Requisites
For Basie ~ Paul Quinichette | By Eddie Carter
A few nights ago, with rain falling and a cold atmosphere outside, it felt like the ideal moment to listen to a favorite album by tenor saxophonist Paul Quinichette. For Basie (Prestige PRLP 7127), first released in 1958, is a great “blowing session” of the 1950s and a heartfelt homage to Count Basie, offering memorable tunes and lively arrangements by pianist Nat Pierce. The group features two alumni from Basie’s band, showing that these jam sessions were anything but rushed or lacking in artistic merit. Rounding out the sextet are Shad Collins on muted trumpet (tracks: A1, A2, B2) and trumpet (tracks: A3, B1, B2), Freddie Green on guitar, Walter Page on bass, and Jo Jones on drums. The copy I own is the 1963 remastered stereo reissue (Prestige Swingville SVST 2036).
Side One opens at a relaxing beat with Rock-a-Bye Basie by Count Basie, Shad Collins and Lester Young. Nat opens with a short introduction, segueing into Shad's leisurely-paced melody, with Paul playing behind him. Paul’s opening solo is cool and inviting, then Shad comes in on muted trumpet like a gentle breeze on a summer night. Nat sums it up with a friendly reading, returning to the theme’s restatement and a soft conclusion. Texas Shuffle by Herschel Evans and Edgar Battle turns up the heat significantly, beginning with Pierce and Jones’ quick introduction ahead of the ensemble’s speedy melody. Quinichette takes the lead first, then Collins, again using a mute, takes over for a quick run. Quinichette has a short conversation with Jones, and Pierce has the last word before the group ends softly.
Out The Window, by Count Basie and Eddie Durham, was first recorded by Basie’s band in 1937. The sextet pays homage, with the front line featuring Shad on the open horn, leading the mid-tempo melody. Shad struts boldly into the opening statement. Paul follows with a solo that soothes as it swings, then Nat strolls into the third reading with finesse, leading to a lengthy theme reprise with quick comments by Paul and Jo before the close. The group starts Side Two with Jive at Five by Count Basie and Harry Edison, which opens at an easygoing beat for Jones, Pierce, and Page’s introduction to the ensemble’s melody. Quinichette takes the lead here at an unhurried pace. Collins steps up next, still on the open horn with an easily flowing solo. Pierce continues moving along toward the sextet’s closing chorus.
Digging For Dex by Count Basie and Eddie Durham is their tribute to former “Down Beat” editor, Dave Dexter. Nat continues the easygoing pace, leading the rhythm section through the introduction, segueing to the sextet’s theme with Shad still on the open horn. Paul has the first say and makes the most of each note. Shad steps into the spotlight next for some muted work, then Nat takes over and cruises comfortably toward the ensemble’s laid-back climax. Bob
Weinstock supervised the session, and Rudy Van Gelder managed the recording console. I was pleasantly surprised by the reissue’s sound quality, especially for a remastered stereo album from the 50s. The soundstage is excellent, and brings the listener to the studio as the musicians perform.
In my opinion, For Basie captures the essence of Count Basie’s music, allowing each musician in the ensemble to shine. With Quinichette leading the sextet and his subtle homage to Lester Young in his playing, hence his nickname, The Vice Pres pays a respectful tribute to Basie’s legacy, blending nostalgia with innovative interpretations. The seamless chemistry between Collins, Pierce, Green, Page, and Jones elevates each tune into a stellar example of jazz artistry. If you enjoy swing, big band jazz, or have a soft spot for the tenor sax as I do, I invite you to check out Paul Quinichette’s For Basie on your next record-shopping trip. It’s a delightful album that’s perfect for listening to at any time of day or night, a real joy for jazz fans, and a title well worth adding to your library!
© 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Leon Joseph Roppolo was born on March 16, 1902 in Lutcher, Louisiana but by age ten was living in New Orleans. Young Leon’s first instrument was the violin, but being a fan of the New Orleans marching bands he wanted to play clarinet. Soon excelling on clarinet, he played youthful jobs for parades, parties and at Milneburg on the shores of Lake Pontchartrain. By his teens he left home with Bee Palmer’s group that evolved into the New Orleans Rhythm Kings, that become one of the hot jazz bands in 1920s Chicago along with King Oliver’s band. Leon’s style influenced many younger Chicago musicians, most famously Benny Goodman.
Following the breakup of the Rhythm Kings he went to New York City jazz scene and recorded with the Original Memphis Five and the California Ramblers. Returning to New Orleans he briefly reformed the Rhythm Kings, made a few recordings but primarily worked with other bands like the Halfway House Orchestra, with whom he recorded on saxophone.
Roppolo soon began exhibiting more eccentric behavior and violent temper outbursts. Too much for his family to take, Leon was committed to the state mental hospital. Aging and feeble far beyond his years in his later life, he would come home for periods when a relative or friend could look after him, and he would sit in with local bands on saxophone or clarinet.
Leon Roppolo, nicknamed “Rap” and who played clarinet, saxophone and guitar, passed away in New Orleans at the age of 41 on October 5, 1943. He left for posterity such compositions as Farewell Blues, Gold Leaf Strut and Make Love To Me, the latter recorded by Jo Stafford in 1954 and that hit No. 1 on the Billboard charts and #2 on Cashbox.
Daily Dose Of Jazz…
Bheki Mseleku was born Bhekumuzi Hyacinth Mseleku on March 3, 1955 in South Africa. Entirely self-taught, though his father was a musician and teacher, his religious belief denied musical access to his children. Growing up in Apartheid he was subjected to restricted healthcare and lost the upper joints of two fingers in a go-karting accident.
His musical career began in Johannesburg in 1975 as an electric organ player for the R&B band Spirits Rejoice. After performing at the Newport Jazz Festival in 1977, Mseleku settled in Botswana for a time, then moved to London in the late 1970s. He attempted to settle into the jazz scene in Stockholm from 1980 to 1983, but returned to London. It was not until 1987 that Bheki made his debut at Ronnie Scott’s Jazz Club, playing piano unaccompanied by other musicians, with a saxophone in his lap that a wider audience became familiar.
With the release and notoriety of his 1991 debut album Celebration, and subsequent nomination for a Mercury Music Prize that Verve Records signed him for several albums. The first of these featured Joe Henderson, Abbey Lincoln, and Elvin Jones.
Twelve years and five albums later Bheki recorded his final session “Home at Last” in 2003, having spent most of his last years in South Africa. He never found an outlet for his skills and established a new band in London that was very well received by fans. Over the course of his life Bheki Mseleku lived with diabetes and on September 9, 2008 the pianist, saxophonist, guitarist, composer and arranger passed away in his London flat at age 53.
ARTEMIS
ARTEMIS is a powerful ensemble of modern jazz masters, founded in 2017 by pianist and musical director Renee Rosnes. Each musician is a bandleader and composer and every performance encompasses inspired arrangements of classics and originals. Performances across North America and Europe at major venues and festivals have garnered high praise from audiences and critics alike.
It is no wonder that ARTEMIS has been awarded #1 Group of the Year in the Annual Downbeat Readers Poll in 2023, 2024 and 2025! Their third recording “Arboresque” was released February 28, 2025. The album is testament to the group’s evolving musical landscape featuring stellar arrangements and riveting originals contributed by all members of the band. Come hear ARTEMIS perform with joy, passion, and high-wire intensity – there’s no other band like it!
Renee Rosnes – piano & keyboard
Ingrid Jensen – trumpet
Nicole Glover – tenor saxophone
Noriko Ueda – bass
Allison Miller – drums
Tickets: $35.00 ~ $45.00 +fee | Streaming: $15.00 +fee
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Requisites
Club Date ~ Yusef Lateef | By Eddie Carter
A few nights ago, I spent time with an album I hadn’t listened to in a while and thought it deserved discussing. Club Date (ABC Impulse ASD-9310), by multi-instrumentalist Yusef Lateef, was released in 1976 and showcases his live performance at Pep’s Lounge on June 29, 1964, first heard on Live at Pep’s. My introduction to Lateef’s artistry came through his work on Cannonball Adderley Sextet in New York, Nippon Soul, and Jazz Workshop Revisited. The tracks on Club Date were not available before this release. The group includes Richard Williams on trumpet; Yusef Lateef on flute (tracks B1, B3), oboe (track B1), and tenor saxophone (tracks A1 to A3, B2); Mike Nock on piano; Ernie Farrow on bass; and James Black on drums. The copy I own is the 1976 U.S. Stereo release.
The set opens with Oscarlypso by Oscar Pettiford, a lively tune featuring a Caribbean groove from the start of Ernie’s introduction to the quintet’s theme. Yusef takes the opening solo, as smooth as velvet. Richard follows with a cheerfully festive performance. Mike enters the spotlight last, with a relaxing reading, before both horns share a short exchange leading to the reprise and a vibrant finish. Gee Sam Gee by Yusef Lateef is a slow-moving ballad that begins with the saxophonist stating a hauntingly dreamy theme and opening solo. Williams and Nock follow with two delicately gentle statements preceding Lateef’s return for the closing chorus.
Richard Williams’ Rogi brings the beat way up to end the first side with the group’s collective melody. Yusef steps up first with a spirited performance, then Richard vigorously launches into the following solo. Mike has the last word with an energetic statement ahead of the theme’s return and climax. Brother John, Yusef Lateef’s tribute to John Coltrane, opens the second side with the rhythm section’s trio to Lateef’s switching to oboe for the melody and adventurous opening statement. Williams takes flight next in a scintillating solo. Nock keeps the listener captivated, sailing smoothly until the final note, while Yusef’s flute comments shadow him, before the quintet returns to take the song out.
Yusef Lateef introduces P-Bouk, a speedy original by the saxophonist that the ensemble takes out of the gate at a vigorous pace. Yusef soars upward into the sky on the opening solo with joyful exhilaration. Richard comes in cooking hard next, then Mike meets the challenge with a robust reading, leading to the theme’s restatement and the introduction of Nu-Bouk, also by Yusef Lateef, which he describes as a new blues. He’s back on the flute as he glides over the rhythm section for the soulful melody and lead solo. Williams makes his case in a short statement, returning to the theme and the group’s down-home ending.
Bob Thiele produced the initial session for Club Date, and Esmond Edwards supervised this release, but the identity of the engineer who recorded it remains unknown. The sound quality is very good for a ‘60s live date, with an excellent soundstage that transports the listener to the club’s audience. If you’re new to the music of Yusef Lateef, or are in the mood for a wonderful live album to listen to after a long day or week, I offer for your consideration Club Date by Yusef Lateef. It gives a glimpse into an incredible musician who transcended hard bop through music inspired by exotic locales. While the recording’s live atmosphere adds raw authenticity, it’s the interplay among the players that truly shines, making this record a rewarding listen for both longtime fans and newcomers to Lateef’s work!
~ Cannonball Adderley Sextet in New York (Riverside RLP-404/RLP-9404), Jazz Workshop Revisited (Riverside RM 444/RS 9444), Live at Pep’s (Impulse! A-69/AS-69), Nippon Soul (Riverside RM 477/RS 9477) – Source: JazzStandards.com
© 2026 by Edward Thomas Carter
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