Requisites

Somethin’ Else ~ Cannonball Adderley | By Eddie Carter

Cannonball Adderley steps into the spotlight for this morning’s discussion with a 1958 album that has not only stood the test of time but is truly, Somethin’ Else (Blue Note BLP 1595/BST 81595). It was Cannonball’s only Blue Note release and the alto saxophonist is backed by four exceptional musicians, Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass, and Art Blakey on drums. My copy used in this report is the 2005 Classic Records Mono Audiophile reissue sharing the original catalog number.

Side One opens with Autumn Leaves by Joseph Kosma, Jacques Prevert, and Johnny Mercer. The trio introduces the song, then Miles’ muted trumpet delivers a gorgeous melody. Cannonball takes the lead with an affectionate opening solo. Miles follows with a warm, lyrical interpretation, and Hank gives a beautifully elegant closing statement ahead of an exquisite finale. Love For Sale by Cole Porter first appeared in his musical, The New Yorkers (1930). Hank opens with a deceptively gentle introduction that segues into a gorgeous, muted melody by Miles. Cannonball takes over for the song’s only solo and articulates his thoughts with precise execution. Miles returns for the closing chorus and the rhythm section fades out gracefully.

Side Two starts with the ensemble exploring the blues on Somethin’ Else by Miles Davis. The front line establishes an easy groove on the opening chorus. Miles is up first and builds an infectious solo that’ll get some fingers snapping and toes tapping. Cannonball takes flight next with a cheerfully, carefree performance, then Hank sparkles on a short statement. Sam and Art work wonderfully together complementing the soloists. The front line has a final exchange before a slow dissolve into nothingness.

One For Daddy-O by Nat Adderley is a slow blues tribute to the legendary Chicago jazz announcer, Holmes “Daddy-O” Daylie! The trio strolls into a laid-back introduction before both horns take over to deliver the melody. Cannonball takes the lead this time and swings easily on the first solo. Miles dispenses some cool jazz on the second statement. Hank makes a brief comment on the next reading before the principal soloists deliver one final comment each ahead of the ending and Miles speaking to Alfred Lion. Dancing In The Dark by Arthur Schwartz and Howard Dietz is from the musical revue, The Band Wagon (1931). Cannonball has the spotlight to himself and opens with a delicately pretty melody. As the song’s only soloist, he delivers a sensuously tender interpretation and the trio’s subtle support fits comfortably like a glove into their tender ending.

Somethin’ Else was originally produced by Alfred Lion and engineered by Rudy Van Gelder. This Classic Records reissue was remastered by Bernie Grundman and utilizes Quiex SV-P 200-gram premium vinyl. The record is silent until the music starts, and the sound quality is superb with a breathtaking soundstage that comes alive. The only complaint I have with this album is a manufacturing problem on Side Two. One For Daddy-O begins a few seconds into Hank Jones’ introduction, rather than the beginning of the song. Despite this issue, the music is outstanding with an incredible lineup that delivers the goods on every track. If you’re a jazz fan and are looking for a soothing album to enjoy anytime, I submit for your consideration, Somethin’ Else by Cannonball Adderley. The musicians are as good as it gets, and together they make magic that you’ll treasure with every listen

~ Autumn Leaves, Love For Sale, Dancing In The Dark – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Steven Mark Grossman was born on January 18, 1951 in Brooklyn, New York to Rosalind, an amateur pianist, and Irving, an RCA salesman and later president of KLH Research and Development Corporation. At 18, he went on to replace Wayne Shorter in Miles Davis’ jazz-fusion band. Then, from 1971 to 1973, he was in Elvin Jones’ band.

In the late 1970s, he was part of the Stone Alliance trio with Don Alias and Gene Perla. The group released four albums during this period, including one featuring Brazilian trumpeter Márcio Montarroyos. The albums also feature an array of other musicians. They went on to release three live reunion albums during the 2000s.

Fusion and hard bop saxophonist Steve Grossman passed away of cardiac arrest in Glen Cove, New York, on August 13, 2020, at the age of 69.

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Swiss Nights, Vol. 1 ~ Dexter Gordon Quartet | By Eddie Carter

The Dexter Gordon Quartet steps into the spotlight for this morning’s discussion with Swiss Nights, Vol. 1 (SteepleChase SCS-1050), the first of three albums recorded live at The Zürich Jazz Festival ’75. Dexter’s joined on stage by an all-star rhythm section, Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Alex Riel on drums. My copy used in this report is the 1976 US Stereo release (Inner City Records IC 2050). 

Side One starts with Gordon introducing the first number, an uptempo rendition of Tenor Madness by Sonny Rollins. The quartet launches the melody briskly, and Dexter gets things off to a rousing start on the lead solo. Kenny maintains the momentum on a swiftly paced performance next. Niels-Henning lays down a rocking beat on the third reading. Alex sizzles in a brief exchange with the leader ahead of the ending and the audience’s ovation.

Wave by Antônio Carlos Jobim is one of his most beautiful compositions. Jobim first recorded it as the title tune of his 1967 album. After Dex’s introduction, the rhythm section gently sets the mood for this bossa nova. Gordon shines brightly on the melody and cooks with conviction on the opening statement. Drew is up next with a delightfully creative interpretation, then Pedersen delivers a melodic, rich-toned reading. Gordon returns for a few final comments into the closing chorus. 

Side Two begins with Dexter quoting a few of the lyrics to announce You’ve Changed by Bill Carey and Carl Fischer. This is a poignant story beautifully told by the quartet with a delicately gentle melody. Dexter makes the opening solo his own with a glowingly tender performance. Kenny responds with an emotionally touching reading, then the leader returns for an especially moving closing statement that’s very nice.

The set ends with Days of Wine and Roses by Henry Mancini and Johnny Mercer. This old favorite is the title song from the 1962 film and the ensemble opens with an infectious opening chorus. Gordon is up first expressing pleasure on the first statement. Drew swings easily on the following interpretation, then Pedersen takes great delight on the next reading. Dexter reappears briefly preceding the quartet’s closing theme and exit. Swiss Nights, Vol. 1 was produced by Nils Winther. The recording and mixing engineer is Helmuth Kolbe. The album transports the listener to the festival with a solid soundstage that doesn’t disappoint and captures The Dexter Gordon Quartet in fine form. Now that I have Swiss Nights, Vol. 1 in my library, I’ll certainly be seeking out the two remaining volumes in this series. If you’re a fan of Dexter Gordon and love live jazz, this is one I highly recommend!

~ Swiss Nights, Vol. 2 (SteepleChase Records SCS-1090), Swiss Nights, Vol. 3 (SteepleChase Records SCS-1110), Wave (A&M records SP-3002) – Source: Discogs.com
~ Days of Wine and Roses, Wave – Source: JazzStandards.com
~ You’ve Changed – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

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Vido William Musso born Vito Gugliermo Musso on January 16, 1913 in Palermo, Sicily. He moved with his family to the U.S. in July 1920, having arrived at the Port of New York on the Italian steamship Patria. They lived in Detroit, where Musso started learning to play clarinet. Ten years later, he went to Los Angeles, California and formed a big band with Stan Kenton in 1935.

Musso dropped out the next year to work with Gus Arnheim, Benny Goodman, and Gene Krupa. He accompanied Billie Holiday and pianist Teddy Wilson on recordings in the late 1930s. He replaced Bunny Berigan as the leader of his band and tried unsuccessfully at other times during the 1930s and 1940s to be a big band leader. However, most of his career was spent as a sideman.

Returning to Goodman, he was a member of big bands led by Harry James, Woody Herman, and Tommy Dorsey. He went back to play with Kenton during the middle 1940s and  having moved to California, he retired around 1975.

Saxophonist Vido Musso, who recorded as a leader in the Forties and Fifties for Savoy, Trilon, Arco, Fantasy, RPM, Crown, and Modern record labels, transitioned on January 9, 1982 in Rancho Mirage, California.

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It’s About Time ~ McCoy Tyner and Jackie McLean | By Eddie Carter

This morning’s discussion brings two jazz giants together for their only collaborative album. It’s About Time (Blue Note BT 85102) is a 1985 release by pianist McCoy Tyner and alto saxophonist Jackie McLean (tracks: A1 to A3, B1) that rekindles a sixties Hard-Bop or Post-Bop date and is one of the best kept secrets in both musician’s discographies. The supporting cast is a stellar one, Jon Faddis (tracks: A1, B1) on trumpet, Ron Carter (tracks: A1, B1, B2) on acoustic bass, Marcus Miller (tracks: A2, A3, B3) on electric bass, Al Foster on drums, and Steve Thornton (tracks: A2, A3, B3) on percussion. My copy used in this report is the 1985 US Stereo Full Digital Recording.

Side One opens with the first of five tunes from Tyner’s pen, Spur of The Moment begins with a lively opening chorus in unison. Jon opens the opening solo with tremendous fire and spirit, followed by Jackie who produces some commanding choruses on the second performance. McCoy cooks confidently on the finale with inexhaustible energy into the climax. You Taught My Heart To Sing is a beautiful ballad that’s a showcase for McLean who gives the melody and first solo a warm and moving treatment. Tyner is up next with a delicately gentle reading shadowed by Miller, Foster, and Thornton who anchor both soloists with gorgeous groundwork preceding McLean’s return for the reprise and Tyner’s quiet ending.

It’s About Time begins with a tropical flavor in its blood on a delightfully, feisty midtempo theme led by Jackie who also leads the solos this time with an effective groove, then McCoy follows with a perfectly crafted closing statement. Marcus and Steve provide the spicy compliment that keeps our fingers popping and toes tapping into the group’s soft fadeout. Side Two opens with Hip Toe, a mid~tempo swinger that starts with the front-line and Tyner cruising comfortably into the infectious opening chorus. McLean is up first and comes out swinging on a peppy reading. Faddis answers him with a sharp, zesty statement that builds to a satisfying conclusion. Tyner provides the exclamation point on an extremely happy closing solo before the theme’s return and disappearance.

No Flowers Please by Ron Carter is a trio performance of tranquil beauty that the bassist introduces thoughtfully. McCoy takes the first solo and paints an intimate portrait. Ron closes with a polite, considerate reading executed with fingertip delicacy leading to a tender climax. Travelin’ invites us to take a mid~tempo trip without leaving the comfort of our sweet spot. Miller is the highlight here and demonstrates some stellar bass playing on the opening solo after Tyner’s opening chorus propelled by the rhythm section and Thornton’s percussion. Tyner makes a very personal statement on the closing reading with a grand delivery that brings us safely home after this six-song journey into a gentle culmination.

It’s About Time was produced by Jeffrey Weber and was digitally recorded by Ron Saint German. The sound quality is superb with an outstanding soundstage and excellent stereo separation matching the exceptional interaction between the musicians. The music also flows smoothly and is reminiscent of a classic Blue Note recording of the late fifties or early sixties. If you’re a fan of McCoy Tyner and Jackie McLean, I invite you to audition It’s About Time at your earliest opportunity. It’s an album of wonderful jazz music deserving further investigation for a spot in your library!

© 2021 by Edward Thomas Carter

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