Booker Ervin - Booker 'n' Brass

I believe I left us on such a solemn note this morning that it would be quite difficult for any of my blogmates to dare break the mood so I will do it by offering that first recording that Ron sent me long ago (at least I think this was it, roll with me, okay?). This was at the time the only Booker Ervin recording that I did not possess and when Jazzman posted it at his blog and dedicated it to me, I was deeply flattered. This was made from Ron's own CD.

Booker Ervin - Booker 'n' Brass
Pacific Jazz, 1967

  "East Dallas Special" (Booker Ervin) - 4:37
    "Salt Lake City" (Johnny Lange, Leon René) - 4:22
    "Do You Know What It Means to Miss New Orleans?" (Louis Alter, Edgar DeLange) - 4:28
    "L.A. After Dark" [Master - Take 6] (Teddy Edwards) - 5:03
    "Kansas City" (Jerry Lieber, Mike Stoller) - 3:00
    "Baltimore Oriole" (Hoagy Carmichael, Paul Francis Webster) - 4:42
    "Harlem Nocturne" (Earle Hagen, Dick Rogers) - 4:18
    "I Left My Heart in San Francisco" (George Cory, Douglass Cross) - 4:13
    "St. Louis Blues" (W. C. Handy) - 4:11
    "L.A. After Dark" [Alternate Take 3] (Edwards) - 5:08 Bonus track on CD reissue
    "L.A. After Dark" [Alternate Take 7] (Edwards) - 5:05 Bonus track on CD reissue

        Recorded at Webster Hall in New York City on September 12 (tracks 4, 6 & 9-11), September 13 (tracks 1, 2 & 5), and September 14 (tracks 3, 7 & 8), 1967.

"To hear Booker Ervin as the leading solo voice on a recording with a larger ensemble is a treat, not only for his fans, but for those interested in modern big-band sounds grown from the bop era that are flavored with urban blues. A trio of different sessions done at Webster Hall in New York City features groups ranging from ten to eleven pieces, with personnel switched up, and no supplemental saxophonists. Freddie Hubbard is the only other soloist besides Ervin, the trombone section features top-rate players Bennie Green, Britt Woodman, and Garnett Brown, and the rhythm section of pianist Kenny Barron, bassist Reggie Johnson, and drummer Lenny McBrowne is as solid as can be. The session is based entirely on themes dedicated to major cities in the U.S.

Three versions of "L.A. After Dark," featuring different solos from Hubbard, are included on the CD version, written by the arranger of the date Teddy Edwards, a quintessential uptown homage to his adopted home. Ervin's "East Dallas Special" - a mix of "Night Train" and "Sister Sadie" - and the short, tuneful Jerry Lieber-Mike Stoller penned hit of Wilbert Harrison's "Kansas City," and the energetic 12-bar "St. Louis Blues" all shuffle along, powered by the soulful McBrowne. Four typical standards are included, with Ervin's tart-sweet post-John Coltrane saxophone sound undeniably leading the way. "Do You Know What It Means to Miss New Orleans?" is a slow spare horn chart accented by the booming bass of Johnson, while "I Left My Heart in San Francisco" is a polite and heartfelt treatment of this all-time favorite. "Harlem Nocturne" is quite dissimilar from the Joe Harnell hit version of the era, this one approximating tango proportions. Closest to true big-band regalia, "Salt Lake City" depicts a not very jazzy or bluesy city with a sophistication that suggests the best progressive charts of Duke Ellington, and especially Oliver Nelson, with two-note horn shout-outs. While the charts of Edwards and the emphasis on brass instruments holds interest, the overall sounds are only somewhat arresting. Ervin is the straw that stirs this tasteful martini, but he is heard to better effect on his numerous small ensemble recordings, and especially his work with Charles Mingus." AMG

Certainly one the most unique Ervin sessions, it reminds me a bit of Kirk in front of the Quincy Jones Orchestra. Thanks Ron.

Farewell to Jazzman - Funeral for a Friend

It is with more than a few tears in my eyes that I come here this morning to pay tribute to the passing of my friend the Jazzman. Ron was a dear friend and mentor to so many of us in the blog world. The banners at the top of the Cover Project, Kublah's Crib and one of my private sites all come from him as he was an accomplished commercial artist amongst his many talents. (A photographer, record store owner, lifelong friend of music....) The last one he stubbornly insisted on making for me despite being quite ill at the time, it would be the last late night conversation we would have.

When I first began this place it did not start out so smoothly and not many folks seemed to notice as day after day I poured out posts seemingly to no one. Slowly a couple folks started coming around, Ish and E-Mile gave me some pointers and then one night a long, thoughtful comment showed up on a post followed by a longer and encouraging direct email with some links, one to Jazzman's blog (it was still public then) and the other was my first contribution from a reader. A friendship was born that night as I responded at 3 AM only to hear right back! He was a nightowl our Jazzman and most of our conversations took place in the wee hours. I will miss that.

Here in New Orleans when a musician or a Friend of Music passes on, we honor them with a Jazz Funeral, we put together the best band we can find, go visit our friend first at the church, then accompany the casket to the graveyard, walking solemnly behind as the band plays a dirge but as we free our brother from the shackles of this world something happens and we begin to celebrate his triumph over the hardships and the band picks up this change of spirit and we sing, we dance, we drink and we cry some as we leave the grave site and go to celebrate our fond memories and continuing life.

Obviously I won't have the opportunity to do this properly for my friend but here is a fine substitute that was done by the best Brass Band I know, The Dirty Dozen. This music was made in loving tribute to their lost friend Tuba Fats, back a couple years before the storm. I know they and he won't mind if I use it today to send up my friend the Jazzman ---

 Fats, when you hear this playing today please look out for my friend Ron the Jazzman, he'll be the tall, slightly latin looking fellah who looks a bit like Julius LaRosa, only better looking! 

 Goodbye my friend,