Three Wishes

The three things that Horace Silver wished for were:

  1. “Immortality.”
  2. “To be rich.”
  3. “A baby.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats – Complied and Photographed by Pannonica de Koenigswarter

THE WATCHFUL EYE

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Requisites

Hard Driving Jazz by the Cecil Taylor Quintet ‎was recorded in New York City on October 13, 1958 at United Artists Records. This hard bop and modal session was licensed by United to Dillard et Cie, Imp. and released in 1959 on La Voix De Son Maître in Paris, France.

The cover photography was taken by Tom Burnside and the design of the cover was made by Griner/Lewis, the recording engineer was Fernando Vargas, Tom Wilson was the session producer and the liner notes were written by François Postif.

Four tunes made up this session composed by Chuck Israels, Jimmy Van Heusen, Johnny Burke, Kenny Dorham, John Klenner and Sam Lewis. Double Clutching, Like Someone In Love,Shifting Down and Just Friends for a short 33:14.

The players were Chuck Israels on bass, Louis Hayes on drums, Cecil Taylor on piano, Kenny Dorham on trumpet and on tenor saxophone was Blue Train (John Coltrane).

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Three Wishes

When Al Haig was asked to respond to the Baroness’s three wish request he stated via telephone:

  1. “Coitus! Hurry over to the Algonquin and I’ll tell you what two and three are.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats – Complied and Photographed by Pannonica de Koenigswarter

THE WATCHFUL EYE

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Requisites

The Prophetic Herbie Nichols Vol. 1 is the debut album by pianist Herbie Nichols in 1955. The album, released as a 10 inch LP on the Blue Note label, features six performances recorded by May 4th – 13th in the bop, hard bop and post bop styles.

Nichols begins his statement with Dance Line, then Step Tempest, The Third World, Blue Chopsticks, Double Exposure and Cro-Magnon Nights all follow to make up the complete album and were all composed by Nichols.

An interesting note, from 1947 he spent half a decade trying to get a contract with Blue Note and his persistence finally paid off when he finally inked a three album deal. The art was conceived by New York School abstract expressionist painter Martin Craig providing a rare and befitting cover for the purveyor of art piano music.

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Trumpeter Dizzy Gillespie recorded the live bebop album Jazz At Massey Hall on May 15, 1953 in Toronto, Canada. With him on this date were bassist Charles Mingus, drummer Max Roach, pianist Bud Powell and saxophonist Charlie Parker who is billed as Charlie Chan for contractual reasons, an allusion to the fictional detective and to Parker’s wife Chan. It was the only time these five men recorded as a unit and the last recorded meeting of Parker and Gillespie.

The session was produced by Charles Mingus, and was originally released on Mingus’s label Debut, from a recording made by the Toronto New Jazz Society. Due to under-recording of the bass lines, Mingus took the recording to New York where he and Max Roach dubbed in the bass lines on most of the tunes, exchanging Mingus soloing on All The Things You Are. However, a 2004 reissue, Complete Jazz At Massey Hall contains the full concert without the overdubbing.

The original issue was as a two 10” LPs, 46:54 in length and and the cover design had five playing cards, with Gillespie as the Joker. The set on Volume 1 contains the tracks Perdido, Salt Peanuts, All The Things You Are and 52nd Street Theme. Volume 3 has Wee, Hot House and A Night In Tunisia. Volume 2 consisted of the trio recordings of Powell, Mingus and Roach from the same date all but I’ve Got You Under My Skin and one track by Billy Taylor with Mingus and Roach from a later date.

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