who walks with authority on the finale into the ensemble’s conclusion.
Ray C. by Leon Mitchell is a slow blues that would be a perfect tribute to Ray Charles although this isn’t known according to Ira Gitler’s liner notes. The quintet creates a relaxed atmosphere on the bluesy theme, and Stanley, Tommy, Horace, and George all cruise at a comfortable speed before the quintet takes the song out. Roger Williams who wrote the album closer, Pyramid is a jazz pianist from Pittsburgh and the quintet begins the melody of this pretty song deceptively slowly. The pace picks up for Stanley who opens with an impressive interpretation. Tommy holds his own on the second statement with an exceptional performance and Horace puts the final stamp on the album with a sprightly finale leading to the ensemble’s out-chorus.
On The Spur of The Moment was produced by Alfred Lion and recorded by Rudy Van Gelder. This reissue was the first Stereo release of this album, and the sound quality is exceptional with a stunning soundstage. The musicians jump out of your speakers as if they’re playing in front of you. Tommy is on the left channel; Stanley is on the right channel, and the trio occupies both. Toshiba-EMI Limited has done an excellent job with the mastering of Rudy’s original tapes. This is one of three albums this group recorded together, the other two are Speakin’ My Piece (1960) and Comin’ Your Way (1987). If you’re in the mood for some Hard-Bop that swings, I offer for your next vinyl hunt, On The Spur of The Moment by Horace Parlan. It’s a great find for anyone who enjoys jazz and should fit nicely in any library!
~ Comin’ Your Way (Blue Note BLJ 84065), Speakin’ My Piece (Blue Note BLP 4043/BST 84043) – Source: Discogs.com © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
Maurice Vander born Vanderschueren, on June 11, 1929 in Vitry-sur-Seine, Val-de-Marne, France. He worked in the 1950s with Don Byas, Django Reinhardt, Bobby Jaspar, Jimmy Raney, Stephane Grappelli, Chet Baker, and Kenny Clarke.
In the 1960s he was a session musician for Roger Guerin, Pierre Gossez, and Boulou Ferré, and played with Claude Nougaro and Ivan Jullien. He won the Prix Django Reinhardt in 1962.
Playing with Baker again in the late 1970s he went on to work with Johnny Griffin. His later work included performing and recording with Clarke, Richie Cole, Art Farmer, and Benny Powell.
Pianist Maurice Vander transitioned on February 16, 2017 in Paris, France.
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Three Wishes
When the Baroness asked Jimmy Jones if he had the opportunity to get three wishes granted what would they be he responded with:
- “I’d like to be a better musician.”
- “Communicate my music.”
- “To hit a golf ball straight.”
*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter
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Requisites
The Great Jazz Trio At The Village Vanguard | By Eddie Carter
This morning’s subject submitted for your consideration is a recent addition to the library by one of the quintessential small groups in jazz. The Great Jazz Trio At The Village Vanguard (East Wind EW-8053) is the first of three live albums by Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums recorded over two nights at the venue in 1977. My copy used in this report is the 1978 US Stereo release (Inner City Records IC 6013).
Side One starts the set with a speedy rendition of Moose The Mooche by Charlie Parker. The trio takes off on a lively opening chorus, succeeded by Hank who accelerates quickly on the first solo. Tony takes over for the closing statement with a fierce attack of intense heat preceding the trio’s swift climax.
Up next is Naima, John Coltrane’s beautiful ballad named for his first wife. The trio’s rendition begins with a delicately graceful piano introduction segueing into a breathtaking collective theme. Jones opens the first solo luxuriously, gaining momentum into an enticing ending. Carter displays his abundant skills on a delightful finale complemented by Williams’ gentle brushwork leading to a warm, expressive exit.
Side Two gets underway with a pretty tune by Claus Ogerman, Favors. The ensemble begins with an easygoing midtempo opening chorus. Hank is up first and lets his ideas unfold at a leisurely pace. Ron follows with a relaxing message on the second solo, then Hank and Tony share a carefree conversation leading to the ensemble’s theme reprise and soft close.
The set closes with a blues by Ron Carter, 12 + 12. After the ensemble’s happy melody, Jones kicks off the solos with an utterly joyful performance. Carter also says plenty on an impressively buoyant statement, followed by Williams who speaks last in an exchange with Jones into the theme’s reprise and Tony’s introductions of the group. The album was produced by Kiyoshi Itoh and Yasohachi Itoh. Co-Producer David Baker also was the recording engineer. He’s done a phenomenal job because the sound quality is splendid with an exquisite soundstage placing the listener’s sweet spot in the crowd as the trio’s performing. The only issue is a small typo appearing on the back cover and the Side Two record label of both the Japanese and US releases, Claus Ogerman’s name is mispronounced.
Hank Jones was regarded by critics and fans alike as one of the most gifted musicians in jazz with an extensive discography and a career lasting sixty-six years including thirty-six as a member of The Great Jazz Trio. He passed away on May 16, 2010, at age ninety-one. Ron Carter is a living legend and the most recorded jazz bassist in history. He also plays the cello, is still performing and recording, and just celebrated his eighty-fifth birthday. Tony Williams was one of the best drummers in jazz and for five years provided the power behind The Miles Davis Quintet. He passed away at age fifty-one on February 23, 1997; but leaves a lasting legacy of music as a leader and sideman. If you enjoy live jazz and are a fan of these great musicians, I invite you to check out The Great Jazz Trio At The Village Vanguard. It’s a terrific jazz album with superb performances that is sure to please novice and seasoned jazz fans alike!
~ The Great Jazz Trio At The Village Vanguard, Volume 2 (East Wind EW-8055), ~ The Great Jazz Trio At The Village Vanguard Again (East Wind UCCJ-4001) – Source: Discogs.com ~ Naima – Source: JazzStandards.com ~ Moose The Mooche – Source: Wikipedia.org © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
John Calvin Jackson was born May 26, 1919 in Philadelphia, Pennsylvania to a concert singer mother. He played piano from childhood, taking lessons with a private teacher. He went on to study at Juilliard and New York University.
At the beginning of his career Jackson worked with Frankie Fairfax. Moving to Los Angeles, California from 1943–47 he worked in Hollywood as an assistant director of music for MGM on productions including Meet Me in St. Louis and Anchors Aweigh.
1947 saw Calvin recording with Phil Moore and also as a solo pianist for Discovery Records. The following summer he played with singer Mildred Bailey and dancer Avon Long at Café Society in New York City. In 1950, he moved to Toronto, Canada where he often played on television and radio. Throughout the 1950s and early 1960s he released several LPs for labels such as Columbia Records.
Returning to Los Angeles in 1957 he resumed work as a composer and orchestrator for television and hit musicals like Where The Boys Are and The Unsinkable Molly Brown, which was Oscar-nominated for best adapted score. Occasionally he could be seen on screen as a piano-playing character.
Jackson arranged for Ray Charles at one point, receiving an arrangement and co-producer credit for Charles’ 1964 release Sweet & Sour Tears . By the early 1980s, he moved to San Diego County, where he lived in semi-retirement where he gave music lessons on a piano in his apartment. In 1984 he sat in as a guest at the Sunday night jam sessions Jeannie and Jimmy Cheatham hosted at the Bahia resort on Mission Bay, playing piano and harmonica between sets and occasionally with the band.
He was working on arrangements for a 31-piece concert jazz orchestra in Point Loma when he developed a heart ailment and was taken to the hospital. Pianist, composer, and bandleader Calvin Jackson transitioned on December 9, 1985 at age 66.
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