Requisites
Introducing The Afro Blues Quintet Plus One is a 1965 recording on the Mira label. The photograph and cover design was by George Whiteman, exemplifies a typical 1960s post-exotica style. Active as a photographer-designer during the Sixties, he produced covers for both jazz and blues artists, such as Jimmy Reed and B.B. King.
An obscure album from an obscure Los Angeles, California based jazz combo, the surprise is finding how much it swings. Possible reasons: the youthful exuberance of its then-22-year-old leader and vibraphonist Joe De Aguero, the clever arrangements of standards and pop tunes, and the live recording (though no date or location is given).
Some reasons why, on the other hand, it’s not as good as it could be: a sameness to the arrangements (similar chord changes and runs in both “Liberation” and “Together” really stand out), soloing that never stakes its claim, missed opportunities to really add the “Afro” (read: African percussion) that makes up half of its name. The main ingredient here is a gospel swing that infects “Jericho” as well as an inventive take on “Walk On By.”
Young compiles on this recording the following eight compositions: Moses, Liberation, The Monkey Time, Summertime, Jericho, Walk On By, Together, and The “In” Crowd. Long out of print, this album is worth hunting down. #jazz #classic #collectible #music
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The Jazz Voyager
Off to the Nation’s capitol via Reagan National Airport, this week the Jazz Voyager is going to hang out at Twins Jazz Club at 1344 U Street, Top Floor NW, Washington, DC. This Ethiopian-American restaurant has been home for some of the hottest jazz in the city for over 30 years. Its name come from the twin sisters, Maze and Ellen Tesfaye, who run this jazz hangout located on the street once known as The Black Broadway.
Attracting local, regional and national talent, the sisters elegantly make each and every patron feel like they’re home with flowers and candles on each table, baskets and framed photos on the walls. Open on Sunday thru Thursday from 6pm-12am; on Friday and Saturday from 6pm-1am. Live jazz in this intimate 50 seating venue runs Monday – Thursday beginning at 8:00pm and Friday and Saturday at 9:00pm and 11:00pm.
The cover is generally $10-$30 depending on the act with a two-drink minimum per person, per show. Occasionally they turn over the room between shows when required. Anticipating the experience of hearing Dial 251 and enjoying the cuisine which this Jazz Voyager has come to love. #wannabewhereyouare #jazz #voyager #travel #club #adventure
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Review: Kathleen Bertrand | It’s Time To Love
It’s Time To Love is a statement of purpose that is anything but simple. Knowing Kathleen as I do there is more than one layer to everything she does. I found this not only to be a personal message but a global appeal. On this project she pulls from several different sources and vantage points, distinguished by the cadre of the elite hometown musicians she has invited to have fun with her.
Her approach is unmistakable – pure and filled with joy. There is a clarity in her voice that is immediately recognizable from the first note you hear. Toss into the mix some very creative arrangements and you understand why Ms. Bertrand wholeheartedly believes it is time to love.
Bringing an impressive compilation of nine standards, originals, classic soul and gospel, she kicks off this offering with the title track that she composed with her musical director Phil Davis. Maintaining the groove she seamlessly moves into Diamonds, written for Rihanna’s 8th album, proving that no song is far from jazz with the proper arrangement. Reaching back to the 1946 musical St. Louis Woman she brings into the new millennium the classic Arlen/Mercer tune Come Rain Or Come Shine in an easy rendition that expresses yesterday’s view of today’s ride or die.
Always one to illuminate the talents of young writers she augments Tony Hightower’s Baby I’m Yours with additional lyrics, giving a lyrical homage to that very special person. Heading back to Broadway she juxtaposes the question of love with a 1947 Lerner and Loewe composition Almost Like Being In Love from Brigadoon, that has one understanding the feeling of being alive. Teaming up once again with Davis, their reputation as composers and arrangers firmly established, they pen and deliver another original Walking Through The Door, be it expectation or surprise, the need is the same. Walking us back in time to the Sixties and the music of another renowned team of Bacharach/David with Anyone Who Had A Heart.
Never far from the church, Kathleen chooses to rearrange with the assistance of Tyrone Jackson, the traditional It’s Me (Standing In The Need Of Prayer). As I listen to her rendering me back to my childhood, I am hearing so much of Mahalia Jackson in this passionate acknowledgement to the higher power. Closing out this recording she moves the message back to the joy of love with the Richard Clay, Carl Clay and Wayne Garfield composition Love From The Sun, made famous by Norman Connors. However, she turns once again to emerging artists, The Dangerfield Newbies, to arrange and produce this classic tune, clearly making this her own, as she inimitably does with every song she touches.
Earlier in this review I mentioned the elite cadre of Atlanta musicians and I would be remiss not to list them and allow you the opportunity to catch them in live performance when their names come across your radar. Order of appearance of the recording: Phil Davis, Rod Harris, Jr., Melvin Jones, Mike Burton, Katy Miner, Tyrone Allen, George Caldwell, Sean Jefferson, RiShon Odel, Russell Gunn, Robert Boone, Frankie Quinones, Joel Powell, Tyrone Jackson, Mace Hibbard, Sam Skelton, Kevin Smith, Chris Burroughs, Nelson Render and Marvin Pryor.
To say Kathleen Bertrand is an original does her a disservice for we are all one of a kind. What sets her apart is her innate ability to select and align songs in a manner that makes you anticipate hearing what comes next and a little saddened when the last song plays out. This album celebrates and laments the many facets of love. It is an enjoyable escape and journey through one’s heart, as we have all been where each songs takes us, that is, at one time or another. The one thing I know to be true, with Kathleen Bertrand, there will always be more and the best is yet to come.
carl anthony | notorious jazz | september 23, 2018
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Three Wishes
When asked by Pannonica of his three wishes Hall Overton responded with:
- “To be able to do what I want to do musically – in composition and so on.”
- “Something that would be on my mind would be that there should be no more wars.”
- “That music should become more important to everyone.”
*Excerpt from Three Wishes: An Intimate Look at Jazz Greats – Complied and Photographed by Pannonica de Koenigswarter
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Requisites
Larry Young’s Fuel is a jazz fusion album by organist/keyboardist Larry Young, recorded and released on the Arista Records label in 1975. The cover photography was provided by Benno Friedman with art direction and design by Bob Heimall.
The composers on the album included Young, Philips, Santiago Torano, Laura Logan and Fernando Saunders. The album is comprised of seven compositions Fuel for the Fire, I Ching (Book of Changes), Turn off the Lights, Floating, H + J = B (Hustle + Jam = Bread), People Do Be Funny and New York Electric Street Music.
The players on this session were: Larry Young – keyboards, Santiago Torano – guitar, Fernando Saunders – bass and background vocals, Rob Gottfried – drums and percussion, and Laura “Tequila” Logan – vocals
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