Listening to Prestige 463: The Latin Jazz Quintet

This is an unusual session for Juan Amalbert's Latin Jazz Quintet, in that the personnel hasn't changed from the group's last recording session. And in fact, the tunes from the two sessions mixed and matched over two different albums, and over two different imprints--Prestige and Tru-Sound.

Tru-Sound was a short-lived curiosity in the Prestige stable. I had described it earlier as a budget imprint, but that's not exactly right. Billboard, in chronicling the debut of a new label, describes as a

pop label [that] concentrates on what the company president, Bob Weinstock, calls modern r&b--that is, rhythm and blues with a strong modern jazz feeling.

This is, of course, nothing like the glossy pop which is passed off today as modern r&b, but the nomenclature didn't stick, and the label didn't, either. To some extent it lived up to Weinstock's initial salvo--King Curtis was its principal artist. But it also became the home for the small gospel catalog that Prestige assembled.

It would be a stretch to call the Latin Jazz Quintet modern r&b, but the title of the fruits of this session on New Jazz was Latin Soul, and that's not a bad description.

Latin jazz has always gotten the short end of the stick from the jazz establishment. Every year since I started this project, when I get to the year end review, I rail against the way the Down Beat readers' poll ignores the great Latin musicians--not even giving them votes for dance band, at a time when everyone in the world was doing the mambo and the cha-cha-cha!

So it's to Weinstock's credit that he gave the Latin Jazz Quintet as much of a chance as he did--albums on their own, with his new rising star Eric Dolphy, and later with his soul jazz superstar, Shirley Scott.

It's a more usual session for them in that they typically don't worry too much about how many people there are in a quintet, and I won't go over the personnel of the group here, because I just did that for their last session the past November. The selections are the kind of mix we've seen before: a pop standard, a jazz standard, and a bunch of originals from different members of the group. "Monk's Bread" is by Bill Ellington, "Mambo Bobbie" by Juan Amalbert. "Sunday Go to Meeting" is by Gene Casey, a sometime quintet member not along for this session.

"Milestones" is the Miles Davis tune, and the Latin edge serves it very nicely. "Out of This World" is the standard (Harold Arlen/Johnny Mercer), and it was the tune picked for a two-sided 45 RPM release.

I think I would have picked "Ain't Dat Right." It has a strong riff and that Latin soul feel that made hits out of  tunes like "Watermelon Man" and "Grazing in the Grass."

Hot Sauce was the Tru-Sound release, Latin Soul was New Jazz.

Listening to Prestige Vol 4 is now available! Order the paperback version here, and the Kindle here.

Listening to Prestige 419: Latin Jazz Quintet

The Latin Jazz Quintet appears not to have been locked into the idea of a set lineup, not even within the same session:two different piano players are used here. And they appear not to have been locked into the notion that a quintet should have five members: Here there six, or seven if you count both piano players. There was a great rhythm and blues/doo wop group of this same era named the "5" Royales, and they, too, were not exactly committed to the idea of being limited to five members, so maybe these guys should have called themselves the Latin Jazz "Quintet," but so it goes. Conguero Juan Amalbert and bassist Bill Ellington, at least so far, seem to be the only constants, appearing on their earlier recordings with Shirley Scott and Eric Dolphy.

Alto sax player Bobby Capers was part of Mongo Santamaria's band, where he played both alto and baritone. His younger sister, pianist Valerie, came onto the scene as a pianist later in the decade, and put together a substantial career. Will Coleman, Bill Ellington and Jose Ricci seem not to have recorded beyond the Latin Jazz Quintet, and I can find no further information about them.

Ernest Phil Newsom was better known, to the extent that he was known at all, as Phil Newsum. And within the confines of the Bronx, he was quite well known. Although he and other Latin music-loving African- Americans met with resistance from some in the Latino community, they became very much a part of the Bronx Latin music scene (the lineup of the Latin Jazz Quintet is evidence of that), and it was a vibrant and thriving musical hot spot. “There was all this intermingling of musicians,” Newsum told an interviewer for the Bronx Historical Society. “I don’t think African-Americans are as involved with this now.” African American and Puerto Rican singers came together in Harlem, too, and Frankie Lymon and the Teenagers were the result. An amazing treasure trove of oral histories of Black and Latin music in the Bronx can be found at Fordham University's Bronx African American History Project. Newsum also recorded with Sabu Martinez.

Two of the hottest spots for Bronx Latin jazz were club 845, at 845 Prospect Street in the Morrisania section of the Bronx, and the Blue Morocco on Boston Road. A New York Times article by Manny Fernandez, recalls a

Sunday afternoon in March 1946, [when] you could have stepped into Club 845 -- admission $1.25, plus tax -- and danced to a goateed, bespectacled trumpet player named Dizzy Gillespie.

And later, in the late 1950s, the Latin Jazz Quintet's Arthur Jenkins played piano at the Blue Morocco, accompanying two African American singers--first Irene Reid, who had already made a solid name for herself but had not cracked the supper club big time of Ella Fitzgerald. The Blue Morocco's second chanteuse of the era was Nancy Wilson, who was discovered there.

The one breakout career from the Latin Jazz Quintet belonged to Arthur Jenkins, who made his recording debut here on one track (which ended up on the cutting room floor), but who was the full time piano man when the six-man quintet next gathered in May of 1961. After his stint at the Blue Morocco, and his recording debut with Amalbert, Jenkins went on to a career that touched a lot of bases. He spent nine years with pop-reggae-soul star Johnny Nash, and while working with him in Jamaica, also participated in recording Bob Marley and Peter Tosh.  He recorded, toured with, and arranged music for Harry Belafonte. He had a hand in hit recordings in the disco field (Van McCoy's "The Hustle") and cool jazz (Roberta Flack and Donny Hathaway, Grover Washington Jr. and Bill Withers).

And as a result of being recruited to work on Yoko Ono's album Feeling the Space, he came to the attention of John Lennon. He played on Lennon's Mind Games album and on all his subsequent projects.

He worked in the Broadway theater, on commercials, and made two solo albums of jazz keyboards, which are worth a listen if you can find them. I love running across these stories of the under-the-radar lives in the music business.

The session included two originals (by Amalbert? not sure). two pop standards ("Summertime" and "Blue Moon") and two jazz standards ("Red Top" and "Round Midnight"). They're very percussion-focused, with Will Coleman's vibes the chief melody instrument. Bobby Capers's alto sax is much more sparingly used.

This and a subsequent Latin Jazz Quintet session each became part of two LPs--one on Prestige entitled Latin Soul, and the other on a short-lived Prestige budget imprint, Tru-Sound. That one was called Hot Sauce and the ensemble was billed as Juan Amalbert's Latin Jazz Quintet.

Listening to Prestige Vol. 2, 1955-56, and Vol. 3, 1957-58 now include, in the Kindle editions, links to all the "Listen to One" selections. All three volumes available from Amazon.

And Vol. 4 is very close to completion. Watch for it!

The most interesting book of its kind that I have ever seen. If any of you real jazz lovers want to know about some of the classic records made by some of the legends of jazz, get this book. LOVED IT.
– Terry Gibbs