Liner Notes to "Ray's Groove"

My first post was meant as a gift. Although you'll have to pay to download the songs, the playlist and sequence was a fortuitous accident, soothing, seductive and representative of the best jazz ever recorded. You'll be happy for the investment! Here are the liner notes for those interested.

"RAY'S GROOVE"
In the years between Sputnik’s launch and JFK's assassination, pop music sucked. We were also between the induction of Elvis and the arrival of the Beatles. It was a fallow time, but not for black music, as Ray Charles broke through with his fusion of R&B with gospel, and James Brown invented funk.  And it was in this time frame that Jazz reached its creative peak. That's my thesis, anyway.

Of course it's a subjective view. According to researchers' theory, most people's music tastes are defined for life when they're 18-to-20 years old.  I was 18 in early 1962 when I first heard most of the music on this compilation. Having subsequently spent a career promoting new Rock musicians, I proved the researchers' theory by returning to Jazz in my retirement. It provided my Comfort Zone.
 Here's some background on the songs I chose:

 1. "Concierto” is an epic, almost 20 minutes long, from the album of the same name, by Jim Hall.
My relatively-recent discovery of this '75 recording was the catalyst of the compilation, even though the rest of the material is from the late '50"s and early '60's. The other songs are from long-time favorite albums. "Concierto", as a song, set the groove for what I hoped would be a romantically listenable mix tape. I didn't find this CTI recording until its Columbia reissue in '99. I knew the song, the Rodriguez classic that had been the lead track for the early-'60's Miles Davis/Gil Evans orchestral "Sketches of Spain". The line-up on this version was amazing. Jim Hall (whose brilliant duet with Bill Evans on the '62 album "Undercurrent" had long been a favorite) was the guitarist and leader. His horn section was Paul Desmond on alto sax (famous from the best-selling "Time Out", also '62, by the Dave Brubeck Trio), and Chet Baker on trumpet. (My older brother turned me on to Chet at a time when I was staying with him in '99; I had been so obsessed with Miles from my college days that, like many, I had greatly underestimated Chet.) The arranger was Don Sebesky, whose many hits for CTI had been among my favorite '70's records. The pianist, Roland Hanna, was new to me, but immediately joined my All-Time Greats list. The rhythm section was the jazz great Ron Carter on bass (one of the principals of CTI) and Steve Gadd on drums. (Steve was a major session player better known for his pop hits.) The Producer was Mr. CTI himself, Creed Taylor, and the engineer was Rudy Gelder, who made many of my favorite records, usually for the Blue Note label. Like every track on "Ray's Groove", "Concierto” was recorded in New York. It kicks my compilation off with a classic flamenco feel.

2. That led me to Miles Davis’ “Flamenco Sketches", from what is to me and many others the greatest jazz album of all time, "Kind Of Blue". This1959 recording, important for its seminal creation of "modal" jazz, has been the subject of at least two books. The great pianist Bill Evans did the arrangements of these Miles Davis originals, which were amazingly recorded without overdubs and generally in one take. The horn section was the best of the best: John Coltrane on tenor sax, Cannonball Adderley on alto sax and, of course, that superstar Miles Davis on trumpet. The rhythm section was Paul Chambers on bass and James Cobb on drums. (At this point I should say that there's a "six degrees of separation" thing going on in this compilation; as you'll see, "Ray's Groove" is a time capsule of a small but incredibly influential group of musicians at a time of creative apogee.) Bear in mind that, like all the songs on "Kind Of Blue", "Flamenco Sketches" represented a new type of “modal” scale structure, and required improvisational virtuosity of a masterly level from each of the players.
(The full “Kind of Blue” album gets my highest recommendation!) 

3. From my second-favorite jazz recording, Kenny Burrell's "Midnight Blue", I chose "Soul Lament" because it maintains both the flamenco and blues themes already introduced. It's a solo piece from Kenny Burrell who's my idol as a guitarist. His playing is understated yet elegant; his feeling for the blues is impeccable. Another Rudy Gelder-engineered classic, the album features Stanley Turrentine on tenor, Ray Barreto on congas, and a solid rhythm section; the overall effect is a cool, sexy groove. The producer is Blue Note founder Alfred Lion.
(The full “Midnight Blue” album is highly recommended.)

4. This arrangement of the standard "Autumn Leaves" is moody and mysterious. The leader is technically Cannonball Adderley, but with Miles Davis involved, it's a toss-up between two of the greatest. Even the drummer, Art Blakey, was a leader (of the Jazz Messengers). I love the simple but compelling piano part, as played by Hank Jones; like Bill Evans or Roland Hanna, his light touch is perfect. And listen to the bass counterpoint. Sam Jones on bass is no relation, except for being a (great) fellow participant on the original album, called "Somethin' Else." It's another Blue Note/Alfred Lion - Rudy Van Gelder classic, from '58. (Don't worry if you're all mellowed-out; the four-bar horn blast near the end of the intro doesn’t repeat.)

5. The Thelonious Monk composition "'Round Midnight" is, to me, the"Stairway To Heaven" of Jazz. It was the most-played Jazz song of its time, but never better than this, Miles Davis' first recording for Columbia. It was also the first collaboration with long-time Miles producer Teo Macero. The musical "breakdown" that sets the tone for John Coltrane's tenor solo is a classic, high-energy passage in an otherwise melodic, romantic arrangement. And this solo was Coltrane’s breakout.

6. Also produced by Teo Macero, "Goodbye Pork Pie Hat" is originally from "Mingus Ah Um". Charles Mingus was another genius for Columbia. Mingus composed, arranged and led on his recordings, and was also the best on bass. He's in the Duke Ellington tradition, but looked like the prototype for the cool '50's beatnik. The tenor sax is by John Handy III; Horace Parlan is on piano. The album is from '59, and shares an approach to art design with Columbia's "Time Out” by the Dave Brubeck Trio.

7. Coming full circle, trumpeter Chet Baker (from "Concierto") joins up with Bill Evans and Paul Chambers (from "Flamenco Sketches") on an all-star recording on the Riverside label called "Alone Together" The baritone sax is by Monk regular Pepper Adams, the flute by future star Herbie Mann. Elsewhere on the album "Chet", a flawless collection of Jazz ballads recorded in late '58-early '59, is guitarist Kenny Burrell (from "Soul Lament”). T
(The full "Chet" album is highly recommended.)

8. As popularized in the film, "The Talented Mr. Ripley", Chet Baker also had some surprising success as a Jazz vocalist in the '50's. This closing song is an oddly charming take on the standard, "My Funny Valentine". It's originally from "Chet Baker Sings", on Verve.

​Put your “Ray’s Groove” CD on repeat. As Chet would say, “Let’s get lost.”