Requisites
The Magnificent Thad Jones | By Eddie CarterMy next entry from the library is the second of three albums released in 1956 by trumpeter, Thad Jones. The Magnificent Thad Jones (Blue Note BLP 1527) finds him in the company of Billy Mitchell on tenor sax, Barry Harris on piano, Percy Heath on bass, and Max Roach on drums. He comes from a musical family, his older brother is pianist Hank Jones and his younger brother, the dynamic drummer, Elvin Jones. Jones also taught himself to play the cornet, and French horn, becoming a professional musician at sixteen. Thad was also a member of some great big bands including Count Basie, Gil Evans, Quincy Jones, and Ernie Wilkins. Jones also led small groups as well and co-led The Jazz Orchestra with drummer Mel Lewis for twelve-years. He led The Danish Radio Big Band and the Count Basie Orchestra for a time after Basie’s death in 1984. His status as an accomplished arranger and composer has given the music world some of the most beautiful compositions ever written including what many consider his masterpiece, A Child Is Born. My copy used in this report is the 2016 Music Matters Jazz Mono audiophile reissue (MMBLP-1527).
April In Paris, written in 1932 by Vernon Duke and E.Y. Harburg begins our five-song journey. It premiered in the Broadway musical Walk a Little Faster that year, later becoming a favorite song among jazz and pop musicians and vocalists. Percy and Max introduce the tune softly, then the front line and piano enter for the melody with Thad dispensing a mellow tone from his horn. Billy makes a brief comment during the opening and ending chorus. Jones opens with a quote from the English nursery rhyme and children’s song, Pop Goes The Weasel. His ensuing verses flow at a relaxing pace into the reprise and fadeout.
Thad’s Billie-Do is a blues characterized by the quintet’s carefree feeling from the brief introduction of the trio into the opening chorus providing a delightful treat of what’s to come. Everyone kicks back individually except Max who provides pleasant brushwork behind each soloist. Jones begins the lead solo with a sweet-toned delivery, then Mitchell conveys a bluesy impression of playful relaxation with a down-home flavor. Harris swings easily on the third reading, then Percy illustrates his rhythmic ingenuity on an abbreviated closer before the quintet takes the song out.
If I Love Again, the 1932 ballad written by Ben Oakland and J.P. Murray ends Side One at an upbeat pace with the quintet delivering high-spirited energy on the melody. Barry opens the soloing with a jubilant performance, then Billy takes over for a vigorously brisk workout. Thad follows with a captivating reading, then Max closes with a clear, crisp attack providing some irresistible musical thrills swinging to the ensemble’s finale.
If Someone Had Told Me is a little-known ballad by Peter DeRose and Charles Tobias that I believe was written in 1952 because the two earliest vocals of the song were released that year. The first was by vocalist Dolores Gray, and the second was done by Sarah Vaughan. The version heard here is a quartet presentation and an attractive feature for Thad who is the only soloist with the trio providing an elegantly lush foundation under him. The trumpeter delivers a performance of beguiling warmth reflecting a bittersweet, poignant moment into a delicately tender finale as good as any you’ve ever heard or will hear.
Side Two closes with Thedia, a cheerfully joyful tune written for and named after Thad’s young daughter. The rhythm section makes a brief introduction for both horns to walk comfortably at an easy beat during the main theme. Billy takes the first solo, establishing a nice momentum in a meticulously conceived and well-executed performance. Barry is next in the spotlight, strolling and swinging to an intriguing beat. Perry grabs and holds the listener’s attention on the third interpretation with two brief choruses that’ll make him or her feel right at home. Thad takes a long, lengthy ride, soaring to the heights on the next statement seamlessly. Max shares the final spot with the leader in several exceptional exchanges ahead of the ensemble’s closing chorus and exit. The sound quality on The Magnificent Thad Jones is positively stunning with an excellent soundstage and tonal balance between the highs, midrange, and bass that transports your sweet spot to the studio hearing the musicians at their best.
The MMJ reissues also include exceptional front and rear covers, high-definition gatefold photos and the pressings by RTI are on 180-gram Virgin Vinyl. If you’re a fan of Hard-Bop or are just discovering Thad Jones, you’ll be delightfully surprised by The Magnificent Thad Jones. It’s jazz at its best and a title I’m certain you’ll enjoy for a very long time! During the fifties, Blue Note employed a sales strategy of giving distinguishing names to some of the artists on its label to spark the public’s interest in their albums and possibly boost their sales. Other examples of this are The Fabulous Fats Navarro, The Amazing Bud Powell, and The Incredible Jimmy Smith. In the cases of the artists listed above, the strategy succeeded beyond their expectations and the names stuck. Debut Records also used this method for The Fabulous Thad Jones in 1954!
~ April in Paris (Verve Records MG V-8012); The Fabulous Thad Jones (Debut Records DLP-12); If Someone Had Told Me (Decca Records 28051), (Columbia 4-39719, 39719) – Source: Discogs.com
~ April in Paris – Source: JazzStandards.com ~ If I Love Again – Source: MusicNotes.com ~ Thad Jones, Pop Goes The Weasel – Source: Wikipedia.org ©2020 by Edward Thomas Carter
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Daily Dose Of Jazz…
Louis Raphael Mucci was born on December 13, 1909 in Syracuse, New York and began as a baritone horn player. By age ten, he was appearing in professional settings. As a teenager, he switched to trumpet and worked in the late 1930s with Mildred Bailey and Red Norvo before joining Glenn Miller’s ensemble in 1938-1939.
During World War II he played in the bands of Bob Chester, Hal McIntyre, Claude Thornhill, and Benny Goodman. In the first half of the 1950s, he worked as a house musician for CBS and also recorded with Buddy DeFranco and Artie Shaw.
The late 1950s saw him working with Miles Davis, Helen Merrill, and John LaPorta. His association with Davis lasted into the early 1960s and he played with Kenny Burrell in 1964. Trumpeter Lou Mucci passed away on January 4, 2000.
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The Quarantined Jazz Voyager
With a surge in Covid cases after Thanksgiving travel, I am doubling down on maintaining my social distancing and wearing my mask when I have to go out, otherwise, I remain in quarantine. From the shelves of my jazz collection, I am placing on the turntable the 1971 recording of First Light by trumpeter Freddie Hubbard, his third release on Creed Taylor’s CTI label.
The string arrangements are by conductor Don Sebesky and features performances by Herbie Hancock, Eric Gale, George Benson, Ron Carter, Jack DeJohnette, Airto Moreira, and Richard Wyands. The album is part of a trilogy including his two previous records at the time, Red Clay and Straight Life. First Light won the 1972 Grammy Award for Best Jazz Performance by a Group.
TRACKS | 42:55- First Light (Hubbard) ~ 11:05
- Uncle Albert/Admiral Halsey (McCartney, McCartney) ~ 8:17
- Moment to Moment (Mancini, Mercer) ~ 5:43
- Yesterday’s Dreams (Martin, Sebesky) ~ 3:55
- Lonely Town [from On the Town] (Bernstein, Comden, Green) ~ 7:00
- Fantasy in D” (Walton) ~ 6:55
- Freddie Hubbard – trumpet, flugelhorn
- Jack DeJohnette – drums
- Ron Carter – bass
- Richard Wyands – piano
- George Benson – guitar
- Airto Moreira – percussion
- Herbie Hancock – Fender Rhodes piano
- Phil Kraus – vibraphone
- Hubert Laws – flute
- Wally Kane – flute, bassoon
- George Marge – flute, clarinet
- Romeo Penque – flute, English horn, oboe, clarinet
- Jane Taylor – bassoon
- Ray Alonge – French horn
- James Buffington – French horn
- Margaret Ross – harp
- David Nadien – violin
- Paul Gershman – violin
- Emanuel Green – violin
- Harold Kohon – violin
- Joe Malin – violin
- Gene Orloff – violin
- Matthew Raimondi – violin
- Tosha Samaroff – violin
- Irving Spice – violin
- Alfred Brown – viola
- Emanuel Vardi – viola
- Charles McCracken – cello
- George Ricci – cello
You all know I will be back flying around the globe just as soon as the world becomes safe again from this pandemic. In the meantime, stay safe and healthy.
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Three Wishes
When asked, Louis Armstrong had three wishes he told to Pannonica:
- “One year off my horn to listen to all the tapes I’ve colected and index them, so I can write a few things. The rest will do me good”
- “That I go back to the world and see the fans, and play for them again.”
- “That I live a hundred years, so I can enjoy what the next generation’s doing, same as I do this one.”
*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter
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Daily Dose Of Jazz…
Clarence “Shorty” Sherock was born on November 17, 1915 in Minneapolis, Minnesota and attended the Illinois Military Academy. In the 1930s he was a soloist with the Jimmy Dorsey Orchestra and with the Gene Krupa Orchestra. He led a big band in the 1940s. In 1944 he was a featured soloist in Los Angeles, California at the first Jazz at the Philharmonic concert, a series started by Norman Granz. The concert included Nat King Cole, Illinois Jacquet, J. J. Johnson, Jack McVea, and Les Paul.
1946, Sherock recorded Leonard Feather’s composition Snafu, and in 1955 he recorded three tracks for Freddie Slack’s Boogie Woogie on the 88. As a member of the Nelson Riddle Orchestra, he recorded with Dean Martin, Frank Sinatra, Ella Fitzgerald, Van Alexander, Benny Carter, Bobby Darin, Bing Crosby, Pete Fountain, Mel Henke, Freddy Martin, Matty Matlock, and Mavis Rivers.
He only recorded two albums as a leader during his career. Swing trumpeter passed away on February 19, 1980 in Northridge, Los Angeles, California.
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