Requisites

Tenor and Flute ~ Bobby Jaspar | By Eddie Carter

Bobby Jaspar steps into the spotlight for this morning’s discussion with his 1957 album, Tenor and Flute (Riverside RLP 12-240). I first heard him on two records he made with Herbie Mann, Flute Flight, and Flute Soufflé (1957).  Bobby was born in Liège, Belgium, and began playing the piano at eleven and the clarinet at sixteen. He later switched to the flute and tenor saxophone, and in 1950 began working with French pianists Henri Renaud and Bernard Peiffer. Jaspar was also a member of the Bop Shops band and played and recorded with Toshiko Akiyoshi, Chet Baker, Kenny Burrell, Donald Byrd, John Coltrane, Miles Davis, Milt Jackson, J.J. Johnson, Hank Jones, John Rae, and Wynton Kelly. He was married to jazz pianist and singer Blossom Dearie.  His supporting cast is Idrees Sulieman on trumpet (tracks: A1, B1, B2), George Wallington on piano, Wilbur Little on bass, and Elvin Jones on drums. My copy used in this report is the 1976 Japanese Mono reissue (Riverside SMJ-6156M).

The opener, Seven Up is Bobby’s easy blowing vehicle beginning with everyone laid-back on the melody.  Idrees starts the song in a nice happy mood on the first interpretation, then Bobby takes over for an outstanding solo as solid as the Rock of Gibraltar.  George follows with some carefree cruising that’s a treat for the ears and Wilbur is rhythmically infectious on a short statement ahead of the ensemble’s breezy climax.

Jaspar changes to flute for My Old Flame, written in 1934 by Arthur Johnston and Sam Coslow. It appeared in the film, Belle of The Nineties that year. He embraces the jazz standard lovingly on the melody and paints a compassionate portrait on the opening statement.  The second presentation by Wallington is tenderly expressed, then the leader gives a second performance that’s delicately pretty and Jones offers some beautifully shaped brushwork on the closer ahead of a tranquil ending.

Bobby returns to tenor sax for a spirited quartet rendition of All of You, Cole Porter’s 1954 jazz standard that first appeared in the 1955 Broadway musical, and 1957 film, Silk Stockings. The quartet gives a lift to this timeless classic with a briskly paced theme treatment. The saxophonist displays a lively intensity on the lead solo, then George adds a bouncy effervescence to the second reading.  Wilbur and Elvin split the third statement for a short, incisive comment, followed by Bobby and Elvin who guide us into the reprise with an expressive exchange.  Idrees Sulieman’s Doublemint is an energetic companion to his blues, Juicy Fruit, heard on The Hawk Flies High (1957). It opens Side Two with a collective infectious melody. Jaspar cooks vivaciously on the first statement, then Sulieman breaks into a robust reading. Wallington moves in next for a scintillating solo and Jones finds something good to say on the closing chorus sharing notes with the front line.

George Wallington wrote the final two tunes on Tenor and Flute beginning with his tenderly passionate ballad, Before Dawn. It starts slowly with a breathtakingly beautiful theme by Bobby and the rhythm section.  Jaspar then creates a mood of ecstasy on the first performance, then Idrees delivers a fine solo punctuated with delicate lyricism. George follows, sharing a brief moment of intimacy before Bobby adds a few additional affectionate remarks preceding the ensemble’s sultry coda.

Jaspar and the rhythm section take Sweet Blanche for a brisk ride on the finale with the leader back on flute. The quartet opens with a cheerfully pleasant theme and Jaspar excels with vigorous flair on the first interpretation. Wallington heads into the second reading expressing considerable delight, then Jaspar and Jones take us home sparring with each other into a satisfying climax. Tenor and Flute was produced by Orrin Keepnews, and the man behind the dials was Jack Higgins.

I was pleasantly surprised with the sound quality, the instruments produce an exceptional soundstage across the highs, midrange, and low end that’s right on the money. The analog Mono transfer by Victor Musical Industries from the original tapes has been gorgeously remastered and transports the listener to the studio alongside the musicians during the session. During 1961 & 1962, Jaspar formed a quintet with guitarist René Thomas and performed in a series of concerts and several recordings including appearing on Chet Is Back (1962). He passed away from a heart attack at age thirty-seven on February 28, 1963. I’ve enjoyed listening to this album and am happy to have it in my library.  If you aren’t familiar with Bobby Jaspar, are a fan of Hard-Bop or tenor sax, I hope you’ll seek Tenor and Flute out during your next vinyl hunt.  It’s a perfect album to get into jazz and the music is sure to make you tap your foot!

~ Chet Is Back (RCA Victor PML-10307); Flute Flight (Prestige PRLP 7124); Flute Soufflé (Prestige PRLP 7101); The Hawk Flies High (Riverside RLP 12-233) – Source: Discogs.com

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Daily Dose Of Jazz…

Achille Joseph Baquet was born on November 15, 1885 in New Orleans, Louisiana into a musical family whose patriarch, Théogène, led the Excelsior Brass Band. He learned the clarinet from Luis “Papa” Tio and was thought to have been a member of the Whiteway Jazz Band.

Moving to New York City in 1918, then ragtime pianist, vocalist, and leader Jimmy Durante, the only member not from New Orleans, hired him to play with the Original Dixieland Jazz Band that was founded by Johnny Stein. He would go on to work with Papa Jack Laine’s Reliance Brass Band and was part of the clarinet section of the Happy Schilling Dance Orchestra.

Baquet’s credits as a composer include Why Cry Blues, written with Jimmy Durante. According to Papa Jack Laine, he co-wrote Livery Stable Blues with Acide “Yellow” Nunez.

Clarinetist and saxophonist Achille Baquet, who was a light-skinned black man able to pass for white, passed away on November 20, 1956 in his hometown.

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The Quarantined Jazz Voyager

POWER TO THE PEOPLE 11.12.20

As I sit socially distanced from the rest of the world ever vigilant of this pandemic, the next choice from the library is Power To The People by jazz saxophonist Joe Henderson. The album was recorded on May 23 and May 29, 1969 at Plaza Sound Studios in New York City and released on Milestone Records the same year.

Produced by Orrin Keepnews, all songs are written by Henderson except Opus One-Point-Five and Lazy Afternoon. It was his first to feature an electric instrument with Hancock playing the electric piano. This Quarantined Jazz Voyager is looking forward to listening to this lineup of talented musicians.

1. Black Narcissus ~ 4:50
2. Afro-Centric ~ 7:00
3. Opus One-Point-Five (Ron Carter) ~ 4:56
4. Isotope ~ 4:53
5. Power to the People ~ 8:42
6. Lazy Afternoon (Moross, Latouche) ~ 4:33
7. Foresight and Afterthought (An Impromptu Suite in Three Movements) ~ 7:33

• Joe Henderson — tenor saxophone
• Mike Lawrence — trumpet (2, 5)
• Herbie Hancock — piano (3, 4, 6), electric piano (1, 2, 5)
• Ron Carter — bass
• Jack DeJohnette — drums

As you listen I hope you enjoy this great addition to the jazz catalog. Continue your social distancing, wear your masks and stay healthy. During this sabbatical from flying and investigating jazz around the globe, enjoy the listen and know that the world and I will be back.

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Daily Dose Of Jazz…

Charlie Mariano was born Carmine Ugo Mariano on November 12, 1923 in Boston, Massachusetts, the son of Italian immigrants. Growing up in the Hyde Park neighborhood of Boston, after high school, he enlisted in the Army Air Corps during World War II. After his discharge, he attended Schillinger House of Music, now Berklee College of Music. He was among the faculty at Berklee from 1965–1971.

Moving to Europe in 1971, he eventually settled in Köln, Germany, with his third wife, Dorothee Zippel. He played with one of the Stan Kenton big bands, Toshiko Akiyoshi, his second wife, Charles Mingus, Eberhard Weber, the United Jazz and Rock Ensemble, Embryo and numerous other notable bands and musicians.

He was known for his use of the nadaswaram, a classical wind instrument from Tamil Nadu. He recorded thirteen albums as a leader and another sixty records as a sideman, working with Shelly Manne, Eberhard Weber, Manny Albam, Max Bennett, Chet Baker, Philip Catherine, Serge Chaloff, Peggy Connelly, Herb Ellis, Maynard Ferguson, Michael Gibbs, John Graas, George Gruntz, Chico Hamilton, Bill Harris, Bill Holman, Jackie and Roy, Elvin Jones, Quincy Jones, Mel Lewis, Arif Mardin, Toshiko Mariano, Vince Mendoza, Modern Jazz Quartet, Mike Nock, Nat Pierce, Herb Pomeroy, Irene Reid, Johnny Richards, Jimmy Ricks, Shorty Rogers, Frank Rosolino, Sal Salvador, Fredy Studer, Harvie Swartz, McCoy Tyner, Sadao Watanabe, Stu Williamson.

Alto and soprano saxophonist Carmine Mariano passed away from cancer on June 16, 2009

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Daily Dose Of Jazz…

Edgar Melvin Sampson, born October 31, 1907 in New York City, he started playing violin at the age of six and picked up the saxophone in high school. He started his professional career in 1924 with a violin-piano duo with Joe Colman and through the rest of the 1920s and early ’30s, he played with many bands, including those of Charlie “Fess” Johnson, Duke Ellington, Rex Stewart and Fletcher Henderson.

1933 saw him joining Chick Webb’s band. It was during his tenure with Webb that he created his most enduring work as a composer, writing Stompin’ at the Savoy and “Don’t Be That Way“. Leaving the Webb band in 1936 with a reputation as a composer and arranger, he was able to freelance with Benny Goodman, Artie Shaw, Red Norvo, Teddy Hill, Teddy Wilson, and Chick Webb.

Becoming a student of the Schillinger System in the early 1940s, Edgar continued to play saxophone through the late ’40s and led his own band from 1949 to 1951. Through the Fifties, he worked as an arranger for Latin performers Marcelino Guerra, Tito Rodríguez and Tito Puente.

He recorded one album under his own name, Swing Softly Sweet Sampson, in 1956. Due to illness, he stopped working by the late 1960s. Saxophonist, violinist, composer, arranger Edgar Sampson passed away on January 16, 1973 at the age of 65 in Englewood, New Jersey.

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