Review

Nat Adderley In The Bag (Jazzland 1962)

- Francois Leave a comment

The Adderley Brothers get down to the nitty gritty in the cradle of jazz with Ellis Marsalis and friends.

Nat Adderley - In The Bag

Personnel

Nat Adderley (cornet), Nat Perrilliat (tenor saxophone), Cannonball Adderley (alto saxophone), Ellis Marsalis (piano), Sam Jones (bass), James Black (drums)

Recorded

on May 19, 1962 in New Orleans

Released

as Jazzland 75 in 1962

Track listing

Side A:
In The Bag
Sister Wilson
R.S.V.P
Low Brown
Side B:
Mozart-in
New Arrival
Chatterbox

Finding themselves in New Orleans in early 1962, Nat and Cannonball Adderley noticed that there were quite a few excellent, blues and swing-drenched jazz players. Leave it to Cannonball to act upon his intuition, just like he did when he called Riverside label boss Orrin Keepnews in 1959 when the quintet was firing on all cylinders at the Jazz Workshop in San Francisco, which led to smash hit and perennial favorite Live In San Francisco. From New Orleans, Cannonball called in on Keepnews again and requested that they record with a couple of good but relatively unknown NO musicians. And so Nat Adderley’s In The Bag came to pass. That was the advantage of being part of the independent music business.

The cats that the Adderleys met were tenor saxophonist Nat Perrilliat, drummer James Black and pianist Ellis Marsalis, supposedly the first time that the beloved educator and head of the Marsalis dynasty was recorded on wax. Many recordings would follow, if only decades later, after two of his six sons, Wynton and Branford, broke through in the early 1980’s. Marsalis sadly passed away from Covid-19-related pneumonia in 2020.

It was a good idea to represent modern jazz from New Orleans, since it was rather underrepresented in The Big Easy, town of traditional jazz and rhythm and blues. In The Bag was certainly not the ‘first modern jazz session in New Orleans’, as Keepnews claims in the liner notes, though it is evident that practically all modernists worked in rhythm and blues and traditional settings to earn a living and were into their own thing exclusively at after-hours spots, notably artists like clarinettist Alvin Batiste and Ed Blackwell, the unique drummer who would join the groundbreaking free jazz group of one-time New Orleans-resident Ornette Coleman in Los Angeles in the late 1950’s.

Contrary to Keepnews’s statement, there had been modern jazz recordings in New Orleans, even if they were very few, among those Golf Coast Jazz Volume 1, recorded by the American Jazz Quintet featuring Marsalis, Blackwell, Batiste, saxophonist Harold Batiste and bassist Richard Payne in 1959. Modernists as saxophonist Mouse Bonati and pianists Ed Frank and Frank Strazzeri were represented on various New Sounds From New Orleans albums, though they, to be sure, were not New Orleans-born. But to the credit of Keepnews, these recordings were very obscure and only reissued decades later. His remark raises the question how many modern jazz recordings there approximately have been in New Orleans in the bop and hard bop period of the 1950s-60’s and which releases and artists are we actually talking about?

In The Bag, on the strength of the high-profile presence of the Adderley Brothers, has been reissued over the years. It’s a fine, blues-drenched session. Nat Adderley’s catchy line In The Bag ends with a coda full of naughty odd notes. It becomes immediately clear that the hard tone and sassy playing of Nat Perrilliat is a great asset. James Black’s Sister Wilson is a first-class hard bop burner. Adderley’s ballad playing on cornet on Marsalis’s R.S.V.P. has the right touch of control and emotion. Marsalis, a saucy accompanist throughout, takes vivid center stage during Yusef Salim’s mid-tempo Low Down, spurred on by Black’s gritty accents.

Mozart-in refers to its composer Alvin Batiste, who was nicknamed “Mozart” because of his prolific composing career. It features another jubilant solo by Nat Adderley, who isn’t afraid to engage in buoyant high whoops, appropriately Satchmo-like as vivaciousness is concerned. The band also took Chatterbox from the Alvin Batiste book, familiar terrain for the New Orleans clan, having been recorded earlier on the beforementioned Golf Coast session by the American Jazz Quintet.

The Adderleys made every effort necessary to limelight unsung cats. Cool guys with a big heart.

Clifford Jordan Beyond Paradiso (NJA 2024)

- Francois Leave a comment

Clifford found his Jordanaires in Holland.

Clifford Jordan - Beyond Paradiso

Personnel

Clifford Jordan (tenor saxophone), Cees Slinger (piano), Ruud Jacobs (bass), Han Bennink (drums), Steve Boston (percussion); Jacques Schols (bass), Martin van Duynhoven (drums)

Recorded

on September 10, 1969 at VARA studio, Hilversum; on June 3, 1970 at Paradiso, Amsterdam

Released

as NJA 2401 in 2024

Track listing

Vienna
Impressions Of Scandinavia
Doug’s Prelude
Quagadougou
Girl, You’ve Got A Home
I Can’t Get Started
The Girl From Ipanema


Unmistakable tone defines the greats, whether it’s icons like Lester Young or John Coltrane or acquired tastes like Lucky Thompson or Clifford Jordan. You’ll spot Jordan in a cacophony of thousands. Lovely tone. Clear as a blue sky, pure as goat’s milk. His tone is a precious satin cloth that traveled westward through the Silk Road. A touch of the blues. A dog’s wail from the back porch.

Chicago-born. Middle name: Laconia. This is also the title of an exciting Latin-tinged tune from his fourth Blue Note debut album Cliff Craft from 1957. Jordan was a promising, Rollins-inspired tenor saxophonist who found himself a spot in the vanguard of hard bop, recording with Art Blakey, Lee Morgan, Horace Silver and Max Roach.

As the years went by, Jordan followed a progressive route, playing with Charles Mingus in the 1960’s alongside Eric Dolphy. He was interested in the movement of black rights and consciousness. Typically, Jordan wanted to take matters in his own hands and produced recordings of favorite artists and himself under the heading of The Dolphy Series. Though his efforts of releasing those tapes by himself stranded, his recordings eventually found a home on the groundbreaking Strata-East label from Stanley Cowell and Charles Tolliver. Jordan’s participation in Strata-East and influence on the avant garde is a feat that is too often neglected.

Glass Bead Games, often cited as a perennial favorite by jazz fans and a major inspiration to following generations of players, was released by Strata-East in 1973. Part of that album represented the start of a stellar quartet that would come to be known as The Magic Triangle: Jordan, Cedar Walton, Sam Jones and Billy Higgins.

A year before, Strata-East released In This World, a set of original tunes by Jordan from 1969, featuring Don Cherry, Kenny Dorham, Julian Priester, Wynton Kelly, Richard Davis and drummers Ed Blackwell, Roy Haynes and Albert Heath.

It is the repertoire of In This World that, among others, is played by Jordan on a top-notch new release by the Dutch Jazz Archive: Beyond Paradiso. Jordan was booked to play in Paradiso, Amsterdam’s hub of the counterculture movement in 1969, but the club was closed for a month due to circumstances and Jordan and his band of Dutch stalwarts – pianist Cees Slinger, bassist Ruud Jacobs and drummer Han Bennink – were transferred to the VARA studio in Hilversum. A year later, Jordan was offered a second chance and played in Paradiso with Slinger, bassist Jacques Schols and drummer Martin van Duynhoven.

The Hilversum date is positively explosive. Jordan presents a ballad, Doug’s Prelude, a hip blues line, Quagadougou, and Vienna and Impressions Of Scandinavia, both enticing modal canvases, open for a lot of suggestions, and everybody rises to the occasion, Slinger in a McCoy/Herbie-inspired role and the tandem of Jacobs/Bennink notably propulsive. At times, Jordan wails like a gladiator to the gods, but, typically, he always remains in balance, flowing with long graceful lines. There never is any strain, a great feat. As liner note writer Tom Beek says – he did a great job by the way – Jordan is quite the king of understatement.

At Paradiso, though the sound, not surprisingly, is a bit dry and muffled, Jordan kept up his charged but balanced playing and, this time, plays the standards I Can’t Get Started, The Girl From Ipanema and Jordan’s Girl, You’ve Got A Home, the latter, which applies to the whole program of Beyond Paradiso, making abundantly clear that the Dutch cats convincingly stood their ground.

In this world, better said, flood, of archival releases, this applies to the Dutch Jazz Archive as well.

Clifford Jordan

Buy Beyond Paradiso at Nederlands Jazz Archief here.

The Vara show is also available on vinyl.

Louis Smith Prancin’ (Steeplechase 1979)

- Francois Leave a comment

Mr. Smith goes to Copenhagen. As a matter of speaking.

Louis Smith - Prancin

Personnel

Louis Smith (trumpet, flugelhorn), Junior Cook (tenor saxophone), Roland Hanna (piano), Sam Jones (bass), Billy Hart (drums)

Recorded

on April 13, 1979 in New York

Released

as SCS 1121 in 1979

Track listing

Side A:
One For Nils
Chanson de Louise
Ryan’s Groove
Side B:
Prancin’
I Can’t Get Started
Fats

Short but sweet. That is what you would call the career of trumpeter Louis Smith in the late 1950’s. There’s one session from Transition that was purchased by Blue Note: Here Comes Louis Smith featuring Cannonball Adderley credited as ‘Buckshot La Funke’. A month later, Smith walked into the studio of Rudy van Gelder in Hackensack, New Jersey, meeting up with Charlie Rouse, Sonny Clark, Paul Chambers and Art Taylor: Smithville. Treasured Blue Note goodies for the jazz geek, excellent stuff, the latter, as yours truly is concerned, having the upper hard bop hand.

Memphis, Tennessee-born Smith was the nephew of Booker Little. Now there’s a hip trumpet blood lineage. While attending University of Michigan in Ann Arbor, young lion Smith shed wood with the likes of Miles Davis, Dizzy Gillespie and Sonny Stitt. Smith quit the scene after his Blue Note releases and focused on band directing at Booker T. Washington and University of Michigan and teaching at Ann Arbor public schools. After long radio silence, Smith reappeared on the Danish Steeplechase label of Nils Winther in the late 1970’s. Steeplechase was a safe haven for many stalwarts of mainstream jazz during the fusion and disco-infested years of torture. We’re talking Duke Jordan, Kenny Drew, Horace Parlan, Jimmy Knepper, Chet Baker, Walt Dickerson, Tete Montoliu, Hilton Ruiz and many more. It is still going strong as one of the to-go-to independent jazz labels. Quite a feat.

Smith recorded no less than twelve albums for Steeplechase from 1978 to 2004, though he remarkably succeeded to stay under the radar of the jazz universe until the end of his life in 2016. Dutch pianist and concert organizer Rein de Graaff, always on the hunt for unsung heroes, invited Smith to perform during De Graaff’s famed Stoomcursus Bebop lectures and concerts in The Netherlands. As he recounted recently, De Graaff also played with Smith in Detroit in the famed Baker’s Keyboard Lounge, “before an all-black audience.” De Graaff: “He was a very sweet man. The Steeplechase albums are good in general, but his Blue Note period is the real deal. Back then he was in his mid-twenties and on top of his game.”

Louis Smith didn’t have to travel to Denmark to record for the Danish-based label. It was Greenwich Grooving Time in NYC and the trumpeter was in the good company of tenor saxophonist Junior Cook (a Steeplechase recording artist in his own right), pianist Roland Hanna, bassist Sam Jones and drummer Billy Hart. They play a solid set of hard bop, mid-and up-tempo swingers that feature the flexible style and bright sounds of Smith and the typically half-lazy phrasing of the great Junior Cook, who found a nice spot in the jazz realm between the legendary stylings of Hank Mobley and Dexter Gordon.

The thing that hooked me though is Smith’s balladry on flugelhorn. He added a ballad or two on every one of his twelve Steeplechase records. Smith’s lovely buttery soft lyricism is all over his Chanson de Louise. Furthermore, Smith builds a beautiful seven-minute solo during I Can’t Get Started, the Gershwin/Duke standard that suffers from silly lyrics (“I’ve flown around the world in a plane/I’ve settled revolutions in Spain/The North Pole I have charted/But I can’t get started with you…”) but boast a beautiful melody and attractive chord changes. It has always been a perennial favorite of jazz musicians and singers.

The importance of the American Songbook for jazz – and how well jazz musicians recreated Tin Pan Alley in their own image – cannot be overestimated. Smith runs away with I Can’t Get Started here, a man of sorrow and resilience and more than a couple of emotional nuances in between. A gem, no less. Pleasurable result of browsing through the Steeplechase catalogue of records by what back then were acclaimed or unsung middle-aged jazz men.

Listen on YouTube to Prancin’, Chanson de Louise and I Can’t Get Started.