Three Wishes

Nica asked Howard McGhee if he was given three wishes what would he want grated and he told her:

1. 1. “I wish, I wish, I wish.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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Requisites

Miles In Berlin ~ Miles Davis | By Eddie Carter

This morning’s album is a recent addition to the library by Miles Davis. Miles in Berlin (CBS SBPG 62976/S 62967) captures the trumpeter and his quintet of Wayne Shorter on tenor sax, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums in concert before an enthusiastic audience at the Berliner Jazztage ’64. It was initially released in Germany in 1965, and my copy is the 2017 Speakers Corner European Mono audiophile reissue (CBS 62976). The set opens with Milestones by Miles Davis. The quintet establishes the melody quickly; then, Miles takes off with a swift opening solo. Wayne follows in rapid succession with a spirited reading, and Herbie closes with a speedy resolution leading to the ensemble’s finale and the audience’s approval.

Autumn Leaves by Joseph Kosma, Jacques Prévert, and Johnny Mercer starts with a muted introduction and a delicately gentle melody by Miles and the trio. The leader’s opening statement tells a touching story. Shorter builds the next solo efficiently, then Hancock follows with a charming presentation. Carter has the final word with a concise comment before the quintet regroups for the finale. Side Two soars into the stratosphere with Herbie and Ron introducing Miles’ So What, ahead of the quintet’s Theme. Miles takes the lead and gives a spirited performance. Wayne launches into the following interpretation with enthusiastic vitality, then Herbie proceeds joyously into the closing chorus before the ensemble takes the song out.

The quintet sets Richard Carpenter’s Walkin’ in motion with a rapid-fire opening chorus. The lead solo by Miles bursts with energetic passion. Williams propels the second statement with vigorous brushwork; Shorter enters next with an electrically charged interpretation. Hancock states his case effectively in the finale ahead of the reprise and climax. Miles’ Theme gives Ron the spotlight in a concise reading before the trumpeter returns, and the set ends to thunderous applause. Rudy Wolpert produced the album, and S.F.B. (Sender Freies Berlin) Radio recorded the concert. Speakers Corner has beautifully remastered the original analog tapes. This excellent recording has an impressive soundstage that places the listener’s sweet spot in the audience.

The record is pressed on 180-gram audiophile vinyl and is quiet until the music starts. This was the second quintet’s debut live album, and it set the stage for what would come in their following six studio releases. If you’re a fan of Miles Davis and enjoy his early live recordings or his bandmates’ music, I submit for your consideration Miles in Berlin on your next vinyl shopping trip. It highlights his group in a terrific live performance and should become a welcome addition to your jazz library!

~ E.S.P. (Columbia CL 2350/CS 9150), Filles De Kilimanjaro (Columbia CS 9750), Miles in The Sky (Columbia CS 9628), Miles Smiles (Columbia CL 2601/CS 9401), Nefertiti (Columbia CL 2794/CS 9594), Sorcerer (Columbia CL 2732/CS 9532) – Source: Discogs.com
~ Autumn Leaves – Source: JazzStandards.com
© 2023 by Edward Thomas Carter

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THE HARPER COLLECTIVE

The Harper Collective ~ Terence Harper ~ Trumpet, Dishan Harper ~ Bass, Winard Harper ~ Drums, Eric “Elew” Lewis ~ Piano, Frank Houston ~ Saxophone, Larry Strickland on percussion

This incredible lineup features world renown touring artist, Eric “ELEW” Lewis. In addition to ELEW, the collective consists of three members of the Legendary Harper Family, which includes, The Harper Brothers co-leader Winard Harper, Grammy Nominated Trumpeter Terence Harper and international touring bassist Dishan Harper!

The resumes between these amazing musicians are extraordinary. Collectively these musicians have been featured on hundreds of recordings including Grammy nominated and Grammy winning projects!

The two featured artists in The Harper Collective, Eric “ELEW” Lewis and Winard Harper have been an integral part of the New York Jazz scene for decades. They are considered to be among the greatest musicians of their generation!

Eric “ELEW” Lewis began his career playing as a sideman for jazz artists like Wynton Marsalis, Cassandra Wilson, Elvin Jones, Jon Hendricks, and Roy Hargrove. ELEW has also performed as a member of the Lincoln Center Jazz Orchestra and has toured and recorded with Josh Groban, Esperanza Spalding, Sting, The Roots and Natalie Cole, just to name a few.

Winard Harper was a member of the hit jazz group, The Harper Brothers, which gained international success and stardom back in the early 1990’s when they released their hit jazz song entitled Remembrance, on Verve Record label. Remembrance, which was written by the senior member of the Harper family, Danny Harper, reached number 1 on the billboard charts for 6 straight weeks! Winard has toured and recorded with Dexter Gordon, Betty Carter, Jimmy Heath, Johnny Griffin, Etta James, Frank Wes, Nancy Wilson and many more!

Terence and Dishan Harper who are some of the youngest members of the Harper Family Dynasty are currently touring around the world. They have played and recorded with the great Curtis Lundy, Steve Turre, Jimmy Heath, Musiq Soulchild, Solange, Keith David, Bobby Watson and Chinese Movie Star and Mandopop artist Andy Lau just to name a few! Terence and Dishan have also appeared on numerous television shows and movies including, The Orignals as well as the remake of the movie The Color Purple, directed by Blitz Bazawule and produced by Quincy Jones, Scott Sanders, Steven Spielberg and Oprah Winfrey!

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Daily Dose Of Jazz…

Louis Metcalf was born on February 28, 1905 in Webster Groves, Missouri. As a youth he first trained on the drums but switched over to cornet permanently. As a teenager in St. Louis, Missouri he played with Charlie Creath.

Moving to New York City in 1923 he participated in the fertile jazz scene there, playing with Willie The Lion Smith, Jelly Roll Morton, Benny Carter and King Oliver. In 1926, Duke Ellington hired Metcalf to play in his seminal orchestra, where his mellow tone contrasted with that of Bubber Miley. In the 1930s, he led his own bands and also joined Fletcher Henderson’s band.

1946 saw Louis moving to Montreal, Canada where he formed the International Band, the first to play the nascent bebop style in Canada. Under his leadership the Café Saint-Michel was the hub of the jazz scene in Montreal for a few years, with local musicians such as the young Oscar Peterson and visiting Americans Art Pepper, Fats Navarro and Sonny Rollins among others sitting in with the band.

A drug bust prompted Metcalf to return to New York City in 1951. He released an album titled I’ve Got The Peace Brother Blues in 1966, where he demonstrated that his style had indeed evolved since his days with Ellington.

Becoming less active after falling ill in 1968, trumpeter Louis Metcalf transitioned on October 27, 1981.

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Daily Dose Of Jazz…

Leslie Richard Condon born February 23 1930 in Kennington, London, England of Irish stock, took up the trumpet in his late teens. Largely self-taught, he worked with local dance bands before doing his national service, when he played for the Eager Beavers at RAF Wroughton, Wiltshire.

Turning professional in 1952, he played with the usual round of palais bands and then took to the sea as a member of Geraldo’s Navy. Working as a musician on Cunard liners crossing the Atlantic allowed him to worship at the feet of the great exponents of bebop on New York’s 52nd Street. Originally a conventional jazz player, like others of the second wave of modernists he was bowled over by bebop, forging an eloquent style of his own, building on what he knew of Dizzy Gillespie, Fats Navarro and Miles Davis.

In 1954, he became a founder member of British bebop pioneer Tony Crombie’s new band, playing alongside trumpeter Jimmy Deuchar and trombonist Ken Wray. Despite having little formal musical education, he was a valued composer and arranger, contributing to the Crombie band book and recording with the drummer for Decca in 1955. He also began to record and solo regularly with bands led by Vic Lewis and Hayes, before joining drummer Tony Kinsey’s successful quintet.

Condon was among the local players added to form Woody Herman’s (Anglo-American) Herd when the veteran US bandleader toured the UK in 1959. He formed a rewarding friendship with Herman’s lead trumpeter Reunald Jones, formerly a key member of the Count Basie orchestra.

He went on to have a year-long association with Jamaican alto-saxophonist Joe Harriott, famous for his pursuit of “free form” jazz alongside his more structured pieces. He went on to work with a dazzling array of local movers and shakers, recording with the Hayes and Tracey big bands and performing with just about every other significant jazz modernist of the day. An active studio musician, he played for radio and television shows, recorded with singer Georgie Fame and appeared on the Beatles’ Revolver album. His theatre work included a two-year stint with the musical show Bubbling Brown Sugar and a visit to South Africa in 1981, accompanying the singer Jack Jones.

Dental problems forced Condon to cease playing the trumpet in 1990, after which he confined himself to playing the piano at home, composing and studying music. Trumpeter Les Condon, one of the modern players,  transitioned on October 30 2007.

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