Daily Dose Of Jazz…

Sherrie Maricle was born Sharon Lee Maricle on September 2, 1963 in Buffalo, New York. She began playing drums professionally performing locally with Slam Stewart while studying music at SUNY-Binghamton. She then attended New York University where she completed a Masters in Jazz Performance and a Doctorate of Philosophy in Jazz Performance and Composition.

Maricle directed Saturday jam sessions at the Village Gate from 1987 until the venue closed in 1993. Beginning in 1987, she also began collaborating and leading small groups with Peter Appleyard.  In the late 1980’s, she was appointed director of percussion studies at NYU.

By the 1990’s Sherrie was performing with the New York Pops, Clark Terry, Al Grey and began working with the group DIVA, currently leading the DIVA Jazz Orchestra, the DIVA Jazz Trio, and the quintet Five Play.

As an educator she teaches on the jazz faculty of the New York State Summer Music Festival, as well as running her own private drum and percussion studio. In 2009, she received the Lifetime Achievement Award at the Mary Lou Williams Women in Jazz Festival. Drummer Sherrie Maricle continues to perform, tour and record.

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Daily Dose Of Jazz…

Essiet Okon Essiet was born on September 1, 1956 in Omaha, Nebraska to Nigerian parents. His father worked for the U.S. and Nigerian governments, moving the family from city to city. While living in Wisconsin he began studying violin at age 10 later switching to bass viola at 14.

As a child, his wide travels with his family gave him early exposure to many cultures, folkways, languages, and religions fostered his worldview of strength through diversity. This gave Essiet the ability to fluently mix styles, though he predominantly plays in the modern idiom.

Essiet was Art Blakey’s last bassist, playing with him for 2 years and recording on three sessions. He has performed with Freddie Hubbard, Cedar Walton, Benny Golson, Mulgrew Miller, Jeff “Tain” Watts, Bobby Watson, Billy Higgins, Kenny Kirkland, Joe Henderson, Johnny Griffin, Kevin Mahogany, Kurt Elling and Geri Allen and the Blue Note All Stars to name a few.

Since 1985 he has been at the Conservancy in The Hague as a lecturer. One of the most in demand bassist in jazz, Essiet currently leads Ibo, a Nigerian jazz project.

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Daily Dose Of Jazz…

Herman Riley was born on August 31, 1933 in Algiers, Louisiana across the river from the French Quarter in New Orleans into a family setting where his mother Nell Brooks was a hard swinging jazz and gospel singer. He attended the L.B. Landry High School and under the influence of his music teacher William Houston, heard local jazzmen playing at assemblies and school dances.

In his mid-teens Herman took to the saxophone after seeing Illinois Jacquet but inspired by the locals he organized a jazz combo with his friends and took part in his school orchestra and marching band. It wasn’t long before he “was on the street, playing professionally”, taking short-lived gigs with R&B bandleaders like Ivory Joe Hunter, Guitar Slim and Paul Gayten. By the time he was majoring on cello and bassoon at Southern University in Baton Rouge, Louisiana, Riley had completed eight years of study of European music.

After two non-musical years in the US army and a short spell in New York, he ended up in San Diego, California, pursuing his music studies at City College, while playing in clubs and taking private lessons. After winning an award as outstanding solo artist at the 1962 California colleges’ jazz festival at Monterey, Riley felt confident enough to make for Los Angeles.

Recruited for some of LA’s better jazz groups, he played and recorded with Dolo Coker, Bobby Bryant, Smokey Robinson and the Miracles, Martha and the Vandellas, The Supremes, Della Reese, Sammy Davis Jr, Gene Ammons, Bobby Hutcherson and Blue Mitchell among others. Over the course of his illustrious career Riley added flute, oboe, cor anglais, clarinet and bass clarinet to the arsenal of saxophones that he carried to meet the demands of studio sessions. He toured with Quincy Jones, Benny Carter, Lionel Hampton, Mercer Ellington, Monk Montgomery, Jimmy Smith, Etta James, as well as with the Count Basie, Bill Berry and Juggernaut big bands. Quiet in manner and self-effacing, bebop and blues tenor saxophonist Herman Riley died on April 14, 2007 at the age of 73.

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Hollywood On 52nd Street

Alfie, the title song, written by Burt Bacharach and Hal David, for the 1966 British romantic comedy-drama directed by Lewis Gilbert. The film starred Michael Caine, with supporting roles by Shelley Winters, Millicent Martin and Vivien Merchant.

The original film soundtrack featured jazz saxophonist Sonny Rollins with local musicians from London including pianist Stan Tracey, who improvised “Little Malcolm Loves His Dad”, Rick Laird on bass, drummer Phil Seamen and tenor saxophonist Ronnie Scott.  The released soundtrack album, recorded back in the States with orchestration by Oliver Nelson, featured Rollins, but with other musicians.

The Story: Alfie tells the story of a young womanizer who leads a self-centered life, purely for his own enjoyment, until events force him to question his uncaring behavior and his loneliness. He cheats on numerous women, and despite his charm towards women, he treats them with disrespect and refers to them as “it”, using them for sex and for domestic purposes. Alfie frequently breaks the fourth wall by speaking directly to the camera narrating and justifying his actions. His words often contrast with or totally contradict his actions.

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Daily Dose Of Jazz…

Rodney Jones was born on August 30, 1956. Mastering his instrument during his youth he performed with Jaki Byard and recorded with Chico Hamilton. An underrated cool-toned guitarist best in straight-ahead settings, by the time he was in his early twenties he was working with Dizzy Gillespie.

After moving on from Gillespie, he began working with Lena Horne as her accompanist. Jones put on the leader hat in 1977 with his debut on the the Strata East label, The Liberation of the Contemporary Jazz Guitar . This was followed up with his “Articulation” on the Timeless label and then another four sessions took place through 2001 for Muse, R7R and Minor Music labels.

Rodney has been cited as a jazz guitarist who uses modern quartal harmony.  He also believes his journey is also one of spiritual awakening that is not separated by theology or music. He investigates the relationship between the art and science of jazz and helps musicians discover their own doorways to development and evolution of their music. He continues to perform, study and tour.

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