Requisites

Johnny Griffin’s Studio Jazz Party ~ Johnny Griffin | Eddie Carter

This title from the library brings renown jazzman Johnny  Griffin into the spotlight for his only live album as a leader  on Riverside Records. Submitted now for your approval is the 1961 LP, Johnny Griffin’s Studio Jazz Party (RLP-9338), recorded before a live audience that was invited to the recording session inside Plaza Sounds Studios. Joining the saxophonist are Dave Burns on trumpet; Norman Simmons on piano; Victor Sproles on bass and Ben Riley on drums. My copy is The Riverside Original Recording Series Japanese Stereo reissue (SMJ-6145), released in 1976 by Victor Musical Industries, Inc.

The performance is hosted by Babs Gonzales who welcomes the crowd to the session on the opening track, Party Time and introduces the first song, Good Bait by Count Basie and Tadd Dameron. This  standard was written in 1944, becoming a feature in Basie’s  and Dizzy Gillespie’s Orchestra. Griffin and the trio  introduce the song slowly, picking up immensely when the  melody moves to a medium-fast tempo. Dave sets the pattern for the song on the opening statement with punchy rhythms, crisp lines, and a crackling tone. Simmons strolls  into the next reading for an impressive interpretation which shows no strain as each phrase unfolds. Both horns share a few more statements before the ensemble returns for a  march-like closing chorus and amusing ending.

The first side ends on an uptempo note with the 1942  popular song, There Will Never Be Another You, written by Harry Warren and Mack Gordon for the musical film  Iceland, which premiered that same year. The first recording outside the film was a 78-rpm single (B-11574) by  vocalist Joan Merrill recorded for the RCA subsidiary, Bluebird. The trio opens with an abridged introduction,  stepping aside as Burns begins the opening chorus and the lead solo ambitiously with a drive which generates its own  excitement. Simmons is dazzling on the next reading with  choruses which illustrate a mature sound that swings freely. Griffin romps through the next statement of this cheery  bouncer with long, flowing lines that are rewarding in every respect to the delight of one fan who urges him on as his solo progresses. Sproles is up next to give a brief statement with an agility that shows he is much more than a solid  foundation and sets up the front line to share a few final  thoughts before the ensemble brings the song to a close to  the delight of the crowd.

Babs opens the second side with a message to the crowd, then the group tears into Dave Burns’ Toe-Tappin” which possesses great speed from the start and the interaction between the front line during the main theme is marvelous. Dave kicks off the lead solo with a passionate presentation which launches its own fireworks in perfect harmony on each note to the equally incandescent foundation by the rhythm section. Norman sustains the ferocious pace with a knockout performance on the next statement, then Johnny charges ahead with enthusiastic phrases on the tune’s longest interpretation which are constructed marvelously. Victor fuels the final reading with pure adrenalin for an  exclamation point that will have your fingers popping and your toes tapping to the contagious beat until the quintet’s soft fade finale and audience’s fervent expression of  approval.

The LP’s only standard is a classic from The Great American Songbook which Babs introduces in French. You’ve  Changed was written in 1942 by Carl Fischer and Bill Carey and has been covered by many vocalists in the jazz and pop  genres. The definitive vocal of this popular song, in my  opinion, was sung by Billie Holiday on the 1958 Columbia album, Lady In Satin (CL 1157/CS 8048). After a brief  introduction by the trio, Burns plays the first half of the  opening chorus with Johnny playing the second half to  ng, amiable final presentation that leads back to the closing chorus and a gentle ending as the applause fades to mark the end of this  very enjoyable Studio Jazz Party.

The original recording was engineered by Ray Fowler, the  man behind some of the greatest jazz albums on Riverside  and Jazzland with the mastering done by Jack Matthews of  Components Corporation for this Japanese LP. Both men have done their job well because the sound is vivid with each instrument providing a realistic soundstage that surrounds your sweet spot, placing you in the best seat to  enjoy the performance along with the crowd. The music which makes up the program is equally enjoyable, and I  even found Gonzales’ comments throughout the album colorful and its crystal-clear Babs was in a party mood as the set progressed. In short, Johnny Griffin’s Studio Jazz Party is a pleasurable program of music which still stands up well nearly six decades later and at nearly forty-six minutes, offers a benefit to the novice or knowledgeable listener that he or she will get their money’s worth from a performance they can revisit anytime.

~ Good Bait, There Will Never Be Another You, You’ve  Changed – Source: JazzStandards.com, Wikipedia.org © 2020 by Edward Thomas Carter

More Posts: ,,,,,,,,

JAVON JACKSON | THE GOSPEL ACCORDING TO NIKKI GIOVANNI

Saxophonist and former Jazz Messenger Javon Jackson, world-renowned poet laureate Nikki Giovanni, and celebrated jazz vocalist Nnenna Freelon stand on the shoulders of their ancestors in The Gospel According to Nikki Giovanni, a meaningful meditation on struggle, sacrifice, resilience, liberation, and victory.

Giovanni, one of today’s finest poets and thinkers, makes a rare vocal appearance at this inspired evening of her favorite poetry, hymns, and Negro spirituals reimagined by Jackson as jazzy new compositions. “These songs are so important,” says Giovanni of the historic collaboration. “I’m out here putting water on the flowers, because they need a drink” (Broadway World).

More Posts: ,,,,,,,,,,,

CHARLES LLOYD

NEA Jazz Master & GRAMMY® Award Nominated Saxophonist, Composer & Bandleader CHARLES LLOYD, now in his eighth decade, has never sounded better. The depth of his sound reflects a lifetime of experience. Charles Lloyd concerts and recordings are events of pristine beauty and elegance, full of intensely felt emotion and passion that touches deep inside the heart. Lloyd was one of the first jazz artists to sell a million copies of a recording: ‘Forest Flower’ (1966) & his quartet was the first jazz group to perform at the legendary Fillmore Auditorium in San Francisco. He was invited to guest on recordings with the Doors, the Birds, The Grateful Dead, and the Beach Boys. Lloyd is the 2021 Downbeat Critic’s Poll “Saxophonist of the Year” and his group, Charles Lloyd & The Marvels were the 2021 Downbeat Critic’s Poll “Jazz Group of the Year.”

More Posts: ,,,,,,,,,,,

CHARLES LLOYD

We wind things up at that same venue on November 6 with NEA Jazz Master Charles Lloyd, the giant old-growth sequoia of jazz. Charles Lloyd’s Ocean Trio includes the brilliant pianist Gerald Clayton and guitarist Anthony Wilson, both of whom grew in the rich environment provided by their famous fathers; bassist/educator John Clayton and big-band leader Gerald Wilson.

Performance At: Great Hall of Town Hall Seattle | 1119 8th Ave, Seattle, WA 98101 | 206-652-4255 

More Posts: ,,,,,,,,,,,

The Jazz Voyager

Masked up and on the wing to that city by the bay is the next stop for this Jazz Voyager to take in an evening at the Comstock Saloon situated at the crossroads of North Beach, Chinatown, Financial District and Jackson Square. I’ve been hearing about Gaucho Jazz, and having sparked my curiosity, decided to satisfy or see if it will kill this cat. So it’s off to hear them live and experience a performance for myself.

Of course while I’m in this city I’ll ride another trolley, make my way down the crooked street, roll across the bridge to Berkeley, go hang in the Tenderloin, Haight~Ashbury and Nob Hill and just enjoy the sights and sounds. I’ve also heard about this Dynamo Spiced Chocolate Donut that the saloon serves up with vanilla ice cream and during the night I’m going to see what this dessert hoopla is all about.

Showtime is 8:00pm ~ 11:00pm and there is no mention of a cover or reservations required. I guess I’ll be dropping in a little before showtime. The address of the Comstock Saloon is 155 Columbus Avenue, San Francisco, California 94133. For more information, the number is 415-617-0071 or comstocksaloon.com.

CALIFORNIA JAZZ FOUNDATION

More Posts: ,,,,,,,,,,,,,,,,

« Older Posts       Newer Posts »
© Notorious Jazz 2025