Requisites

A Tribute To Cannonball – Don Byas and Bud Powell | By Eddie Carter

This next album from the library was recorded in 1961 but remained shelved until its release in 1979, four years after the death of the musician it honors. A Tribute To Cannonball (Columbia Contemporary Master Series JC 35755) brings together Don Byas on tenor sax and Bud Powell on piano for a program of standards and two original tunes. Completing the ensemble are Idrees Sulieman (tracks: A5, B1, B2, B4) on trumpet, Pierre Michelot on bass, and Kenny Clarke on drums. My copy used in this report is the 1979 US Stereo album.

The quartet begins Side One with the Cole Porter classic, Just One of Those Things that made its debut in the 1935 musical comedy, Jubilee. The trio opens with a scintillating conversation in the opening chorus. Don adds some fierce dialogue on the second verse, then continues traveling at breakneck speed on the first solo. Bud’s nimble fingers fly over the keys at a brisk pace on the finale towards the quartet’s enthusiastic ending.

Jackie My Little Cat is a pretty ballad by Pierre Michelot that slows the tone to a softer tempo. From the first phrase of the elegantly tranquil theme, the quartet creates a warmly affectionate atmosphere for Byas who infuses the lead statement with tasteful subtlety. Powell also produces a reading of extraordinary tenderness that compliments the rhythm section’s graceful groundwork into a sensuous finale.  Cherokee, also known as Indian Love Song, was written in 1938 by Ray Noble as the first movement of his five-part Indian Suite. It became a hit for bandleader Charlie Barnet in 1939 and a jazz standard after Charlie Parker’s blistering rendition in 1941 with The Kansas City Band.  The song begins with a brisk duet by Don and Pierre on the introduction, then proceeds with a lightning-fast melody. Byas begins his first solo with a sizzling performance, then Powell flexes his muscles with incredible virility. The saxophonist is completely energized on the closer with fiery intensity before the out-chorus.

I Remember Clifford by Benny Golson is a 1957 jazz standard honoring Clifford Brown who perished in an auto accident the year before with pianist Richie Powell and his wife Nancy. It became a huge hit for Golson after appearing on the albums, Jazz Lab and Lee Morgan, Volume 3 (1957), and Jon Hendricks wrote lyrics for it the same year. The quartet is beautifully disciplined on the melody, and Don taps a well of serenity, bringing out the most intimate feelings in every note of the lead solo.  Bud closes with a warmly affectionate reading leading to a tender finale. Good Bait is by Tadd Dameron and Count Basie and was written in 1944.  It became a significant part of Basie’s repertoire and Idrees Sulieman makes his first appearance.  Kenny’s drums make the introduction, and the front line leads the quintet to establish the melody.  Don starts the solos with long, flowing tenor phrases.  Idrees follows with a fierce flow of notes from his trumpet.  Bud comes next with a deliciously spry statement.  Pierre makes a brief reading with an unrestrained flow of bass lines in between a few final remarks by both horns.

Side Two starts with the 1960 jazz standard, Jeannine by Duke Pearson. A brief workout by Clarke introduces the tune, segueing into the ensemble’s medium-fast melody. Don digs into the lead statement with a smoldering groove of vibrant verses. Idrees’ sentimental choruses on the second solo are tightly voiced and executed smoothly.  Bud flies high on the third reading with a muscular drive. Kenny delivers a satisfying finale before the horns return to drive Jeannine home. All The Things You Are by Jerome Kern and Oscar Hammerstein II was originally written in 1939 for the unsuccessful Broadway musical Very Warm For May that year. The song survived, becoming one of Kern’s most cherished and recorded compositions. Byas and Sulieman exchange a peppy dialogue with the trio on the melody. Idrees says something special with a firm tone on the first solo. Don delivers the next message confidently in an authoritative manner. Bud also displays his virtuosity in an invigorating reading. Both horns split the next few choruses and Clarke provides a passionate showcase on a brief statement ahead of the coda.

Let me stop for a moment to describe this next tune.  On the Side Two label, track three is listed as Jackie by pianist Hampton Hawes.  It isn’t Hawes’ tune at all, it’s actually an alternate take of Pierre Michelot’s Jackie My Little Cat.  Like the song on Side One, it’s a quartet piece with Byas and Powell as the featured soloists. After a beautiful theme statement, Don delivers an absolutely gorgeous opening solo. Bud follows with a haunting melodic interpretation ahead of the compassionate climax. The album ends with the second original by bassist Michelot, Myth is a cheery little tune full of fun and good spirits as evident by the sprightly introduction by the trio, ahead of the front line’s opening chorus. Byas starts the solos with a compelling performance that holds your attention from start to finish. Sulieman follows with a beautifully articulated presentation. Powell swings with exhilarating verses on the closing statement that bounces happily to the superb foundation by Michelot and Clarke.

A Tribute To Cannonball was produced by Cannonball Adderley and the engineer was Russ Payne who worked on many other Columbia LP’s. The music is excellent, and the sound quality is superb with the musicians surrounding your sweet spot providing some amazing jazz. The only issue I have with this album has nothing to do with the music, but the cover design. To read the liner notes by Gary Giddins, you need a high wattage light bulb or a well-lighted room because the words are small and dark blue on a red background. This is particularly notable on the back cover where the picture of Bud Powell is. Whoever thought this was a good idea, I hope they’ve never been allowed to design another record cover. That issue aside, I hope you’ll seek out A Tribute To Cannonball by Don Byas & Bud Powell on your next vinyl hunt. If you’re a fan of Hard-Bop, it’s an overlooked jewel that’s worthy of your consideration for a spot on your shelf!

~ Jazz Lab (Columbia CL 988); Lee Morgan, Volume 3 (Blue Note BLP 1557) – Source: Discogs.com

~ Cherokee, Indian Love Song, I Remember Clifford, All The Things You Are – Source: JazzStandards.com

~ Just One of Those Things – https://www.youtube.com/watch?v=9Gg0Md1geMw ~ Jackie My Little Cat – https://www.youtube.com/watch?v=9JmZCGKjrc0 © 2020 by Edward Thomas Carter

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Donald Tyson Ewell was born in Baltimore, Maryland on November 14, 1916. He played with Bill Reinhardt’s Jazz, Ltd. band in Chicago, Illinois in 1947, 1948, and 1949. From 1956 to 1962, he was a member of the Jack Teagarden band and after Teagarden’s death, he went on tour in Europe.

Returning to New Orleans, Louisiana he performed in clubs and hotels. From 1976 to 1978 he performed in concert while battling alcoholism, he lived with his friend King Denton, the manager of a jazz club where Don was Artist in Residence.

He worked with Sidney Bechet, Kid Ory, George Lewis, George Brunis, Muggsy Spanier, and Bunk Johnson. He recorded twenty-one albums as a leader and seven as a sideman with Barbara Dane, Doc Evans, Bunk Johnson, Jack Teagarden. Moving back to Maryland. After his daughter’s death from cancer and after two strokes, stride pianist Don Ewell passed away on August 9, 1983.

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Sonny White was born Ellerton Oswald White on November 11, 1917 in Panama City, Panama. He took the nickname Sonny while a member of Jesse Stone’s band in the middle of the 1930s. Later in the decade, he played with Willie Bryant, Sidney Bechet, Frankie Newton, and Teddy Hill alongside Dizzy Gillespie and Kenny Clarke.

He recorded several sessions with Billie Holiday, with whom he had a yearlong affair in 1939, and their engagement was announced in Melody Maker that May. A member of different line-ups backing Holiday in New York between January 1939 and October 1940, Sonny performed on the classic recording of Strange Fruit.

The 1940s saw him spending time in the bands of Artie Shaw, Benny Carter, with whom he played before and after his World War II military service. He would play again with Carter, Dizzy Gillespie, Big Joe Turner, Lena Horne, Dexter Gordon from 1944 to 1946, and Hot Lips Page in 1947.

In the 1950s he played with Harvey Davis and then with Wilbur De Paris, remaining with the latter until 1964. In the 1960s he freelanced with Eddie Barefield, among others, and was working with Jonah Jones at the time of his death. Pianist Sonny White passed away on April 28, 1971 in New York City.

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Paul Bley was born Hyman Paul Bley on November 10, 1932 in Montreal, Quebec. His adoptive parents were Betty Marcovitch and Joe Bley, who owned an embroidery factory. When he was five years old he studied violin, but by seven he took up the piano. He received a junior diploma from the McGill Conservatory in Montreal when he was 11 and at thirteen he formed a band which played at summer resorts in Ste. Agathe, Quebec. His teenage years saw him he played with touring American bands, including Al Cowan’s Tramp Band. In 1949 at the start of his high school senior year, Oscar Peterson asked him to fulfill his contract at the Alberta Lounge in Montreal. The next year he left Montreal for New York City and Juilliard.

The Fifties saw Paul returning to Montreal, establishing the Jazz Workshop and inviting Charlie Parker, he played and recorded with him. Returning to New York City he hired Jackie McLean, Al Levitt, and Doug Watkins to play an extended gig at the Copa City on Long Island. He did a series of trio recordings with Al Levitt and Peter Ind, toured as Lester Young and the Paul Bley Trio, and performed with tenor saxophonist Ben Webster at that time. He then conducted for bassist Charles Mingus on the Charles Mingus and His Orchestra album and in 1953, Mingus produced the Introducing Paul Bley album for his label, Debut Records with Mingus on bass and drummer Art Blakey. A 1954 call from Chet Baker put him with the quintet at Jazz City in Hollywood, California that led to a tour with singer Dakota Staton.

Staying in Los Angeles he evolved his trio into a quintet with young avant~garde musicians Dave Pike, Don Cherry, Ornette Coleman, Charlie Haden, and Billy Higgins. Through the Sixties, he worked with Jimmy Giuffre, Sonny Rollins, Coleman Hawkins, Bill Dixon, Roswell Rudd, Cecil Taylor, Archie Shepp, Carla Bley, Michael Mantler, Sun Ra, and others. The Seventies had him and Carol Goss founding the production company Improvising Artists. The label issued Jaco, the debut recording of Pat Metheny on electric guitar and Jaco Pastorius on electric bass, with Bley on electric piano and Bruce Ditmas on drums. The label would release IAI records and videos of Jimmy Giuffre, Lee Konitz, Dave Holland, Marion Brown, Gunter Hampel, Lester Bowie, Steve Lacy, Ran Blake, Perry Robinson, Naná Vasconcelos, John Gilmore, two solo piano records by Sun Ra, and others. Bley and Goss are credited in a Billboard cover story with the first commercial music video.

Through the Eighties and Nineties, he continued to record, tour prolifically through Europe, Japan, South America, and the United States. in 1993 a relative from the New York branch of the Bley family walked into the Sweet Basil jazz club in New York City and informed him that his father was actually his biological parent. In the new millennium, he became a part-time faculty member of the New England Music Conservatory.

His last public performances were in 2010 playing a solo piano concert at the La Villette Jazz Festival in Paris, followed by a duo with Charlie Haden at BlueNote in New York City during a full moon. Pianist Paul Bley passed away of natural causes on January 3, 2016, at home in Stuart, Florida, at the age of 83.

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Jan Bertil Allan was born on November 7, 1934 in Falun, Sweden and at 17 began his career in 1951 as a pianist. After moving to Stockholm, he switched to the trumpet as his main instrument, playing in Carl-Henrik Norin’s orchestra. From 1954–55 he worked with Lars Gullin and Rolf Billberg and again with Norin from 1955–59 while earning a Ph.D. in physics.

In the early Sixties, he led a quintet with Billberg and throughout the decade worked with Arne Domnérus, Georg Riedel, and Bengt Hallberg, among others. From 1968 to 1975 he was a member of the Swedish Radio Jazz Group. His album Jan Allan~70, featuring Rolf Ericson, Nils Lindberg, Bobo Stenson, Jon Christensen, and Rune Gustafsson, won a Grammis Award for Jazz of the Year in 1970.

Allan played with the same group and Georg Riedel on the trio-album Sweet And Loverly. His 1998 album Software has an affinity with the West Coast jazz genre of Gerry Mulligan and Stan Getz.

Over the course of his career, Allan also recorded albums with Bosse Broberg, Benny Carter, Dorothy Donegan, Lars Gullin, Jan Johansson, Thad Jones, Roger Kellaway, Lee Konitz, Nils Lindberg, Georg Riedel, George Russell, and Monica Zetterlund.

In 2000, his Bach trumpet, which was engraved with his name and he played for 35 years, was stolen. A movie about the theft and missing trumpet was broadcast on Swedish television in 2015 and had 1.1 million viewers. In 2009 he was honored with a Swedish Golden Django as a Master of Jazz. He composed for several films such as The Adventures of Picasso, Sopor, and Trollkarlen. He recorded eight albums as a leader and forty-six as a sideman.

Trumpeter and pianist Jan Allan,  is considered among the most important modern jazz musicians in Sweden, continues to compose and perform.

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