Category Archives: Quartet recording

A Man With A Horn: Lou Donaldson

2017 has dawned. The World is still spinning. I’m delighted to declare that after an abstemious Festive Season, my head isn’t. So, Happy New Year everybody and let’s hope it turns out to be much less ‘interesting’ (in the sense of the Chinese curse) than 2016. Here’s a fresh post to get matters underway at downwithit.

Over the last two months A Man With a Horn has been the most played album on my system and it has led me to an even greater respect for Lou Donaldson.

It is not one of Donaldson’s better-known albums, mainly because it was not released in the early sixties. The two sessions that make up this recording were from 1961 and 1963 and they remained in the vaults until 1999. It was over 35 years before they were dusted down as part of the Blue Note Connoisseur CD series, a conduit for rare and previously unissued material. As far as I am aware, this set has never been issued on vinyl but that does not mean it should not merit attention.

Both sessions featured guitarist Grant Green who was encouraged to move to New York and introduced to the Blue Note label by Donaldson. The earlier session utilises Jack McDuff on Hammond organ in a rare Blue Note outing, whilst John Patton, another Donaldson protege, plays the keyboard on the 1963 date. McDuff is used as an accompaniest, playing understated swirling chords on the five ballads from ’61, while John Patton is given more space to solo.

The CD alternates between songs from each of the sessions and I have marked 1961 tunes with a single asterix (*) and 1963 with double asterixes (**). I initially wondered why the set had been sequenced in this way. I eventually grouped and played through the tracks in the two discrete sessions. This leads me to the conclusion that while the 1961 session, which consists of mellifluous ballads is strong, the tunes benefit from being interspersed with the more uptempo offerings from 1963. As presented there is the variety and texture to turn this CD into a more rewarding listening experience.

The Errol Garner standard Misty* is given a lush rendition as opener. The purity of tone from Lou Donaldson’s alto sax is exceptional and is well-matched by the sensitive contributions from the other three musicians, especially Grant Green. It is currently on Youtube courtesy of Zateuz and you can watch here:-

To play, touch or click on the arrow

Hipity Hop** starts off in the manner of a 1950’s swing tune before John Patton plays an incredible solo starting with a Morse code like trill held for a full 24 bars. It certainly catches the attention. This Donaldson composition is an uptempo and funky toe-tapper and he plays an assertive and exemplary alto sax solo before Grant Green and Patton contribute to a rich confection flavoured by Irvin Stoke’s wah-wah muted trumpet.

It is then back to 1961 for Please*, a second delicate romantic ballad on which all four musicians acquit themselves well.

On My Melancholy Baby** Lou Donaldson builds on riffs that owe much to Charlie Parker’s school of soloing, with an engaging contribution delivered from the trumpet of Stokes.

Man With A Horn* features more delectable and sensitive playing from the 1961 quartet in a track that is a bit of a smoocher.

Cherry Pink And Apple Blossom White** is delivered over a playful cha cha rhythm and contains a solid portion of Grant Green’s ever-tasteful guitar.

Prisoner Of Love* is a standard which was in the charts courtesy of James Brown and The Famous Flames (If still on YouTube this is too good to miss) when this was recorded.

Then it is off to the church of funk with Soul Meetin’**, the second Donaldson composition here and one of those great finger-snapping ‘Baptist Beat’ numbers. I’m very fond of them when they occasionally appear on Blue Note sets. As a New Year bonus this is the second YouTube post courtesy of The Nada73

To play, touch or click on the arrow

The set closes with Star Dust*, a fifth ballad that maintains the high standards of the other four. In his excellent and informative ‘The Jazz Standards’ Ted Gioia refers to it as’…the song to which their parents and grandparents courted, romanced and wed’ and traces the history of this formally much-loved song which is slowly fading into obscurity (in the way of all things).

If you come across this set on CD (and it is relatively rare) don’t hesitate to purchase it as it captures Lou Donaldson playing on the ballads with a very clear and intense tone and also includes a good balance of more uptempo tunes from the 1963 date. Grant Green is on great form, as is John Patton on this very worthwhile jewel from the vaults.

The band etc: Tracks marked * Lou Donaldson (alto saxophone); Grant Green (guitar); Jack McDuff (organ); Joe Dukes (drums). Recorded: 25 September 1961
Tracks marked ** Irvin Stokes (trumpet); Lou Donaldson (alto saxophone); Grant Green (guitar); John Patton (organ); Ben Dixon (drums). Recorded: 7 June 1963.
Both session recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey. Produced: Alfred Lion. Recorded: Rudy Van Gelder. Sleeve Notes: Ed Hamilton. Cover design: Patrick Roques. Cover photo: Francis Wolff. Issued as Blue Note 21436.

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Candy: Lee Morgan

candy-lee-morgan

Imagine. You are 19 years old and already a highly respected musician playing live and on recordings with the brightest and the best. You have already led six sessions which will be issued in your name and you are about to record your seventh. You are a trumpet player of prodigious ability and your name is Lee Morgan.

In November 1957 and February 1958 Morgan visited Rudy Van Gelder’s Hackensack studio to record Candy. This was the sole quartet date in his lengthy discography and the only time he was recorded without another horn in the line up.

This was Morgan’s final Blue Note recording as a leader (of a first series of six, with one outing ‘Introducing Lee Morgan’ on Savoy) before a period away from the label during which he served as a member of the Jazz Messengers before returning to Philadelphia to struggle with addiction.

The tunes chosen for the session were a range of popular crowd pleasers from the charts, Hollywood and then-current musicals. They would have been well-known at the time and would probably have tempted the wallet of the casual record store browser but nearly sixty years later most can only be regarded as lesser known entries in the list of standard tunes. That said, it was interesting to check the origins of most of the songs that make up this set.

A jaunty version of Candy opens the set. The style of trumpet playing here is somewhat reminiscent of Clifford Brown, from whom Morgan took a number of lessons while Brown was living in Philadelphia. Originally a hit in the 40’s, Big Maybelle had also belted this one out in 1956. This track has an audible flaw which has been attributed to a squeaky hi-hat pedal. I initially thought it was signalling the beginnings of a problem with my system but the well-documented fault lies on the original master recording. Many choose to try to ignore it, as I did when this review was originally published, thinking that it would be analysed to death by more extensively visited writers. On reflection, it is a comment that needs to be made about a sub-standard take that should have been scrapped and re-recorded.

Since I Fell For You is a slow and melancholy blues ballad and I have included a link below. It was later recorded by Stanley Turrentine and the Three Sounds on Blue Hour and that is the Blue Note version that I prefer. There is also a cover by Nina Simone, while a Van Morrison version from the 1974 Montreux Jazz Festival is also worth seeking out, partly for his impassioned response to a heckler when the song is introduced.

To watch, click on or touch the arrow.

C.T.A. ups the tempo and takes us into bebop territory.

All The Way is a Sammy Cahn, Jimmy Van Heusen number which was a current hit at the time of the recording, having been popularised by Frank Sinatra before being covered by a spectrum of artists extending from Billie Holliday via James Brown to Bob Dylan and beyond. In 1957 it received an Accademy Award for: ‘Best Original Song’, which meant that its inclusion on this album would have caught the eye and helped to boost sales. Whilst it is a pleasant enough ballad, for me, it will never rank in the pantheon of Blue Note’s finest covers.

Who Do You Love. I Hope is an Irving Berlin show tune from Annie Get Your Gun. I’m not fond of the rather trite chorus, but once Lee Morgan gets going into his solo it becomes well-worth a listen.

Personality featured in Bing Crosby and Bob Hope’s ‘Road to Utopia’, a perennial TV film during my childhood and one of my favourites. Although it was filmed in colour, we had a black and white telly in those days and I can’t imagine it any other way. Dorothy Lamour performs the song in the movie

All At Once You Love Her is a bonus track on the CD release. It is the Rodgers and Hammerstein number from the musical ‘Pipe Dream’, which later became a hit for Perry Como.

The LP cover represents a sole Blue Note outing for Emerick Bronson. I assume that label stalwart, Francis Wolff was responsible for the overall image, which places a portrait of Lee Morgan, shot by Bronson, amongst an arrangement of sweet jars. It is not one of the better Blue Note sleeves and Bronson’s talents were deployed to greater effect through his career as a photographer with Vogue and Cosmopolitan. His pictures have featured in themed exhibitions in New York’s Museum of Modern Art and since he died at a fair old age in the bijoux Long Island hamlet of Sag Harbor, which was also a home from home for John Steinbeck I assume his career was a relatively lucrative one.

Candy is a snapshot of a confident young leader flexing his talents with just a rhythm section to support him and, in the additional sleeve notes which were added to the RVG series CD release, Bob Blumenthal rightly commends Lee Morgan for daring to be bold. Whilst it is interesting to hear him in this context, it seems a shame that the choice of material here draws so heavily on a mainstream popular songbook and it is an album that I listen to from time to time rather than a staple on my playlist.

Candy is currently available as 45 and 33rpm high-quality vinyl pressings from MusicMatters Jazz, but, as the above review suggests, this is not a title that I’ll be rushing to purchase.

The band etc:- Lee Morgan (Trumpet); Sonny Clark (piano); Doug Watkins (bass); Art Taylor (drums). Recorded: 18 November 1957 and 2 February 1958. Rudy Van Gelder Studio, Hackensack, New Jersey. Produced: Rudy Van Gelder. Sleeve Notes: Robert Levin. Cover Image of Lee Morgan: Francis Wolff. Cover photo: Emerick Bronson. Cover Design: Reid Miles. Originally issued as Blue Note 1590.

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