Detroit Bop Quintet Two Birds

Detroit Bop Quintet
Two Birds
TQM Recording Co

This digital single is a tribute to the great Charlie Parker and his quintet made up of Miles Davis, Max Roach, Tommy Potter, and Duke Jordan and the legendary recording they made at United Sound Systems in Detroit on December 21st, 1947. United Sound Systems was one of the world’s first independent recording studios, and has a wonderfully rich history, serving artists from John Lee Hooker to Jackie Wilson, Bob Seger to MC5, The Rolling Stones to Aretha Franklin, Issac Hayes to Parliament-Funkadelic to Red Hot Chili Peppers. It was founded by Jimmy Siracuse in the 1930s and has been at its current location, 5840 Second Avenue since the early 1940s. It still exists and is acoustically identical to the way it was when it was first built. The goal of this session was to "recreate the acoustic stamp that is heard on a historic 1947 Charlie Parker session, which was recorded in the very same space back in 1947."

The Detroit Bop Quintet was assembled specifically for this session and made up of four of Detroit's best Jazz musicians and Saxophonist Pete Mills from Columbus, Ohio. Others on this date include trumpeter Dwight Adams; pianist Rick Roe; bassist Paul Keller and drummer Nathaniel Winn. There is nothing surprising about this cover recording of "Bluebird" and "Another Hair Do." These are solid players who show their respect to the Parker Quintet original recordings, although Mills doesn't quite show the bluesy intonation of Parker's alto. Adams acquits himself well, as do the rhythm section, with Roe being impressive.

This is an interesting tribute to a historic record session. For more information visit https://www.tqmrecordingco.com. The website includes a technical description of the session as well as the music including another Parker composition "Klaunstance." This is available as a digital album that includes "Klaunstance," and all three tunes are in mono and stereo versions.

A publicist provided me with a download to review. This review appeared in the July-August 2018 Jazz & Blues Report (Issue 379). Here is the performance of Another Hair Do."

Alberta Adams - Say Baby Say

While we are still recovering from the news Johnnie Bassett just passed away at the age of 76, the remarkable Alberta Adams wis turning 95 and will be celebrated by the folks in Detroit. The following review is of her second album for the Cannonball label. This review appeared in July/August 2000 Jazz & Blues Report (Issue 246), and her performance at the Pocono Blues Festival, referenced in this review was outstanding. I received a review copy from Cannonball or a publicist. This may be harder to find but her recent recordings are available on Eastlawn Records. Happy Birthday, Alberta Adams. Cannonball has just issued a second album, Say Baby Say, by Alberta Adams, Detroit’s Queen of the Blues. Adams who had a brief recording career a half century ago (she recorded for Chess), shows little sign of slowing down. She’s heard with a tough studio band that includes guitarist Johnnie Bassett, saxophonist Keith Kaminski and drummer R.J. Spangler from Bassett’s band, keyboard whiz Bill Heid, bassist Pat Prouty, alto saxophonist Russ Miller and trumpeter Dwight Adams for a set that is subtitled Life’s Trials and Tribulations According to Miss Alberta Adams. This writer continues to marvel at Bassett and his colleagues’ superb playing, and with the spirited Ms. Adams they have a wonderful personality to support. The music swings hard, and while Adams may lack a bit of the range she likely had a few decades ago, she still has a way of delivering a lyric. Her vocal approach is not that far removed from her contemporary, Ruth Brown – and this writer would point to We Ain’t Makin’ Honey as an example of this, with her rap towards the song’s end about not having enough money being not too far removed from a recording by Brown. This is one of her albums on the Detroit Eastlawn label. The cover photo was taken by me at the 2000 Pocono Blues Festival. Keith Kaminski gets featured as Adams exhorts him to “play me some blues, not so slow, please mr. sax man, blow man blow …” on the jump number Sax Man. She takes things down in the alley on I Cried My Last Tear, while Bassett kicks off Don’t Worry Me in a T-Bone Walker vein on a track that also lets Bill Heid showcase his blues playing. Heid and Adams contributed Everybody Got Their Hand Out, an Adams rap about everybody wanting something from her. With support from a slow, funky groove, some boppish horn parts and jazzy playing from Bassett, Nothing More to Stay, is a vocal duet with Bassett on a Heid written blues ballad with Kaminski featured again on sax. On Say Baby Say, Alberta Adams sings with authority and believability, and is backed by as good a band as one will find anywhere, resulting in another superb album for Miss Adams. Alberta Adams will be appearing with Johnny Bassett and Joe Weaver at this year’s Poconos Blues Festival, and is one of those acts that are not to be missed. Here is a video of Alberta in performance.

Johnnie Bassett Had The Cadillac Blues

As I write this, word was received that Johnnie Bassett, a gentleman as well as a superb bluesman has passed away. The Detroit News has an obituary as does the Detroit Free Press. Here is a review of his CD for the now defunct Cannonball label that appeared in the April 1998 Jazz & Blues Report (Issue 230). I likely received a review copy from the label or a publicist. 

Johnnie Bassett’s emergence from obscurity in Detroit continues with Cadillac Blues (Cannonball), the third album by the very talented singer-guitarist to hit the racks in a very short time. This album is similar to his Black Magic album, I Gave My Life to the Blues, with Bassett backed by the Blues Insurgents of Chris Codfish on the Hammond B-3 and organ bass; R.J. Spangler on drums; Keith Kaminski on alto and tenor saxophone; and Dwight Adams on trumpet and flugelhorn.

Johnnie Bassett at the 2010 Pocono Blues Festival. It was the last time I saw him perform. Photo © Ron Weinstock What is remarkable is not just how good Bassett is, or what a good band he has, but how consistent his recordings are. He has had three first-rate albums made available in such a short time. Perhaps having waited four decades to take the spotlight, he doesn’t waste any opportunity to showcase himself. It certainly does not hurt that he has good material, or that the Blues Insurgents are such a fine band. Codfish and Spangler provide a swinging rhythmic foundation, while Adams and Kaminski play punchy head arrangements and take some terrific solos. With a hint of world weariness in his voice, Bassett effectively communicates the ironies in the lyrics, like on his own That’s Fair Play, where he notes how a former lover is suffering with her new man. Perhaps its because Bassett has been in the motor city for so long, but cars are a frequent theme in the songs. Not only are there two songs devoted to the Cadillac, the title track and Cadillac Baby, but on That’s Fair Play Bassett also notes that a former lover won’t leave him alone now that he has a Mercedes. A bit of Memphis funk on Get Over Here Baby is tempered by the Blues Insurgents’ jazz sensibilities. Kaminski and Adams both take solos that go beyond simple blues band conventions and complement Bassett’s own fine playing. Much is made of T-Bone Walker’s influence on Bassett, although one should not minimize the clear influence of B.B. King’s guitar playing of the mid-sixties. Bassett might be compared to the late Fenton Robinson, although Robinson’s music does not swing quite as hard as Bassett’s does, like on the hot jump blues Raise the Roof, Raise the Rent. Produced by Ron Levy at Willie Mitchell’s Memphis Studio, Cadillac Blues, is another release that will help establish Johnnie Bassett as one of the brightest new names in the galaxy of blues stars. Here is a video of Johnnie Bassett performing Cadillac Blues.

James Carter's Stirring "Present Tense"

One is almost tempted to use the word audacious to describe the music of James Carter. The virtuosity he exhibits on a range of saxophones, flute and bass clarinet goes beyond the simple label of novelty while at the same time playing with passion and thoughtfulness. He caresses a ballad as well as can get down in the alley with a gutbucket blues solo.

Present Tense on Emarcy is his most recent recording and has him supported by his terrific band of Dwight Adams on brass, D.D. Jackson on piano, James Genus on bass and Victor Lewis on drums with appearances on guitar by Rodney Jones and congas and percussion by Eli Fountain. I am familiar with the opening Rapid Shave, from a Shirley Scott recording with Stanley Turrentine on tenor. Carter and his group burn on this one with Adams taking the first solo followed by Jackson’s piano before Carter storms in on Baritone. Bro. Dolphy, is Carter’s tribute to the legendary multi-instrumentalist and has Carter taking a serpentine bass clarinet solo.

Carter has exhibited a great appreciation for the music of Django Reinhardt, and uses the soprano for his interpretation of Reinhardt’s ballad, Pour Que Ma Vie Demeure, which also has a nice bass solo. Song of Delilah, is best known from the classic Clifford Brown-Max Roach recording, and opens here with Carter on soprano evoking a snake charmer before Carter introduces the theme on baritone followed by Adams bright, pungent tone for a fresh and vibrant interpretation.

Carter displays his virtuosity on flute on Dodo Marmarosa’s Dodo Bounce, with Adams using a mute on his solo. Gigi Gyre’s Hymn of the Orient is another brisk tempoed number showcasing’s Carter on baritone, while he takes up the tenor for his original Bossa J.C. on which Jones adds a nice acoustic guitar break. He stays on tenor for some fine ballad playing on the closing Tenderly, exploiting the tenor’s full range and Adams’ excellent muted playing complements his playing.

Having been following Carter since his participation on the late Lester Bowie’s Organ Ensemble, it is satisfying to watch him continue to grow as a musician, composer and group leader. Backed by a superb band and mixing in strong originals with interpretations of material that with the exception of Tenderly, have not been interpreted often nor as well. Present Tense, is another brilliant addition to James Carter’s body of recordings.

This review originally appeared in the July 2008 Jazz & Blues Report (Issue 306). I believe I received my review copy from the publication. Now here is some James Carter with his organ trio.