Groovin' High in Barcelona, with the Tete Montoliu Trio

In May 1988, Jerome Richardson (1920-2000) was touring Spain accompanied by the Tete Montoliu Trio. On their way through Barcelona, the quartet played in the old “Cova del Drac” club. Richardson’s alto and soprano sax performances with Tete’s trio sparked not only the enthusiasm of fans across the city, but also the interest of Fresh Sound Records. All four musicians happily agreed to set a recording session that took place on May 22 at the now-defunct studio Estudi Gema.

Richardson was a talented jazz improviser of the bop tradition, his passion for blowing was tempered only by the stringent discipline that emanated from his well-schooled musical mind. He was a sensitive balladeer as well as a virile swinger. His versatile yet consistent jazz style on alto was the result of different influences, from the clean tonality of the best altoists of the swing era, Willie Smith, Johnny Hodges and Benny Carter, through to the phrasing of Charlie Parker or even the fiery hard bop style of Cannonball Adderley and Phil Woods. Yet in the end, it all turns out to be individualistically Jerome Richardson.

His old friend pianist Tete Montoliu contributed his share of rewarding, sensitive, comping and rippling solos, and they complemented each other well, as Tete was always firm enough to keep up with Jerome, but also subtle and smooth enough to counteract him.

A stirring set full of truly high moments of very good solo work and a rhythm section with bassist Reggie Johnson and drummer Alvin Queen that, in addition to its flawless timekeeping, is pure energy and fire.
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"I would like to thank Jordi Suñol and Jordi Pujol for making this project finally come to life after 32 years of having been recorded. It was definitely a most special event for me after having played at the “Cova del Drac” in Barcelona with the Tete Montoliu Trio with our special guest, Jerome Richardson.

Back then, the decision was made to record the group and I am witness to this release following the loss of all three mentors. My hope is that you will join us to keep this music alive, as well as making this CD successful."

—Alvin L. Queen

Tracklist

Album details

Press reviews

"Fate likes jazz, the random. That improvisation to which he subjects us sometimes brings us eternal offerings, like this recording archived for more than 30 years. Briefly, the story is as follows: in May 1988, the Tete Montoliu trio played at the mythical Cova del Drac Club, Barcelona, ​​together with saxophonist Jerome Richardson. On the 22nd of that month, Fresh Sound Records offered them to record a session at Estudi Gema, now disappeared. When the quartet recordings end and Richardson leaves, the trio record the tracks that give rise to the second album "Barcelona Meeting" (FSRCD 5060).

In "Groovin' High in Barcelona" Montoliu is a secondary actor. We always look for him behind Richardson, a hybrid saxophonist between bebop and the previous tradition -with musical genes from Benny Carter and Charlie Parker-, who at times sounds groundbreaking -in the vein of the other album- and at others, lyrical and predictable captain of the music. Comparisons aside, the album is remarkable, although it would be even more so if the aforementioned did not exist, perhaps because it begins as if it were an extension of that one, with a huge introduction by Tete in A Child Is Born. 

What was said about Barcelona Meetingis here, but more of a background, adulterated by Richardson's wide sound (there are passages -perhaps due to the blending of the harmonics between the piano and the sax- that simulate a big band ) and because the melodies, by the sax , they stick more to the score. The trio album indoctrinated the ear and now it has become demanding with the quartet. However, let us highlight another difference, a positive one: the fire of the fast times (Groovin'High, A Night In Tunisia ) that within that traditional scheme dismantled in the tracks without Richardson, include improvisations that could have infected the correct melodies.

Two wonderful rescues from Fresh Sounds Records, impeccably recorded and mixed, with a clarity that makes us feel close -in time and in our living room- to that genius that is Tete Montoliu. 

"Barcelona Meeting" and "Groovin' High in Barcelona" were at our destination.

With you again, as Dexter Gordon liked to present it, 'The Great Lord of Catalonia'. Welcome."

—Marcos Maggi (February, 2022)
http://inandout-jazz.es
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"Ce disque a déjà été introduit par une autre chronique parue en 2020 du trio de Tete Montoliu avec Reggie Johnson et Alvin Queen, Barcelona Meeting, paru sur le même label, Fresh Sound Records de Jordi Pujol. «Ici, il y a l’une des plus belles sections rythmiques de musiciens américains installés en Europe autour du pianiste. A l’époque, comme le rappelle le livret, ce trio accompagnait Jerome Richardson qui se produisait à Barcelone.», disions-nous, et c’est donc cette rencontre du trio et de Jerome Richardson (Oakland, CA,1920-Englewood, NJ, 2000), d’abord en live au club historique Cova del Drac (créé en 1965), que l’excellent producteur catalan, avec la complicité de Jordi Suñol, l’indispensable agent du jazz de Barcelone, a pu immortaliser en studio, le même Estudi Gema aujourd’hui défunt où fut enregistré le trio, à la même date.

Jordi Pujol nous propose donc aujourd’hui, plus de trente-deux ans après sa réalisation, le bel enregistrement dirigé alors par Jerome Richardson (même si cette première édition se fait sous les noms de Jerome et de Tete), artiste accompli du jazz, accompagné de manière parfaite par l’un des grands trios du jazz européen toutes époques confondues. Pour être complet, on signalera que ce musicien n’avait pas enregistré sous son nom depuis plus de vingt ans, sa carrière de leader s’étant interrompue au moment de sa maturité à la fin des années 1960, à l'époque de la première dépression de l'économie du jazz.

Jerome Richardson est alors un parcours incroyable dans le jazz, présent dans des centaines d’enregistrements en sidemen, jazz et pas seulement, depuis 1942 et Jimmie Lunceford, puis, entre autres de Marshall Royal (orchestre militaire), Lionel Hampton (1949-51), Earl Hines (1954-55), Cootie Williams, Eddie Lockjaw Davis (1958), Chico Hamilton, Charles Mingus (Mingus Dysnasty 1959, Town Hall Concert 1962, The Black Saint and the Sinner Lady1963, Mingus Mingus Mingus… 1963), Quincy Jones (1960), Thad Jones/Mel Lewis Orchestra (1966-70). En leader, avant ce disque, il a moins d’une dizaine d’enregistrements, tous avant 1967 (Midnight Oil 1958, Roamin' With Jerome Richardson 1959, Going to the Movies1962, repris sur le Jerome Richardson, Complete Recordings 1958-62, Fresh Sound 874, plus Groove Merchant enregistré en 1967). Entre 1967 et 1988, année de cet enregistrement, bien qu’il n’ait pas enregistré en leader, il n’a pas chômé. Comme l’une de ses inspirations majeures, Benny Carter, comme Hank Jones, Quincy Jones et beaucoup d’autres, c’est dans les studios de la Côte Ouest qu’il trouve à s’employer parfois dans le jazz (Quincy Jones, Gerald Wilson…), et parfois en marge (Tony Bennett, Dick Cavett Show, Stevie Wonder…). Il faut dire que l’instrumentiste joue de tous les saxophones, les flûtes, les clarinettes, compose, arrange, dirige: un homme orchestre, parfait professionnel mais aussi artiste de jazz. Il ne manque donc pas d’activité.

C’est un musicien qui a pratiqué l’histoire du jazz depuis déjà plus de quarante-cinq ans, dans des courants-époques variés du mainstream à la musique de Charlie Mingus quand il enregistre ce disque à Barcelone. C’est un instrumentiste de haut niveau mais également un artiste capable d’une vraie liberté d’expression. Et à Barcelone, il croise la route d’un beau trio, où Tete Montoliu, l’un des pianistes de jazz les plus inventifs en Europe a eu le bonheur de s’entourer du regretté Reggie Johnson et d’Alvin Queen, «Mr. Drive»! («Groovin’ High»).
Le répertoire témoigne de l’étendue de la carrière de Jerome Richardson: Thad Jones («A Child Is Born»), Dizzy Gillespie, Benny Carter, Duke Ellington, Randy Weston («Hi-Fly»), trois standards et pour finir un blues mitonné avec Tete et la complicité du trio. La sonorité de jerome Richardson tient à la fois de Benny Carter et de Charlie Parker (lyrisme et virtuosité, «Groovin’ High», «When Lights Are Low»), parfois de Johnny Hodges («Warm Valley»), de Charles Mingus, Eric Dolphy, Buddy Collette, Dizzy Gillespie (liberté sur «Night in Tunisia»)… Tout a l’air évident, direct et facile, mais ne nous y trompons pas, c’est un siècle de culture jazz personnifiée, maîtrisée qui parle par son saxophone, du plus profond des racines («J & T Blues»)."

—Yves Sportis
© Jazz Hot, 2022