Call and Response

Art Pepper “IMAGINATION” composed by Burke from Art Pepper Meets the Rhythm Section (1957) on OJC —

NOTES: I first discovered this record in my late father’s collection.  After his death, my step-mother gave me all of his jazz records and that’s where I found this one.  Art Pepper, alto; Red Garland, piano; Paul chambers, bass; Philly Joe Jones, drums. Session features Miles Davis’ rhythm section, who were in LA at the time. Pepper’s alto was apparently in disrepair, so he taped up the dried out cork and recorded a session ultimately considered to be one of his most important.

Mildred Anderson “I Didn’t Have a Chance” from Person to Person (1960) on OJC —

NOTES: Thought of essentially as an R&B/blues singer, Mildred Anderson recorded only two albums as a leader, both notable for having distinguished jazz musicians backing her up.  Mildred Anderson, vocals; Eddie Lockjaw Davis, tenor; George Duvivier, bass; Arthur Edgehill, drums; Shirley Scott, Hammond B-3.  Shirley Scott’s organ is the first thing you hear in the opening and is perfectly suited to Anderson’s subtle opening lines:  “You didn’t play it fair…”

Bob Brookmeyer “Misty” composed by Erroll Garner from Bob Brookmeyer & Friends (1964) on Columbia/Legacy —

NOTES: Brookmeyer’s valve trombone gives his horn a distinctly recognizable tone; when you hear it, you know who’s playing.  This is just as true for Stan Getz’s tenor sound.  The two of them together for this date is a reunion of sorts; the had played together regularly during the 5o’s.  The session itself is raised above the conventional by the presence of a youthful rhythm section:  Gary Burton, was 19 at the time and had already recorded with Getz; Herbie Hancock was 24 at the time and had been invited by Miles Davis to join his band for the Seven Steps to Heaven sessions the year before.  Bob Brookmeyer, valve trombone; Stan Getz, tenor; Gary Burton, vibes; Herbie Hancock, piano; Ron Carter, bass; Elvin Jones, drums

Clifford Brown “The Blues Walk” composed by Brown from Clifford Brown and Max Roach  (1954) on EmArcy —

NOTES: Clifford Brown-Max Roach Quintent: Clifford Brown, tp; Harold Land, tenor; Richie Powell, piano; George Morrow, bass; Max Roach, drums

Ben Webster and Don Byas “Caravan” composed by Ellington from Ben Webster Meets Don Byas (1972) on Verve —

NOTES: Recording turned out to be swan song for both tenor saxophonists; Byas died in the year prior to the album’s 1973 release, and Webster died the following year, though he recorded one more album after this one. Ben Webster and Don Byas, tenors; Tete Montoliu, piano; Peter Trunk, bass; Albert Tootie Heath, Drums

Abbey Lincoln “Don’t Explain” from That’s Him (1957) on OJC —

NOTES: Abbey Lincoln’s second album.  At this early stage in her career, she already had set very high standards for herself and those around her.  With a unique style that clearly defined her as a jazz singer, Abbey was careful to interpret only lyrics she could believe in.  This particular song is breath taking in its emotional impact.  Three years later she would record We Insist with her future husband Max Roach (married in 1962). Abbey Lincoln, vocals, Sonny Rollins, tenor; Kenny Dorham, trumpet; Wynton Kelly makes a rare appearance on bass; Max Roach, drums

Miles Davis “Madness” composed by Hancock from Nefertti (1968) on Columbia —

NOTES: Fourth album from Miles’ second classic quintet.  Note Miles’ magnificent extended solo at the beginning.  He mixes comfortable, harmonic qualities with unsettling dissonance.   He challenges the listener to hang on, and if you can’t, well I think we know what Miles would say.  Miles Davis, trumpet; Herbie Hancock, piano; Ron Carter, bass; Tony Williams, drums

Sonny Rollins “Till There Was You” from Freedom Suite (1958) on Riverside —

NOTES: As a jazz innovator, Rollins attempts with this album to bring into alignment his creative genius with his political consciousness.  Complex, poetic, lyrical and driven.  Sonny Rollins, tenor; Oscar Pettiford, bass; Max Roach, drums

Oscar Peterson ““Here’s That Rainey Day”” from Solo (1972) on Verve

Jimmy McGriff “The Bird” composed by McGriff from Groove Grease (1971) on Groove Merchant

Jack McDuff, Gene Ammons & Sonny Stitt “Cool Daddy” from Soul Summit (1962) on Prestige — Jack McDuff, organ; Gene Ammons, tenor; Sonny Stitt, tenor; Etta Jones, vocals

Charlie Christian “Swing To Bop” from The Immortal Charlie Christian (1941) on Legacy International — Field recording at the legendary Minton’s Playhouse: Charlie Christian, guitar; Joe Guy, trumpet; Monk, piano; Nick Fenton, bass; Kenny Clarke, drums

Cannonball Adderley “Sounds for Sid” from Things are getting better (1958) on OJC — Cannonball Adderly, alto; Milt Jackson, vibes; Wynton Kelly, piano; Perch Heath, bass; Art Blakey, drums

Oscar Brown, Jr. “Signifyin’ Monkey” from Sin and Soul (1960) on Sony

Booker Ervin “Back O’ Town” from Gumbo (1963) on Prestige — Booker Ervin, tenor, Al Grey, trom; Pony Poindexter, soprano; Gildo Mahones, piano; Larry Young, organ;

Louis Armstrong “West End Blues” from The Essential Louis Armstrong (1925) on Columbia

Jerome Richardson “Way In Blues” composed by Richardson from Midnight Oil (Reissue) (1958) on Fantasy Records

Jess Stacy “She’S Funny That Way” from Jess Stacy (1939) on Classics

Sam Price “Me And My Chauffeur” composed by Lawler from Sam Price (1942) on Classics — Mabel Robinson, vocals

Gigi Gryce “Nica’s Tempo” composed by Gryce from The Hap’