The Jazz Voyager

The Jazz Voyager is leaving on a jet plane and heading to the Motor City this week to hang out at the swanky, restored art deco club known to the locals as Cliff Bell’s. The jazz club opened its doors in 1935 and has hosted some of the biggest names in the industry all while serving up nightly a creative, eclectic fare with live jazz on stage. Two shows nightly and of course, this voyager will be at the 9:30pm seating which accommodates between 100 and 150 patrons.

On the marquee is Detroit native, vocalist Kimmie Horne, who comes from the legendary family that gave rise to singing stars before her, Lena and Cleveland. She hosts her self-titled jazz festival annually, tours internationally and is gracious enough to spend a few gigs in her home city to perform for her fans.

Cliff Bell’s is located at 2030 Park Avenue, Detroit, Michigan 48226. For more information visit https://cliffbells.com.

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Daily Dose Of Jazz…

Joe Rigby was born on September 3, 1940 in Harlem, New York and grew up in the Sugar Hill neighborhood where his neighbors included Johnny Hodges, Sonny Rollins, Jackie McLean, and Kenny Burrell. He started playing piano when he was six and began playing flute and clarinet in high school. His focus eventually switched to the saxophone after hearing John Coltrane and Charlie Parker.

Graduating from the College of Staten Island he earned a bachelor’s degree in Music and a minor in Music Education. Rigby would go on to study privately with Joe Allard, Garvin Bushell, and Anders Paulsson. He taught instrumental music with the New York City Board of Education from 1989 until he retired in 2004, and was named New York’s Music Teacher of the Year in 1996.

Performing on alto, soprano, baritone and sopranino saxophone, Joe began performing professionally with Milton Graves, Johnny Copeland, and Steve Reid, with whom he led the Master Brotherhood. In the late 1970s, he formed and led his own group, Dynasty.

Establishing his Homeboy record label, he released a record with trumpeter Ted Daniel, and the album Music as a solo artist in 2009. The same year he recorded on French label Improvising Beings, releasing For Harriet with a quartet which included bagpiper player Calum MacCrimmon.

Tenor, alto, baritone, soprano and sopranino saxophonist Joe Rigby, who also plays flute and piccolo, died on July 16, 2019 at the age of 78.

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Requisites

Sound Pieces ~ Oliver Nelson | By Eddie Carter

My next record from the library is by Oliver Nelson, one of jazz’s finest arrangers, composers, and multi-instrumentalists, which is too good to leave sitting on the shelf. Few performances on LP ever reached the heights of his 1961 release, The Blues and The Abstract Truth, producing his biggest hit, Stolen Moments. Sound Pieces (Impulse A-9129/AS-9129) is one that did, and in the process, became one of the best albums in Nelson’s discography. What sets Sound Pieces apart is its unique combination of a large ensemble for three works of orchestral jazz on Side One and a quartet in a more intimate setting on Side Two. My copy is the original 1966 US Stereo release.

The personnel on this date are an all-star ensemble. John Audino (tracks: A1 to A3), Bobby Bryant (A1), Conte Candoli, Oliver Mitchell (A1 to A3), Al Porcino (A2, A3) on trumpet; Bill Byers (A2, A3), Dick Noel (A1), Ernie Tack (A1 to A3) on trombone; Red Callender (A2, A3) on tuba; Bill Hinshaw, Richard Perissi (A1 to A3) on French horn; Gabriel Baltazar Jr. and Bill Green (A1 to A3) on alto sax; Plas Johnson, Bill Perkins (A1 to A3) on tenor sax; Jack Nimitz (A1 to A3) on baritone sax; Oliver Nelson (A1 to B3) on soprano sax; Gabriel Baltazar Jr., Bill Perkins (A2, A3) on clarinet; Steve Kuhn (B1 to B3), Mike Melvoin (A2, A3) on piano; Ray Brown (A2, A3), Ron Carter (B1 to B3) on bass; Shelly Manne (A2, A3), Grady Tate (B1 to B3) on drums.

Sound Piece For Jazz Orchestra is an unforgettable story of music told in two main themes: the first one is a calm state of tranquility. The second is a searing portrayal originally written for The Stuttgart Radio Dance Band in 1963. The song opens with the bass clarinets sounding a commanding call and an exceptional utilization of brass and winds to announce the majestic chorus with strong statements. Originally written for alto saxophone, Oliver is featured on soprano sax and is the song’s only soloist in both sections. When the pace slows down to a softer tempo, he delivers a thoughtfully sensitive interpretation, caressing each phrase with the clarinets and horns discreetly in the background, culminating in a tender finale. The rhythm section shifts the song back to uptempo for the orchestra to restate the melody, stepping aside for Nelson, who gives an intense workout on the closer before the stunning finale.

Flute Salad is an original by Oliver Nelson that, as the title suggests, places the flutes in front, leading the orchestra in the animated opening and ending melodies. Conte Candoli is the featured soloist, and his muted horn delivers an air of assurance that flows sonorously with the brass section in support. The Lady From Girl Talk by Oliver was written for Actress Virginia Graham, who hosted Girl Talk, a syndicated program using this tune as her theme. The trombones announce the introduction before evolving into the orchestra’s full-bodied melody. Mike Melvoin begins a taut opening solo of rhythmic joy, illustrating his nimble hands at work. Oliver follows, his soprano moving gracefully with soulful precision on the closer for a compelling reading that is especially impressive.

The Shadow of Your Smile by Johnny Mandel and Paul Francis Webster is also known as Love Theme From The Sandpiper. Steve, Ron, and Grady join Oliver in presenting a Bossa Nova version, opening with the introduction as if the quartet is playing the standard at a slow tempo. The mood moves upward to a medium beat for the melody with an energetic swing led by Nelson. Steve charges the opening statement with mild energy and agile phrases, exhibiting the cohesive harmony between himself, Carter, and Tate. Oliver closes with an affectionate performance of deep emotion, rich harmony, and warm phrasing that, to these ears, captures the essence of expressing the love the lyrics depict.

Patterns is an uptempo original that first appeared in Oliver’s 1966 Book, Patterns For Improvisation (Jamey Abersold), a collection of improvisational jazz patterns in various meters and feels that spells out some of the basic building blocks of the jazz language. It is the most adventurous and interesting tune on the album, beginning with a thematic statement that the quartet takes as far as it will go. The opening solo by Nelson is well-developed. Kuhn heightens the mood by supplying a scintillating closing presentation, held firmly by the always energetic foundation of Carter and Tate into the quartet’s reprise and climax.

The final track is Oliver’s Elegy For a Duck, which he recorded earlier in the year on Peter and The Wolf with organist Jimmy Smith. Based on the original work by Russian composer, conductor and pianist Sergei Prokofiev, Ron and Grady establish the introduction with a bouncy beat that is maintained throughout the entire song. Oliver and Steve join them for a bit of relaxed spontaneity on the theme. Then, the saxophonist settles in for a beautifully articulated opening statement that is brisk and merry. Kuhn closes with a refreshing performance of intriguing ideas, subtle moods, and impressions on each chorus, which is a deft musical portrayal.

The East Coast orchestra tunes were recorded by Bob Simpson of RCA Studios in New York, and the man behind the dials in the West Coast quartet sessions was Jim Lockert of Western Recorders. I was extremely impressed with each man’s work on Sound Pieces, and the sound quality is spectacular on both sides of the album. It is especially impressive during the orchestra tracks; Lockert accurately captures the brass, reeds, and drums and is as close to the real thing as I have heard. The highs are clear, the character of each instrument at midrange is crisp and natural, and there’s ample response in the bass region.

Oliver Nelson recorded six small group albums for Prestige, playing the alto and tenor sax, and nine more albums for Impulse, affirming his inspired leadership. He scored background music for films and television shows after moving to the West Coast in 1967. Oliver also recorded several excellent orchestra albums, including Afro-American Sketches in 1962 and Full Nelson in 1963, which are two of his finest LPs alongside The Blues and The Abstract Truth. He also arranged and produced records for some of the elite pop stars during the latter half of the sixties. It is no wonder why the Jazz and Pop communities mourned him deeply after his death from a heart attack at the age of forty-three on October 28, 1975!

I was fourteen when I first heard this album; it made quite an impression on me then, and I still find something new in the music each time I listen to it now. Impulse LPs also set a high standard for their releases with laminated gatefold covers, a distinctive spine color, incredible photography, knowledgeable liner notes, and great music. Sound Pieces is a tour-de-force of brilliant arrangements, incredible artistry, superb writing, and unparalleled listening pleasure by Oliver Nelson. A remarkable talent who, whether on record or in concert, always gave jazz fans exciting performances and albums that are still considered a must-have for any library!

~ Patterns For Improvisation – Source: Amazon.com

~ Afro-American Sketches (Prestige PRLP 7225/PRST 7225); Full Nelson (Verve Records V-8508/V6-8508); Peter and The Wolf (Verve Records V-8652/V6-8652); The Blues and The Abstract Truth (Impulse! A-5/AS-5); Bob Simpson, RCA Studios, Jim Lockert, Western Recorders – Source: Discogs.com

~ Sound Piece For Jazz Orchestra, The Stuttgart Radio Dance Band, Flute Salad, The Lady From Girl Talk, Patterns, Elegy For a Duck – Source: Album liner notes by Nat Hentoff

~ Girl Talk, Virginia Graham – Source: IMDB.com

~ Sergei Prokofiev – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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The Jazz Voyager

Staying on the east coast and heading back down to the city to the lower westside of Greenwich Village to the iconic jazz spote called the Village Vanguard. The 130 seat venue has been around since 1935 and has brought hundreds of legendary musicians to this New York stage. Their 16 musician Vanguard Jazz Orchestra which began as the Thad Jones/Mel Lewis Orchestra in 1966, plays every Monday night.

This week I’ll be having the privilege of hearing Joe Lovano & the Dave Douglas Quintet, who will be inresidence for a week. They have been playing together for some years, and when Lovano brings his tenor saxophone and pairs it with Douglas’ trumpet which creates an exciting performance.

The Village Vanguard is located at 178 7th Avenue S, New York City, NY 10014. For more information visit https://villagevanguard.com.

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ERIC ALEXANDER

Eric Alexander is one of the most sought-after saxophonists on the modern jazz scene. “The people I listened to in college are still the cats that are influencing me today,” says Alexander. “Monk, Dizzy, Sonny Stitt, Clifford Brown, Sonny Rollins, Jackie McLean, Joe Henderson – the legacy left by Bird and all the bebop pioneers, that language and that feel, that’s the bread and butter of everything I do.”

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