Requisites

Manhattan Project is an album by Jamaican-born jazz trumpeter Dizzy Reece featuring performances recorded at Blue Rock Studio, N.Y.C. on January 17, 1978 and released on the Bee Hive label.

1. Con Man – 8:55
2. Manhattan Walk – 7:59
3. Yule On The Hudson – 9:05
4. Woody ‘n’ You (Dizzy Gillespie) – 13:20
5. One For Trane (Mickey Bass) – 7:57

• Dizzy Reece – trumpet
• Clifford Jordan – tenor saxophone
• Charles Davis – tenor saxophone
• Albert Dailey – piano
• Art Davis – bass
• Roy Haynes – drums

Manhattan Project ~ Dizzy Reece Sextet | By Eddie Carter

Submitted for your consideration now is an album by trumpet player Dizzy Reece. Manhattan Project (Bee Hive Records BH 7001) is the only album he recorded for the Evanston, Illinois label. Reece was born in Kingston Jamaica and attended the Alpha Boys School where he began playing the baritone sax before switching to the trumpet at the age of fourteen. It’s also during this time where he got his nickname Dizzy, which has nothing to do with Dizzy Gillespie. He became a professional musician by the age of sixteen and has played with some of the greatest jazz musicians in the United States, England, and France. On this date, he performs with an outstanding quintet; Charles Davis, and Clifford Jordan on tenor sax; Albert Dailey on piano; Art Davis on bass and Roy Haynes on drums. My copy used in this report is the 1978 Stereo album, the only release on LP.

Con Man, the first of three tunes from Reece’s pen starts Side One with a brief trio introduction that segues into the ensemble’s speedy theme.  Dizzy begins a lengthy performance that swings with limitless energy convincingly. Clifford and Charles take the reins next for two incendiary solos of intense heat.  Albert maintains the high-voltage current on the next reading with his fingers providing plenty of electricity. Roy adds a brisk footnote that glows brightly preceding the sextet’s lively closing chorus.  Dizzy’s Manhattan Walk takes the sextet on an adventurous evening stroll through the city with the group speaking in unison on the modal melody led by the front line. Reece goes first, haunting the streets like a restless spirit but with a hypnotic emotion that’s irresistibly seductive. Jordan gets the next turn, revealing his abundant lyricism and Dailey follows exhibiting formidable creativity preceding the ensemble continuing their walk down the street into the fadeout. The first side closes with the third Reece tune; Yule on The Hudson flies from the opening notes of the trio’s introduction with an astounding workout by Roy into the ensemble’s high-powered theme treatment. Dizzy takes his trumpet for a thrilling ride on the first solo; Clifford illuminates the next interpretation with some splendid work.  Charles takes over for a spirited presentation possessing equal amounts of speed and energy. Albert continues with an incisively, infectious exploration that takes hold of you and doesn’t let go. The front line reconvenes for an exciting conversation among themselves, then Roy joins them to wrap up the solos with a few final remarks of musical bliss before the climax.

The ageless jazz standard, Woody ‘n’ You by Dizzy Gillespie opens Side Two making a grand out-of-harmony ensemble entrance with Dizzy in front segueing into the familiar rapid melody pace. Reece takes off first with a supercharged solo establishing he’s in complete control of his instrument.  Clifford offers an exceptional display of his mastery on the tenor sax with a radiant reading. Charles gives a breathtaking performance next that travels to stratospheric heights. Albert gives a brilliant solo that’s extremely clever and inspired by Art’s bouncy bass and Roy’s impeccable timekeeping.  Dizzy launches his second reading like a rocket with an invigorating presentation, then shares the spotlight with Roy for a few red-hot exchanges into the out-of-step climax. One For Trane by bassist Mickey Bass is a blues dedicated to John Coltrane and the sextet turns the heat up on the uptempo theme collectively. Albert solos first, dispensing passionate fury that sinks its teeth into the opening statement with fiery intensity and joyous spontaneity.  Dizzy steps into the spotlight next with an exhilarating account illustrating his flawless technique and stylistic versatility. Charles charges into the third solo with cheerful optimism, then Clifford wails his behind off on the next scintillating performance. Albert has the final word on a vigorously energetic presentation culminating with the ensemble’s stunning finish.

Manhattan Project was produced by Jim Neumann, a noted jazz record producer, and the founder of Bee Hive Records, and Fred Norsworthy whose excellent work as an engineer and producer can also be found on jazz recordings for Black Lion Records, Interplay Records, Jazzbank, Muse Records, PJL, Storyville and Trip Jazz.  The album was pressed at Wakefield Manufacturing in Phoenix, Arizona. The lacquer was cut by Mastering engineer Brian Gardner who worked at Trident Studio in London, before working at Allen Zentz Mastering and Bernie Grundman Mastering in Hollywood, California. He currently owns Brian Gardner Mastering and the listener can tell a lot of care went into making the best sounding record at the time.  Recording Note: To achieve a tight, cohesive sound, Dizzy removed some of the sound baffles in the studio. This creates a close blending of instruments not unlike some of the ’50s. The album has a superb soundstage throughout the treble, midrange and bass spectrum and delivers a crystal-clear sound of the instruments.

Dizzy Reece, now eighty-eight years young is still active as a musician and writer and has recorded albums for Blue Note, and other labels including Futura, Interplay Records, Jasmine, Jazz Vision, and New Jazz.  On this album, the leader and his colleagues serve up a Hard-Bop feast with lots of energy that’s put together very well and shows these guys have a perfect balance of technique, intellect, and emotion. If you’re a fan of jazz trumpet, I invite you to audition Manhattan Project for a spot in your library.  It’s a compelling album that’s sure to satisfy almost any jazz appetite by the other trumpeter named Dizzy whose recognition as a bandleader, composer, and gifted musician is long overdue.

Recording Note – Source: Album liner notes by Brian Davis Woody ‘n’ You – Source: JazzStandards.com, Wikipedia.org

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David Burns was born on March 24, 1924 in Perth Amboy, New Jersey and began playing trumpet when he was nine years old.  As a teenager, he heard bebop performances at Minton’s Playhouse, among others Dizzy Gillespie. His first ensemble was in Al Cooper’s Savoy Sultans, with whom he played from 1941 to 1943, prior to joining the Army Air Force. There he led a band from 1943 to 1945 that included James Moody as a sideman.

He joined Gillespie’s band in 1946 and appeared with Gillespie in Jivin’ in Bebop in 1947. After leaving Gillespie’s band in 1949, he worked with Duke Ellington from 1950 to 1952 and then with James Moody until 1957.

The late 1950s saw Dave playing shows in New York City and in the Sixties recorded for Vanguard Records. He worked with Billy Mitchell, Al Grey, Willie Bobo, Art Taylor, Dexter Gordon, Johnny Griffin, Leo Parker, and Milt Jackson. From the 1970s through the end of his career he increased his work as an educator. Trumpeter, flugelhornist, arranger, composer, and teacher Dave Burns passed away on April 5, 2009 in Freeport, New York.

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Patrick John Halcox, born March 18, 1930 in Chelsea, London, was originally offered a band spot earlier but elected to continue his studies as a research chemist. Ken Colyer was invited to fill the vacancy in 1953, which became known as the Ken Colyer Jazz Band, playing in a New Orleans style with Chris Barber, Lonnie Donegan and Monty Sunshine.

The band effectively parted company with Colyer in 1954 after a dispute about its musical direction. Halcox took Colyer’s place, in what then become Barber’s group and as the original six-piece band eventually grew to eleven members, he remained present. Although primarily the trumpet player, he had a fine singing voice and led the band’s various renditions of Ice Cream, one of their most popular standards. He also played piano on the Lonnie Donegan recording of Digging My Potatoes.

The Pat Halcox Allstars did make a recording of their own during a Chris Barber Band summer break, now re-released as a Lake Records CD. Trumpeter and vocalist Pat Halcox announced his retirement from the Chris Barber Band at the age of 78, effective in 2008 and passed away on February 4, 2013 at the age of 82.

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Marty Sheller was born March 15, 1940 in Newark, New Jersey and initially studied percussion, but switched to trumpet as a teenager. He first played with Hugo Dickens in Harlem, and arranged for Sabu Martinez, and began working with Afro-Latin percussionists such as Louie Ramirez and Frankie Malabe.

In 1962 he became a trumpeter in Mongo Santamaria’s band, and worked with Santamaria for more than forty years as a composer and arranger. He also had an extensive association with Fania Records as a house arranger, working with Joe Bataan, Ruben Blades, Willie Colon, Larry Harlow, Hector Lavoe, and Ismael Miranda.

Outside of Fania, he arranged for musicians such as George Benson, David Byrne, Jon Faddis, Giovanni Hidalgo, T.S. Monk, Idris Muhammad, Manny Oquendo, Dave Pike, Tito Puente, Shirley Scott, Woody Shaw, Lew Soloff, and Steve Turre.

In the 2000s, he led his own ensemble, which included the sidemen Chris Rogers, Joe Magnarelli, Sam Burtis, Bobby Porcelli, Bob Franceschini, Oscar Hernández, Ruben Rodriquez, Vince Cherico, and Steve Berrios. Trumpeter Marty Sheller continues to perform and arrange.

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Mercer Kennedy Ellington was born on March 11, 1919 in Washington, D.C. and is the only child of the composer, pianist, and bandleader Duke Ellington and his high school sweetheart Edna Thompson. He grew up primarily in Harlem from the age of eight and by the age of eighteen, he had written his first piece to be recorded by his father, Pigeons and Peppers. He attended New College for the Education of Teachers at Columbia University, New York University, and the Juilliard School.

In 1939, 1946 through 1949, and 1959, Mercer led his own bands, many of whose members later performed with his father, or achieved a successful career in their own right including Dizzy Gillespie, Kenny Dorham, Idrees Sulieman, Chico Hamilton, Charles Mingus, and Carmen McRae. During the 1940s, in particular, he wrote pieces that became standards, Things Ain’t What They Used to Be, Jumpin’ Punkins, Moon Mist, and Blue Serge. He also wrote the lyrics to Hillis Walters’ popular song, Pass Me By in 1946), which was recorded by Lena Horne, Carmen McRae, and Peggy Lee.

Composing for his father from 1940 until 1941, he later worked as the road manager for Cootie Williams’ orchestra in 1941 until 1943 and again in 1954. Ellington returned to work for his father playing alto horn in 1950, and then as general manager and copyist from 1955 until 1959. In 1960, he became Della Reese’s musical director, then later went on to take a job as a radio DJ in New York for three years beginning in 1962. He again returned to his father’s orchestra in 1965, this time as trumpeter and road manager. When his father died in 1974, Ellington took over the orchestra, traveling on tour to Europe in 1975 and 1977.

In the early 1980s, Ellington became the first conductor for a Broadway musical of his father’s music, Sophisticated Ladies which ran from 1981 until 1983. Mercer’s Digital Duke won the 1988 Grammy Award for Best Large Jazz Ensemble Album. From 1982 until the early 1990s, the Duke Ellington Orchestra included Barrie Lee Hall, Rocky White, Tommy James, Gregory Charles Royal, J.J. Wiggins, Onzy Matthews, and Shelly Carrol among others.

Trumpeter, composer, arranger, and bandleader Mercer Ellington, who recorded ten albums as a leader and arranged Clark Terry’s Duke With A Difference album, passed away from a heart attack on February 8, 1996 at age 76 in Copenhagen, Denmark.

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