The Quarantined Jazz Voyager

My choice this week is the album No Problem by the Chet Baker Quartet featuring Duke Jordan. The album was produced by Nils Winther, recorded at Sweet Silence Studios, Copenhagen, Denmark on October 2, 1979 and released the following year on the Steeplechase label. The recording engineers were Freddy Hansson and Thomas Brekling, with Tom West holding down the assisting engineer role.

This session came during Baker’s resurgence from losing his embouchure from a beating that broke his tooth, more than likely related to an attempted drug buy, though the story is a bit hazy. After getting dentures he developed a new embouchure in the Seventies and began a more mellow and wavering playing style. There’s always his signature vocals present during this period in his career.

1. No Problem ~ 9:45
2. Sultry Eve ~ 7:04
3. Glad I Met Pat ~ 5:08
4. Kiss of Spain ~ 7:15
5. The Fuzz ~ 6:05
6. My Queen Is Home to Stay ~ 7:13
7. Jealous Blues ~ 8:48 (Bonus Track On CD)

• Chet Baker ~ trumpet
• Duke Jordan ~ piano
• Niels-Henning Ørsted Pedersen ~ bass
• Norman Fearrington ~ drums

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Daily Dose Of Jazz…

Harold “Money” Johnson was born in Tyler, Texas on February 23, 1918 and didn’t start playing trumpet until he was fifteen. Moving to Oklahoma City, Oklahoma in 1936, he jammed with Charlie Christian and Henry Bridges before joining Nat Towles’s band.

He played with Horace Henderson and Bob Dorsey before returning to Towles’s band in 1944 in Chicago, Illinois. He also played with Count Basie, Cootie Williams, Lucky Millinder, and Bull Moose Jackson during the decade.

In the 1950s Money’s associations included Louis Jordan, Lucky Thompson, Sy Oliver, Buddy Johnson, Cozy Cole, Mercer Ellington, Little Esther, and Panama Francis.

The Sixties saw Johnson played in the house band at the Apollo Theater in Harlem, and recorded with King Curtis in 1962. He toured the USSR with Earl Hines in 1966. From 1968 he played in the Duke Ellington Orchestra and also worked again with Hines and Oliver.

He recorded with Buck Clayton, Pearl Bailey, Red Prysock, Barbara Lews, Jack McDuff, Houston Person, and Jesse Stone. Trumpeter Money Johnson, whose last performance was on the night before, transitioned from a heart attack on March 28, 1978 in New York City.

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Daily Dose Of Jazz…

Charlie Spivak was born on February 17, 1905 in Kyiv, Ukraine and learned to play trumpet when he was ten years old. He played in his high school band, going on to work with local groups before joining the Johnny Cavallaro Orchestra.

He went on to play with Paul Specht’s band for most of 1924 to 1930, then spent time with Ben Pollack early Thirties, and the Doresy Brothers to the middle of the decade. Ray Noble was his next stop prior to the Glenn Miller Orchestra in 1935. He spent the next two years working mostly as a studio musician with Gus Arnheim, Glenn Miller, Raymond Scott’s radio orchestra, and others, followed by periods with Bob Crosby, Tommy Dorsey, and Jack Teagarden to the end of the Thirties.

Finally, with the encouragement and financial backing of Glenn Miller, he formed his own band in late 1939. His first attempt was a failure within a year, but his second proved successful, one of the most successful bands in the 1940s, and survived until 1959. He scouted top trumpeter Paul Fredricks (formerly of Alvino Rey’s Orchestra) just as Fredricks left the service at the end of World War II, in 1946. Trumpeter Paul Fredricks was recruited after WWII service and became  instrumental in the band’s success in the coming years as it reached its peak.

Spivak’s experience playing with jazz musicians had little effect on his own band’s style, which was straight dance music, made up mainly of ballads and popular tunes. Trombonist Nelson Riddle, saxophonist Manny Albam and Sonny Burke arranged for the band. When the orchestra broke up he went to live in Florida, where he continued to lead a band until illness led to his temporary retirement in 1963. On his recovery, he continued to lead large and small bands, first in Las Vegas, Nevada and then moved to Greenville, South Carolina in 1967, where he led a small group featuring his wife as vocalist.

Trumpeter and bandleader Chalie Spivak, known during his heyday as The Man Who Plays The Sweetest Trumpet In The World, continued to play and record until his transition on March 1, 1982 in Greenville.

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Requisites

This morning’s choice from the library is a recent acquisition I’ve been hunting for since it was reissued as part of The Prestige Mono Series. It’s a swinging Fifties jam session that was originally released in 1957 by The Prestige All-Stars. All Night Long (Prestige PRLP 7073/PRST 7289) brings together a first-class ensemble, Donald Byrd on trumpet, Hank Mobley on tenor sax, Jerome Richardson (tracks: A1, B1 to B3) on flute, and (track: A1) on tenor sax, Mal Waldron on piano, Kenny Burrell on guitar, Doug Watkins on bass, and Art Taylor on drums. My copy used in this report is the 2012 Analogue Productions Mono audiophile reissue (APRJ 7073 – PRLP 7073).

Side One opens with Kenny Burrell’s All Night Long occupying the entire side. Art kicks off the song with an infectious beat. Kenny starts the opening solo with exquisite execution. Jerome’s flute flows with a happy feeling on the first of two statements. Hank takes us on a carefree joyride in the next reading, then Donald speaks his peace with a stellar presentation. Jerome resurfaces on tenor for a sparkling performance, and Mal gives a soulful effort on the next interpretation. Art follows with a brief exchange with the principal soloists before the group takes the song out. Side Two starts with the first of two tunes by Hank Mobley, Boo-Lu. Richardson sets the mood of this happy groove on the melody and opening chorus. Burrell, Byrd, Mobley, and Waldron follow with four short solos ahead of the reprise and close.

Flickers by Mal Waldron suggests a homage to the movies. It begins with the ensemble’s collective mid~tempo theme. Jerome is up first and shines with a light-hearted warmth. Donald and Hank follow with one easygoing reading each, then trade a few feisty riffs. Kenny turns in a tasty performance next and Mal applies blues-rooted energy to the finale leading to the closing chorus and Doug’s slow fade into oblivion. Mobley’s Li’l Hankie comes at you at medium speed with the ensemble in unison on the melody. Hank leads off the solos with a marvelous interpretation. Donald delves into the second reading on muted trumpet mining a vein of musical riches. Kenny tells a short story that makes every note count on the third statement. Jerome lights a fuse of creative inspiration on the next performance, followed by a stimulating conversation between the front line, Waldron, and Richardson ahead of the ending theme.

Bob Weinstock supervised the original album and the man behind the dials was Rudy Van Gelder. Kevin Gray did the remastering from the analog tapes. The record has a flat-edge and deep groove on the label like the original release, and the album cover has a high gloss. This reissue was pressed on 200-gram audiophile vinyl by Quality Record Pressings. The soundstage is outstanding, transporting the musicians to your listening room and the record is silent until the music starts. Burrell, Byrd, Watkins, and Taylor also appear on the companion album, All Day Long, recorded just a few days after this date. If you’re a Hard-Bop fan and are looking for an album with superb musicianship, I can’t think of a better choice to introduce you to The Prestige All-Stars than All Night Long! It’s a gorgeous recording that’s highly recommended and well worth adding to your library!

~ All Day Long (Prestige PRLP 7081/PRST 7277) – Source: Discogs.com © 2022 by Edward Thomas Carter

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Daily Dose Of Jazz…

Alfred “Chico” Alvarez was born in Montreal, Canada February 3, 1920 but grew up in Southern California. Upon graduation from high school, he attended the Los Angeles Conservatory of Music.

He was a soloist with the Stan Kenton Orchestra from 1941 to 1943 and rejoined the band after Army service in World War II. He also played with the Red Norvo and Charlie Barnet bands, and moved to Las Vegas, Nevada in 1958 and worked the hotel circuit in the 1960s and 1970s. It was during this time that he would accompany singers like Ella Fitzgerald and Sarah Vaughan.

He recorded two dozen albums with Kenton as well as a single recording session on the self-titled Nat King Cole, Bob Keene and His Orchestra, Vido Musso’s The Swingin’st, and Patti Page’s In the Land of Hi-Fi.

Trumpeter Chico Alvarez, who was the business agent for the musicians’ union, the president of the Allied Arts Council and a member of the Nevada State Council on the Arts, transitioned on August 1, 1992 in Las Vegas.

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