Butch Warren & Freddie Redd Baltimore Jazz Loft

Butch Warren & Freddie Redd
Baltimore Jazz Loft
Brad Linde

"Baltimore Jazz Loft" captured an informal performance complementing a session organized to record unheard compositions from Freddie Redd. This album was the last album released during Freddie Redd's career. Redd was a part of the New York scene in the 50s and 60s. He is most famous for composing the music for the play and film "The Connection" and the Blue Note album of music from that play that included Jackie McLean. While not the most prolific recording artist, he had recorded a number of memorable recordings over the intervening decades. Joining him is bassist Butch Warren who played on many classic Blue Note albums by the likes of Sonny Clark, Herbie Hancock, and Dexter Gordon and was part of Thelonious Monk's Quartet for a couple of years.

On this album, Redd and Warren are joined by Washington DC area saxophonist, composer, and arranger Brad Linde. Linde was responsible for organizing these recordings. Matt Wilson, who had been looking forward to working with Warren, is on drums. This album was recorded in October 2013. Warren died not long after this date that is intended to capture the spirit of the jazz loft activities found in New York in the fifties and sixties, such as displayed in the documentary "The Jazz Loft." Recorded at Baltimore's An Die Musik, it has an appropriate ambiance.

After a short piano prelude, the rhythm section kicks off on Redd's "Nothing But the Blues," which provides an opportunity for Redd and Warren to shine. Redd has a piano style that these ears find reminiscent of Duke Ellington with a touch of Monk, while Warren's playing focuses on the walking quarter-note pulse he provides. Linde on tenor sax joins in for "I Can't Get Started" with a warm style in a Lester Young vein. Warren's "I Remember Monk" is a medium-tempo swinger that alludes to Monk more than is an imitation of Monk's music. Redd's spare playing, particularly in his accompaniment to Linde, evokes Monk. Like Monk, Redd makes use of silence as well as what he plays. His playing is not as angular in his lines as Monk. Linde is as impressive here as elsewhere. Warren's "A Little Chippie" opens with a choice bass solo before Linde melodic playing. Another highpoint is Warren's "Barack Obama," taken with a light Latin groove.

I am not sure if there was a live audience for most of this, but on the closing "There Will Never Be Another You," there is an appreciative one for the trio. This performance opens with Redd playing a chorus of "'Round Midnight" before the band launches into the standard. The sound is generally reasonably good, although Linde's sax sounds at times a bit muffled. The music is very, very good, and thanks to Brad Linde for having this recorded and making it available. It is available at Bandcamp as a digital download and a limited edition cd, https://bradlinde.bandcamp.com/album/baltimore-jazz-loft.

I purchased this as a download. Here is a 2011 performance by Butch Warren and Freddie Redd at Bohemian Caverns in Washington DC.

Fumi Tomita Featuring David Detweiler Celebrating Bird/ A Tribute To Charlie Parker

Fumi Tomita Featuring David Detweiler
Celebrating Bird/ A Tribute To Charlie Parker
Next Level Records

Bassist Fumi Tomita leads a quartet in an unusual celebration of the 100th Anniversary of Charlie Parker. With saxophonist David Detweiler, they have composed eight compositions that are contrafacts of Parker standards. Joining them are pianist Art Hirihara and drummer Jimmy McBride. Contrafacts are new melodies based on familiar chord changes. Some of Parker's most famous compositions are contracts such as "Koko" based on "Cherokee," "Ornithology" based on "How High the Moon," "Anthropology" and "Moose the Mooche" both based on "I Got Rhythm," and "Bird of Paradise," based on "All The Things You Are."

In the spirit of Parker's compositions, Tomita and Detweiler each have composed four tunes that are contrafacts of compositions of Parker or of tunes he was associated with. Things start with a neat original blues by Tomita, "Oceanology," which introduces us to this choice group. With Tomita's powerful bass lines and Detweiler's robust tenor sax, evocative of Dexter Gordon, this is a terrific small ensemble with Hirihara's fluid piano and McBride's crisp, nimble stick work. Detweiler's "Bird's Yard" is a brisk swinger derived from "Yardbird Suite." Detweiler superbly negotiates the changes displaying a robust tone followed by Hirihara's formidable bebop solo. Then there is a dynamic "Bird Dreams," based on the chord changes of "Cherokee," that was the basis of "Koko," which featured some of Parker's most staggering, virtuosic playing. Detweiler more than acquits himself with his fiery playing on this.

A couple of the tunes are Detweiler's contrafacts of Parker's recordings with strings. "Waltz of the Moon" is based on "East of the Sun (and West of the Moon)," while "Intersection" is derived from Neal Hefti's "Repetition." On "Waltz," Detweiler and Hirihara invest their solos with a genial swinging lyricism. Tomita's "Alice Changes" is a reworking on Parker's "Au Private" that begins with the leader's impressive soloing, followed by Detweiler's vigorous, fluid tenor sax, Hirihara's splendid piano and McBride's taut, focused solo. It is another excellent track on a consistently outstanding recording full of imagination and superb performances.

I received my review copy from a publicist. Here is "Oceanology" from this album.

WARDELL GRAY - LIVE IN HOLLYWOOD

WARDELL GRAY
LIVE IN HOLLYWOOD
XANADU 146

This album is from the tape collection of Bob Andrews who was to West Coast jazz of the fifties what Jerry Newman was for the jam sessions at Minton's. Wardell Gray was in his brief life a master of the tenor who was on Charlie Parker's "Relaxin' at Camarillo" date for Dial, and was in bands with Benny Goodman, Count Basie and Billie Eckstine. Let's not forget the various dueling tenor sax albums with Dexter. Precious few recordings were made under his name and this 1952 location re- cording is a most worthy addition to the Gray and bop discography.

Gray was joined on this date by Art Farmer playing some hot trumpet, Hampton Hawes playing with a judicious use of space and angularity which is sort of a more fluid Monk. Joe Mondragon and Shelly Manne complete this group which includes a hot version of Dameron's "The Squirrel", which is classic bebop. Dig the interchange between Gray and Farmer at the tune's close with Manne kicking things along and Hampton laying down a solid groove. The whole album is like that and there is over fifty minutes of music here.

Highly recommended.

I likely received a review copy from the Buffalo Jazz Report where this review ran in June 1978 (Issue 52). Here is one of Wardell Gray's most famous compositions, "Twisted."

Take 5 With Charlie Parker

Today is the centenary of Charlie Parker's Birth which I will celebrate with five recordings from Bird. There is no effort to select the greatest Parker or whatever, but simply some great music.

1st up is a Red Norvo session with Bird, Dizzy Gillespie, Flip Phillips, Slam Stewart, Norvo Teddy Williams, Slam Stewart and Specs Powell playing "Hallelujah."

2nd is Parker's variations on the changes of "Cherokee" with a staggering opening, "Koko." Dizzy is on trumpet and piano, Curley Russell on bass and Max Roach on drums.

3rd track is "Relaxing at Camarillo."

Next is backing vocalist Earl Coleman on the blues "Dark Shadows."

Finally, a selection of Bird with strings, "Just Friends."

Paul Combs Unknown Dameron

Paul Combs
Unknown Dameron
Summit Records

Paul Combs, author of "Dameronia: The Life and Music of Tadd Dameron," is the leader of this celebration of lesser-known and previously unrecorded works by Tadd Dameron. Dameron's music has long inspired Combs. "I loved his melodies, as well as his notion that our purpose as musicians should be to create something of beauty as a balm for the ugliness in the world - or as Art Blakey, Tadd's colleague, and friend but it 'to wash the dirt of the day off of people.'" He plays all the saxophones and provided all of the arrangements on this project. Among those joining him are Alex Aspinall, Charles Ruggiero or Richard Sellers, drums; Ken Cook, Bill Cunliffe, piano, Melonie Grinnell, or Kamau Kenyatta, piano; Jeff Denson, Alex Frank, or Rob Thorsen, bass; Derek Cannon, trumpet; and Danielle Wertz, voice. Unfortunately, my download did not include the personnel on specific tracks.

About the music, Combs states, "While Dameron is fairly well-known for the eight compositions that have become part of the jazz canon, there are many more of his works that deserve our attention. Of the twelve selections recorded here seven were never recorded, and two only recorded once. The three songs with words have only been available on rather rare recordings, although there seems to be a renewed interest in them." This recording is likely to instill interest in all these songs.

While some of the melody lines and harmonies might hint at such classics as "Hot House," "Our Delight," "Lady Bird," and the ballad "If You Could See Me Know," these compositions stand on their own starting with "Conversation," which was initially written for Harlan Leonard's Kansas City Rockets but not recorded. Besides that he handsome arrangement, Combs delivers a rousing baritone sax solo which is followed by some excellent trumpet by Derek Cannon set against a relaxed tempo. "Take a Chance on Spring" has been recorded previously and showcases Wertz's delightful singing and scatting. This selection also has a terrific piano solo and some trading fours between Wertz and Combs.

There is a charming "Don't Forget It," written during Dameron's time with Jimmy Lunceford, with Cannon taking the lead on this. Bill Lee previously recorded the ballad "Never Been In Love," with lyrics by Bernie Hanighen on an obscure Strata-East LP. Wertz's singing here is exquisite with the understated piano trio accompaniment. Combs advises that "Sando Latino" was written for a lost recording by Milt Jackson. Whatever the case, the Latin tinge enhances a typical lovely Dameron melodic line with Cannon and Combs (on tenor sax) each negotiating the tunes harmonic scheme.

Combs burly baritone sax shares the spotlight with Cannon on "A La Bridges," which was written for and recorded by Harlan Leonard's Kansas City Rockets. Bridges was Harry Bridges, the Rockets tenor saxophonist who shares composer credits. "Weekend" combines lyrics about a ski weekend with a bossa nova groove which is beautifully sung by Wertz with Combs displaying a gruff, but lyrical talent one on the baritone. Combs' tenor ballad playing is at the forefront of the enchanting "Come Close."

"Unknown Dameron" is a revelation for those only familiar with Tadd Dameron's most famous recordings. A labor of love for Combs, the music here is rich in warmth and melodic qualities. With the first-rate ensembles and superb soloists, it hopefully will be an inspiration for future interpretations of these compositions from Dameron's oeuvre.

I received a download to review from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a promo video for this CD.

Getz at The Gate: The Stan Getz Quartet Live at the Village Gate, Nov. 26, 1961

The Stan Getz Quartet
Getz at The Gate: The Stan Getz Quartet Live at the Village Gate, Nov. 26, 1961
Verve Records

A revelation many are calling this release of two sets from a 1961 Greenwich Village engagement by Stan Getz at the famed New York Jazz Club. Earlier that year, Getz had returned from three years in Europe and recorded earlier that year his famed album, "Focus," which merged Eddie Sauter's compositions for strings and Getz's spontaneous improvisations. Upon returning to the United States, Getz contacted bassist Scott LaFaro who agreed to join Getz if he could put together the rhythm section and recruited Steve Kuhn, who had been with John Coltrane, on piano and drummer Pete LaRoca, who would be replaced by Roy Haynes.

In the booklet accompanying this release, Bob Blumenthal notes "It took a while for the quartet to gain popular traction, but it worked fairly steadily. (Again, hindsight is deceptive. While LaFaro made important recordings with Ornette Coleman and Bill Evans in this period, most of his performing time was spent with Getz.) Many of these gigs were on double bills opposite the man who had dethroned Getz in the music polls, John Coltrane." The group developed quickly, and Blumenthal observes they apparently were in exceptional form at the July 3 Newport Jazz Festival. LaFaro died in a car crash on July 6 and replaced by bassist John Neve.

Blumenthal's essay provides more of the details about Getz's group and some recordings before the present archival one. This release documents two sets from the fourth and final night of a triple-bill at the Village Gate that also included Chris Connor and Les McCann (those who have seen reproductions of New York City newspaper ads from the time will be familiar with these multiple billings that had several major acts at one time. I remember going to see Otis Rush at the Gate in 1978, and Hugh Masekela was also on the bill. The press release for this notes that these performances were "professionally recorded, possibly for eventual release, but was soon forgotten and the tape languished in the vaults for almost 58 years." We are indeed fortunate that the tape was apparently not in the Universal Music vaults that suffered fires several years ago as disclosed in recent New York Times accounts.

As Blumenthal observes, there is plenty of toughness and fire in much of Getz's playing in contrast to his image as the epitome of 'cool jazz." This is immediately evident in the bursts of notes in "It's Alright With Me," which might contrast with the more legato, feathering playing that some might think about Getz's music. But this is 1961, and the music of Coltrane and Rollins is at the fore. Haynes' fiery playing, including a short solo and trading fours as well as Kuhn's use of block chords here and elsewhere, make for fascinating listening. On Gigi Gryce's "Wildwood," with its nice relaxed tempo, Getz displays a bit more of a feathery tone, although his playing also has more toughness, and his tonal dynamics match his creativity here. His ballad playing is exquisite as on "When the Sun Comes Out" and "Stella By Starlight." He tears up Sonny Rollin's "Airegin," one of the numbers which have parts where Kuhn lays out, and it becomes almost a duet with Haynes, although Neves keeps a steady pulse. There also is a nice relaxed "Blues" and the brisk "It's You Or No One," with some sterling piano. The rhythm section is featured on "Impressions" that Getz introduces as "So What."

The two lengthiest tracks close out this double disk set. Monk's "52nd Street Theme" provides some lengthy and imaginative playing by the leader and has Haynes' longest solo on this recording. It is followed by an encore in which Getz is heard noodling on "The Breeze and I" and "How High the Moon," after which someone urges him to play the blues. This urging leads to a rendition of Lester Young's "Jumpin' With Symphony Sid," taken at a slower than usual tempo.  It capped an excellent evening from the Stan Getz Quartet, but this group disbanded by year's end. In 1962, Getz began his collaboration with guitarist Charlie Byrd, and in February, they recorded the hit album "Jazz Samba" which took his playing in another direction. The music on "Getz at the Gate" indicates a course that Getz might have made if he had not gone the Bossa Nova route. Based on the music on this invaluable historical document, it would have been as musically productive and satisfying in its own way.

I received a download to review from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386) although I made minor stylistic changes. Here is "Yesterday's Gardenias" from "Getz at the Gate."

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."

Charlie Parker Live At Jiyayr Zorthian’s Ranch

The following review was written in fall 2006 for Jazz & Blues Report, although I do not believe it was published. I received my review copy from the publication.

The release of previously unissued performances by Charlie Parker will certainly be a cause of celebration for fans of jazz history. The release, At Jiyayr Zorthian’s Ranch, July 14, 1952 (RLR Records), makes available what admittedly is not a high fidelity recording of Bird at a party held at the ranch of painter and sculptor Jiyayr H. Zorthian and was one of many he hosted of “intellectuals, artists and naked nymphs” over a half-century’s time. 

A pretty wild time was had by the attendees including, quoting the back cover “a massive strip-tease was performed and during Bird’s playing of Embraceable You. Whatever wild things were going on, the music was recorded privately and the sound is hollow and some portions had too much noise or distortion to be used and at other points, the performance is cut off, such as after Bird’s solo on Embraceable You. Also the bass and piano are not very audible. 

Playing with Bird at the party was Don Wilkerson on tenor sax, Frank Morgan on alto, Amos Trice on piano, Dave Bryant on bass and Lawrence Marable on drums with Chet Baker sitting in on one of the two versions of Scrapple From the Apple. Its interesting to hear A Night in Tunisia without someone handling Gillespie’s trumpet part and Parker sounds very good even if the sound is muffled before Wilkerson takes a solo which microphone problems required some editing before he is followed by Frank Morgan who sounds pretty good. 

The beginning of Ornithology was edited out for technical reasons with Parker caught in high flight as the track opens. Frankly the exhortations for people to take it all off could have been edited off Embraceable You, which has Parker in fine form on the ballad, while Parker and Marable trade fours on Tadd Dameron’s Hot House. The first version of Scrapple From the Apple, has a couple of nice Parker solos and Baker’s only appearance which suffers from the audio quality, while Cool Blues is a nice lengthy performance which includes Parker and Morgan trading fours as well as exchanges by all three saxophonists. 

The rest of the performances are also notable although the music will not be for casual listeners. This music has never been available in any format and while Parker is first-rate here, the audio quality will limit its overall appeal. For some, this will be a priceless addition to the known work of one of the twentieth century’s greatest artists.

Some Swedish Schnapps For Charlie Parler & Arne Domnerus

The availability of some live Swedish performances by Charlie Parker on CD, ‘Charlie Parker & Arne Domnerus in Sweden - November, 22, 1950, (OKTAV), certainly is welcome. Parker is heard with a fine Swedish Band that does not sound intimidated playing with him. Trumpeter Rolf Erickson is especially noteworthy with his brash, fat-toned solo on Cheers. Parker is also heard on Anthropology, Lover Man, and a nice arrangement of Cool Blues. He is in fine form and the band acquits itself well.

Three other tracks feature the same band with a Swedish Parker disciple, Arne Domnerus. Opening with ‘Fine and Dandy, which some will remember as the theme of The Bugs Bunny Show, Domnerus shows quite a bit of Parker’s influence although perhaps a little bit of Lester Young’s style mixed in. Out of Nowhere, was a staple of Parker’s repertoire and nicely done by the Swedes here and I imagine Parker enjoyed hearing these musicians who obviously not only idolized him but displayed their musical indebtedness to him.

It should be noted that this November 22, 1950 recording from Marno, Sweden clocks in at under 40 minutes, but that is the only negative one can raise about it.

This review originally appeared in the July 2008 Jazz & Blues Report (Issue 306) and I likely received my review copy from that publication.

Dan Blake's Intriguing The Aquarian Suite

Saxophonist and composer Dan Blake has a new release on BJU (Brooklyn Jazz Underground) Records, The Aquarian Suite, where he leads a piano-less quartet with Jason Palmer on trumpet, Jorge Roeder on bass and Richie Barshay on drums. Blake has quite a background having performed with such artists as Esperanza Spalding, Anthony Braxton, Kenny Werner, Danilo Perez, and Ricardo Gallo.

Listening to Blake’s compositions and the performances here, one musical point of reference is the classic Ornette Coleman Quartet and bands such as Old Dreams and New Dreams. While perhaps having a bit less overt blues-flavor, Blake and his quartet play marvelously. The horns display quite a bite along with their very expressive soloing, at times floating over the foundation provided by Roeder and Barshay. But this duo enliven the tempo for the horns who engage in an intriguing dialogue on Mister Who, fluidly negotiating mood and tempo changes. The mood changes on the lament, “The Best of Intentions, with the two horns interweaving their lines. “How’s It Done” starts with the rhythm section, especially Roeder setting the mood, before Blake takes a torrid tenor sax solo followed by Palmer who starts in a relaxed vein but builds heat as his solo. Barshay also takes a crisp drum break here.

The press release accompanying for The Aquarian Suite notes that many of the performances here reference masters of the bebop era so that Mister Who takes cues from Monk’s Skippy, while How’s It Done was an effort to evoke the classic Clifford Brown and Max Roach Quintet. The composition Aquarian is dedicated to Anthony Braxton whom Blake refers to as an icon of creative music. While it might have been helpful if Blake’s comments on his music had been included, the performances more than stand without explanation.

The mix of Blake’s stimulating writing with the high level of the performances, both in terms of the intelligent and spirited solo, and high level of the ensemble playing result in this excellent release. It is available from Brooklyn Jazz Underground Records (http://www.bjurecords.com/), Dan Blake (http://danielblake.net/index.htm), cdbaby.com and other retailers.

I received my review copy from a publicist. Here is a video of Dan Blake in performance.

Charlie Parker In Washington DC

Uptown Records, who not to long ago issued a legendary Town Hall (NYC) concert by Charlie Parker and Dizzy Gillespie, have another surprise that will be welcomed by jazz lovers. Washington D.C., 1948 is a release of Charlie Parker’s contribution to a May 23, 1948 concert produced by Willis Conover entitled ‘Dixieland v. Bebop,’ held at a long-closed venue, The Music Hall that was in Northwest Washington, near Howard University.

The booklet that accompanies this CD, has extensive notes that chronicle the history of this event, the performers and the music. As indicated from the concert title, Parker came to Washington as part of a concert that presented Dixieland musicians in addition to a bebop group. The Dixieland musicians included Wild Bill Davidson, clarinetist Tony Parenti and trombonist Benny Morton who are only held on one of the tracks on this disc, which is devoted to the surviving bebop oriented tracks. In addition to Parker, the best known musician here was the great drummer Buddy Rich. Others heard here include drummer Joe Theimer (who had been in the Navy band that included John Coltrane) on the opening number, tenor saxophonist Ben Lary, pianist Sam Krupit, bassist Al Phipps and trombonist Rob Swope.

The opening number here is Tiny’s Blues, before Rich, Phipps and Parker are brought up for Bernie’s Tune, and the ballad These Foolish Things, before a lengthy Scrapple From the Apple. After these three numbers, the band becomes simply a quartet for Ornithology and KoKo (Bird’s legendary transformation of Cherokee). Parker is clearly at the forefront, with Rich swinging things along. Krupit takes an extended, slightly frantic piano solo on KoKo after which Bird and Rich trade fours before Rich takes a solo. These two performances stand out with Bird’s brilliant playing and Rich’s charismatic percussion.

After this is an abbreviated C Jam Blues on which the three Dixieland horns joined the full band, but cut short when Davidson got angry at Parker’s very audible laughter offstage during a fine solo by Parenti. An unfortunate end to what sounded like a very promising performance that would have given more a chance to display the common ground between alleged musical adversaries. Sound quality is adequate given the circumstances and one can certainly hear what was played without difficulty if not in highest fidelity.

The accompanying booklet includes insights and the evening’s history from Ron Fritts, Ira Gitler and Ross Firestone and adds to this valuable restoration of a piece of jazz history that will be essential to Charlie Parker aficionado as those who love classic bebop, especially given the unusual backing band for Bird heard here.

This review originally appeared in the November 2008 Jazz & Blues Report (Issue 310). I likely received my review copy from that publication.

Roy Haynes - Forever Young and Always Hip

Six decades plus of music making has slowed down the ever youthful and hip Roy Haynes. This writer has the pleasure of seeing him with his Fountain of Youth Band recently at the Kennedy Center in Washington, DC and he displayed vigor and enthusiasm that folks 60 years younger would have difficulty matching. It was a terrific evening of jazz by a true Jazz Master and is also evident on his latest Dreyfus Jazz release Roy-Alty, which includes several numbers they performed that night.

The core of this recording features Roy with the Fountain of Youth Band that includes Jaleel Shaw on alto saxophone, Martin Bejerano on piano and David Wong on bass. Roy Hargrove is added on on six of the ten selections while two selections are duets with Chick Corea. On Tin Tin Deo, Roberto Quintero is added on congas while on the last track, Passion Dance, pianist Robert Rodriguez replaces Bejerano while Craig Haynes is added on congas and Marcus Strickland on tenor saxophone.

From the opening moments of Sonny Rollins’ Grand Street, with a superbly constructed Hargrove solo followed by marvelous playing from Shaw to the rousing rendition of McCoy Tyner’s Passion Dance, Haynes drives the music, adding embellishments with his snap crackle cymbal work and snare rolls, all the while swinging. On this marvelous recording, a few tracks manage to stand out including Hargrove’s ballad playing on These Foolish Things, the sensation Corea-Haynes duet on Thelonious Monk’s Off Minor, the classic bop flavor of Miles Davis’ Milestones and the Latin jazz classic from Chano Pozo and Gil Fuller, Tin Tin Deo, which opens with Roy speaking the praises of the great percussionist.

The Fountain of Youth Band is strong throughout (I really enjoyed Shaw’s alto playing and subsequently downloaded his most recording on itunes after seeing him with Roy). With a nice mix of material, the recording showcases the continuing youthfulness, hipness and artistry of Roy Haynes.

I purchased this right before seeing Roy Haynes at the Kennedy Center

Concord Issues Miles Davis on Prestige Retrospective

Concord Records is issuing this week a two-disc retrospective of Miles Davis’ recordings for Prestige Records,The Definitive Miles Davis on Prestige.” The two discs bring together over two hours of music in the twenty four performances selected and cover the period between 1951 and 1956. These are when Davis established his reputation, but prior to his time with Columbia Records with whom he would produce his most famous body of work. The Prestige catalog of Miles has been mined and reissued extensively over the years, and there are of course CD box sets of his recordings for that label. This two disc compilation serves as an overview of some of Davis better known recordings for the label. Ashley Kahn provides a discussion of the specific recordings and their context in MIles’ life and career at this time.

The first of the two discs covers Davis’ recordings from 1951-1954. The opening Morpheous and George Russell’s Ezz-Thetic (from a Lee Konitz album) carry forth echoes of The Birth of the Cool. There are such famous numbers as Dig and Four as well as Compulsion, with Sonny Rollins and Charlie Parker both on tenor (one of Bird’s few tenor recordings). Davis’ distinctive range, most often when he employs a mute is becoming evident especially iconic ballads like I’ll Remember April, as well as on Richie Carpenter’s Walkin’. There’s the first recording of the Sonny Rollins’ gem Airegin, as well as a lively Bag’s Groove with Jackson and Thelonious Monk. It is instructive how Monk lays out during Miles’ solo, an illustration of Miles’ distaste for Monk’s accompaniments.

Disc 2 is devoted to the 1955-1956 recordings by Miles quintet with the great rhythm section of pianist Red Garland, bassist Paul Chambers and drummer Philly Jo Jones, along with John Coltrane on tenor sax. Trane sits out three of the twelve selections on this disc. The twelve selections include Surrey With The Fringe On Top, If I Were A Bell, Round Midnight, Rollins’ Oleo, My Funny Valentine (sans Coltrane), and The Theme. Some of these tunes became part of Miles’ repertoire for the next several years after he had changed labels, going to Columbia, and a good number likely are familiar to many of you. It completes this nice retrospective of Davis’ early recordings as a leader.


My review copy was supplied by the record company.

RIP James Moody 1925-2010

091607 We Love Dizzy -1651, originally uploaded by NoVARon.

Just heard that James Moody passed away on December 9, 2010 from pancreatic cancer. Moody, seen here as part of the Dizzy Gillespie All Star Band at the 2007 Duke Ellington Jazz Festival in Washington DC. In 1998, he was selected a a National Endowment of the Arts Jazz Master and was last nominated for a Grammy in 2009.

Veteran critic Howard Mandel has written on his blog, Jazz Beyond Jazz about Moody, "A brilliant improviser who emerged from Dizzy Gillespie's big band to join the young turks of bebop (Monk, Bags, Klook, Blakey) in the late 1940s, he became internationally admired for his tenor sax and flute mastery and on-stage good cheer …"

Here are some other links on James Moody:

Jazzwise Magazine obituary. "Moody had the cool demeanour of jazzmen of his generation who oozed effortless control on the bandstand of the best jazz clubs they found themselves performing in. Moody brought a strong personality to the saxophone and when he took the microphone to sing as well it all added to a direct connection with the listener that few could hope to achieve."

NY Times obituary  "James Moody, a jazz saxophonist and flutist celebrated for his virtuosity, his versatility and his onstage ebullience …"

San Diego Union-Tribune obituary by George Varga quotes Quincy Jones:


“He was the quintessential saxophone player, and his 'Moody’s Mood For Love' will forever be remembered in jazz history side by side with Coleman Hawkins’ classic 'Body and Soul.'
 …
James Moody was one of the people who allowed me to stand on his shoulders when I was coming up. And there can never be a value placed on that. So much of who I am today, is because of who James Moody was to me back then."

To this I want to add a quote from Mr. Moody himself from Mr. Varga's story. 


"My goal is that I want to play better tomorrow than I did today, because I’m not in competition with anyone else,” Mr. Moody noted in a 2005 Union-Tribune interview.”If you try to do that, to compete, you’d better give up, because there’s always somebody, somewhere, who has more going on. And that’s what makes jazz so beautiful, that’s what makes the world beautiful.” (italics added).

Marc Copeland quoted in JazzTimes obituary: "My personal homage to Moody is this: Every time I play, every time I travel, I hope to play with the same spirit that he does and hope to treat other musicians with the same kindness and respect that he does."

NPR's Blog Supreme. Patrick Jarenwattananon writes, "Jazz saxophonist and flutist James Moody has died. A virtuoso player known for his effusive warmth on and off stage, Moody's career in music stretched well over 60 years. He was 85."


NPR's Fresh Air Remembers James Moody. Moody quoted on remembering Dizzy Gillespie,

"For the longest time, I used to call my wife — I used to call Linda, my honey, and tell her, 'Honey, I called you and you weren't home.' You know?  She says, 'Honey, I've been home all day.' I said, 'Well, but I called' — and then I'd say the number.  And she'd say, 'Honey, that's Dizzy's number.' "

Riotsquad Publicity obituary found at The Jazz Breakfast. "“Playing with Moody is like playing with a continuation of myself,” Gillespie once said. Moody later responded, “I felt the same way with him. He was my mentor, my teacher, my best friend, and my brother."

"In lieu of flowers the family asks that donations be made to:

CFNJ/ James Moody Jazz Scholarship Fund for Newark Youth

Post Office Box 338

Morristown, New Jersey 07963-0338"

Andrea Canter at All About Jazz: "His personal charm was only exceeded by his artistry on saxophones and flute"

The Jazz Police has a fuller obituary by Andrea Canter.

Jazz photographer Juan Carlos Hernandez's photo tribute to Moody with some you tube links.


Elements of Jazz posted seven Moody videos on November 27 as part of her series of posts, Seven For Saturday.

WBGO on Moody notes they will be rebroadcasting the Kennedy Center's 80th Birthday Party for Moody on December 19 and December 22. 


Washington Post obituary by Matt Schudel from which we "Of all his musical partnerships, Mr. Moody was best known for his chemistry with Gillespie, who once said, 'Playing with Moody is like playing with a continuation of myself.'"


Prior to publishing a full obituary, the Washington Post had a brief obituary on its webpage with comments that are worth perusing. I like this one by Dave Statter, "Thank you Matt Schudel. James Moody was one of my favorite musicians of all time. Along with his immense musical talent was a sense of humor that seemed to be a part of everything he did. I think of one wonderful night at One Step Down where he took me by the arm in the middle of another musician's solo pretending to be the maitre d and escorted me to my booth near the bandstand."


Marc Myers remembered Moody on his JazzWax blog.  "What set Moody apart from the crowd of exceptional saxophonists in the late 1940s was his fluid swing, voluptuous tone and crafty lyricism. A solo by Moody typically was seamless, sophisticated and staggeringly melodic."  Myers blog entry also includes his ten favorite Moody tracks (Odd that all but one is from 1961 or earlier).

Bob Margolin, while touring Europe with Muddy Waters, encountered James Moody.


"I told him I was in Muddy's band and Mr. Moody, a gentle man and a gentleman, asked me who wrote our charts. I explained to him that neither Muddy nor the band read music or had set arrangements of songs. We just played Blues in the moment following Muddy's guitar and his cues for solos. Mr. Moody was astounded."


Here is a WGBH Boston jazz programmer, Steve Schwartz's playlist of music featuring James Moody.

Quotes from twitter on James Moody:

John Brook: "Jazz legend James Moody died today of pancreatic cancer. Over 50 years of music to explore, incredible work to explore. He was 85. r.i.p."

Terence Blanchard: " R.I.P. James Moody......You have blessed us all with your incredible musical talent and you will truly be missed.... http://fb.me/FVaQdS24"

Finally, the wonderful singer Roberta Gambarini dedicated her performances Friday December 3 at the Kennedy Center to her dear friend and mentor James Moody, with whom she was originally scheduled to perform.  Seen is Clark Terry, Roberta Gambarini and James Moody singing at the 2007 Duke Ellington Jazz Festival.

Benny Golson's Jazz Legacy Still Expanding

Highly honored over the past few years for his lengthy career (he received a Grammy Lifetime Achievement Award among other honors), and recently feted at the Kennedy Center in Washington, D.C. in celebration of his 80th Birthday, Benny Golson’s musical legacy is marked by two new releases on Concord Jazz. “The Best of Benny Golson” is a career spanning disc containing nine performances while “New Time, New ‘Tet” is his first new recording in five years with his new jazztet. Golson’s contributions probably are most noteworthy as a composer and arranger, but he has also been a distinctive saxophonist who has produced a strong body of recordings. Some of his compositions have become part of the jazz standard book including “I Remember Clifford,” ”Whisper Not,” “Along Came Betty,” and “Killer Joe.” One thing these carefully crafted compositions share is there memorable melodies that stay with the listener. Furthermore, there is a thoughtfulness in his tunes, arrangements and his playing. he eschews a hot extroverted music for a distinctive crafted work which is akin to the careful work of a jeweler cutting stones and crafting his rings, bracelets and charms. 
A career spanning decades can only be skimmed on a single disc, but “The Best of Benny Golson,” brings together nine performances that display the range and variety of his compositions as well as his playing. This compilation opens with an octet performing “Whisper Not,” with Art Farmer, Gigi Gryce, James Cleveland, and Sahib Shibab joining him for the front line with a muted, delicate sound to the arrangement effectively using Watkins’ French Horn, Shibab’s baritone sax and Farmer’s muted trumpet with solos from Gryce, Cleveland on trombone, Farmer playing open, and Golson himself. Gigi Gyrce’s “Reunion” is a sextet with J.J. Johnson on trombone and Kenny Dorham on trumpet as well as a rhythm section of Wynton Kelly, Paul Chambers and Max Roach, on a nice bop number with shifting tempos with Golson taking the lead solo, Chambers getting featured and the ensemble trading fours with Roach.

“Are You Real,” a quintet performance with Curtis Fuller and a rhythm of Barry Harris, Jymie Merritt and Philly Joe Jones has some gusty playing from Golson before Fuller and Harris take the spotlight. Another date with Fuller brings the stunning “Blues After Dark,” another strong Golson melody, with its loping tempo and marvelous solos by both Fuller and Golson, both who employ an almost whispering attack at the beginning of their solos. Art Blakey joins Fuller on Golson on a delightful reading of Rodgers & Hart’s “I Didn’t Know What Time It Is,” while his ballad playing on “April in Paris,” evokes Ben Webster, in the use of space as well as tone on a superb performance although without Webster's heavy vibrato. A live rendition of “Along Came Betty” is from a Jazztet dated co-led with Art Farmer and with Curtis Fuller.

A 1997 recording of his “Five Spot After Dark,” has Ron Blake on tenor and John Swana on trumpet, both a bit more extroverted in their playing than Golson. Eddie Henderson is present on the closing track, a nice 2004 rendition of “Killer Joe.” Lacking familiarity with all the source albums for these tracks, I cannot vouch whether this is in fact the best of Benny Golson, but the music here is darn good indeed (to use a bit of understatement).

“New Time. New ‘Tet” (Concord Jazz) releases an August 2008 session with Eddie Henderson, trumpet-flugelhorn; Steve Davis, trombone; Mike Ledonne, piano, Buster Williams, bass, and Carl Allen drums. All but Davis were on the 2004 rendition “Killer Joe,” from “The Best of Benny Golson.” In the liner notes, Jim Merod has these interesting words to describe this contemporary Jazztet in that it “incorporates virtually all the elements of the pensive, sometimes sentimental,consistently philosophical and always gregarious.” Trombonist Davis' “Grove’s Groove,” opens this set with a relaxed groove and his at times blustery tone contrasts with Golson’s more reserved sounding attack. Next up is Sonny Rollins’ “Airegin,” with Henderson brassy solo a highlight along with Buster Williams’s walking solo and pianist Ledonne’s sparkling playing.

Golson’s “From Dream to Dream” is an apty titled ballad with a languorous feel. Davis takes a lengthy, low-key solo while Henderson and Golson add soft embellishments around. The tempo struts a bit quicker as Al Jarreau adds a vocal to this new rendition of “Whisper Not,” with Henderson using his mute on his solo, followed by Ledonne adding a bit of barrelhouse to his bop piano. Monk’s “Epistrophy” opens with a blast from the horns before Henderson takes the lead on the melody as Davis and Golson adding their voices before Henderson opens his solo in an extroverted vein, on a number where everyone solos with Ledonne’s bouncy handling of Monk’s angular lines a delight and his chords punctuate Williams solo.

Golson rearranges a couple of songs from the Western Classical musical tradition, Chopin’s “L’Adieu,” with marvelous muted playing on this ballad from Henderson, and “Verdi’s Voice,” with the jazztet evoking a classical quartet. An unusual contemporary ballad, El DeBarge’s “Love Me in a Special Way,” showcases Davis’ gruff lyricism before Golson takes over for his romantic reading of the number. “Gypsy Jingle-Jangle,” is a pretty lively tempoed number with shifting tempos that lead one on a musical ride, more like the tilt-a-whirl than a roller coaster, but energizing indeed. The closing “Uptown Afterburn,” is another energetic musical jaunt with Williams, who solos here, anchors with his forceful playing.

This recording illustrates that age has not slowed down Benny Golson down, and with the latest Jazztet, continues to provide us with jazz that remains thoughtful, soulful, contemplative, fiery and passionate.


This look back and look forward at Benny Golson originally appeared in the March 2009 Jazz & Blues Report (Issue 314) at pages 8-9. The issue can be downloaded at jazz-blues.com. Review copies of the CD were provided me from the publication.

Some Scorching Ron Holloway saxophone from 1996

Here is a review from the October 1996 Jazz & Blues Report of one of the four Milestone albums by tenor saxophonist Ron Holloway. Ron, as I write this, currently tours with Susan Tedeschi, but when home with DC is liable to play with anybody, bring his robust playing to whatever setting he is then situated in. This, and his other Milestone albums can be purchased through various sellers at amazon, although amazon does not carry it, itself.

Ron Holloway’s tenor saxophone has been heard at numerous blues shows around the Washington, D.C. area over the years, including accompanying boogie woogie legend, Sammy Price, and Cathy Ponton King at past D.C. Blues Festivals. He is amongst the area’s most accomplished jazz musicians, although completely at home with the blues, and was a member of Dizzy Gillespie’s last band, He also has played with Root Boy Slim and Gil Scott-Heron (with whom he still tours). Milestone has just issued Scorcher, Holloway’s third album, and this disc lives up to its title. Just like Holloway who transcends musical genres, Scorcher includes a diversity of settings from an organ based combo with guest Joey DeFrancesco, a couple of vocals by Gil Scott-Heron, and even a rap track where Holloway’s tenor sax swirls around the raps of M.C. RIP and Shorty Bones. Trumpeter Chris Battistone and guitarist Paul Bollenback (from the organist’s trio) also play an important part on this album. Material ranges from burning renditions of bebop standards like Hot House as well as Lee Morgan’s Slidewinder, Freddie Hubbard’s Red Clay, a hot Sonny Rollins number, The Everywhere Calypso, and a couple of numbers with Gil Scott-Heron, one of which is a blues on which Nighthawk Mark Wenner plays. Holloway’s tenor sound is somewhat suggestive of Rollins (which is certainly not the worst source of inspiration) and his lengthy solos show his own musical personality, full of passion and thoughtfulness. He is supported by some terrific players as well, and the result is some compelling music. The last track is a rap with a positive message, on which Holloway’s fiery saxophone does not completely integrate with the backing or the performance. While to this listener, this experiment was not successful, it reflects Holloway’s ranging musical interests. In any event, it is a minor flaw in a set with almost 75 minutes of music, played with plenty of heart and head.


Subsequent to posting this, Ron alerted me to the fact that his Milestone albums can be downloaded from Concord Records website as MP3s.

Frank Morgan keeps Bop Flame Burning Brightly

One of several saxophonists that was labeled the next Bird, Frank Morgan notes that was the worst thing to happen to him as it was something no one could live up to and then having three decades of adversity including addiction and prison. Since he has returned to the scene the mid-eighties with a string of excellent recordings for Contemporary, he has certainly re-established himself as a superior player in the tradition of Parker. HighNote has issued A Night in the Light: Live at the Jazz Standard Vol. 3 with a marvelous band including pianist George Cables, bassist Carmen Lundy and drummer Billy Hart. I have not heard the earlier two volumes but based on the performances. No surprises in the repertoire, with four of the songs staples of Charlie Parker’s repertoire, Confirmation, Half Nelson, Hot House and Billie’s Bounce, along with On Green Dolphin Street and It’s Only a Paper Moon. These are songs Morgan has been playing for decades but familiarity does not make these performances sound routine. There is plenty of full-bodied playing here with a marvelous rhythm section and while Morgan may take these in a more relaxed fashion than Bird would have 55 years ago, Morgan’s playing is quite satisfying. Certainly nice that he has aged so gracefully and continues to enliven us with this disc.