Showing posts with label Red Mitchell. Show all posts
Showing posts with label Red Mitchell. Show all posts

Friday, January 11

The Sermon has been found

The Sermon. It didn't move me to religious ecstasy.

not terribly inspired
It took some digging but I found the album deep in my collection and it’s been spinning this afternoon. The trio is top-notch: Hampton Hawes – piano, Leroy Vinnegar – bass and Stan Levey – drums. You’d think that trio would be killer and on another date they would have been. On this night however, it just doesn’t come together. There isn’t that magic that appears when a band and the material is right. 

Maybe that’s the problem: the material.

I get that Hampton was looking ahead to years in prison and that may have left him thinking of the beyond but the choice to do an all spirituals album didn’t work, at least not to my ears. The music isn’t bad, it just isn’t as great as you’d expect from these three.

So let me give a recommendation since I know I piqued your interest about Hampton Hawes these past few days. What album should you buy?

I’ll give you options.

1. I spoke about the ‘All Night Sessions’ album and that’s a classic.

2. If that’s not enough, you could pick up ‘The Trio: Complete Sessions with Red Mitchell and Chuck Thompson'. 35 tracks of goodness that you could pick up cheap.


3. If you want to hear him in different context with a horn player, which you don’t get to hear often with him, how about ‘For Real!’ Harold Land plays some fantastic sax on this album. It’s also one of the few recordings made with Scott LeFaro who would join Bill Evans in June 1961 for his seminal Live at the Village Vanguard recordings (and die tragically in July).

If you want a taste, have a listen to the title track. It starts with Scott LeFaro walking us in and then comes the band. It's a swinging 11 minutes that I know you'll enjoy.



Thursday, January 10

It happened the night of November 12-13, 1956.

I’ve written elsewhere about the scourge of heroin in jazz. (I should immediately add that it was the policing and criminal sentences handed down to jazz drug users that hurt the music during its height, not just death or illness from using.)

Surely we’ve all wondered what musical landscapes Charlie Parker may have discovered had he reached the age of 35. I know you and I have discussed it at a party once, years ago.

Hampton was so cool and so busted
I’m listening to one of the great jazz quartets and one you may not be familiar with.

Hampton Hawes was one of the great pianists of the West Coast scene in the 1950s. It’s easy to focus on the legendary horn players: Art Pepper, Gerry Mulligan, Chet Baker, Bud Shank, Jimmy Guiffre; but the keys had no shortage of heavyweights: Claire Fischer, Russ Freeman, Jimmy Rowles; and Hampton Hawes was right there with them.

I’m listening to Hawes’ All Night Sessions album (Contemporary, 1956).  

It was originally released as three albums. The title is accurate. All of the music, seventeen tracks, almost two hours of top-notch jazz, was recorded in a single night session in Los Angeles November 12-13, 1956. It’s not unusual for jazz groups to make maximum use of studio time and get as much onto tape as possible and maybe the fast pace led to the recordings a vibrancy that lifts each track. You need to get your hands on these recordings.

Jim could play that thing
Jim Hall had a large role to play in the greatness. To me, he’s one of the top 3 or 4 guitarists in jazz and I’ve written before about what a fan I am of his playing. (I remember having you over for coffee and going on about his trio recorded in Toronto). He’s masterful in his accompaniment and during his moments to shine.

Here’s the band:

Hampton Hawes - piano
Jim Hall - guitar
Red Mitchell - bass
Eldridge Freeman – drums


Red Mitchell's no slouch on the bass and as for Eldridge Freeman...I don't know him. Lays downs some nice brush strokes.

Why did I mention drugs? The jazz world lost Hampton for five years beginning in 1958 after he was convicted for heroin charges. He was later pardoned by John F. Kennedy, but that’s another story. What song to offer? Toss a coin really but how about Hampton’s Pulpit. You'll see what I mean about the fantastic interplay between Hampton and Jim.

Let’s talk soon. Rodney called me and you won’t believe what he told me.