The Quarantined Jazz Voyager

Remaining hesitant to be in crowds of people without a mask, more and more people are unmasking while we are still in the pandemic. Legislators are speaking unmask rhetoric and otherwise responsible people are listening. This Jazz Voyager is listening to my conscience and protecting myself and those around me.

This week I have chosen another quartet recording by the New York Jazz Quartet, founded by pianist Roland Hanna. The first iteration of the group consisted of flautist Hubert Laws, bassist Ron Carter, and drummer Billy Cobham. In 1974 the lineup changed to Frank Wess, bassist George Mraz, and drummer Ben Riley. Drummers Richie Pratt and Grady Tate also were enlisted to contribute their talents to the group at different times through the decade the band was together. The group recorded for the Inner City, Enja, Salvation and Sonet Records from 1972 to 1982

This album is the group’s fourth release, Blues For Sarka, recorded live on May 17, 1978 at The Domicile in Munich, West Germany. It was produced by Horst Weber and Matthias Winckelmann, recorded by Carlos Albrecht and released the same year on Enja Records. The cover photography was taken by Josef Werkmeister and the cover design was by Weber & Winckelmann

1. All Blues (Miles Davis) ~ 15:29
2. Rodney Round Robin ~ 5:44
3. I’ll Tell You Tonite (George Mraz) ~ 7:14
4. Blues for Sarka (George Mraz) ~ 7:11
5. Smelly Jelly Belly ~ 9:33

• Frank Wess ~ flute, tenor saxophone
• Roland Hanna ~ piano
• George Mraz ~ bass
• Grady Tate ~ drums

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Daily Dose Of Jazz…

Leroy Lovett was born on March 17, 1919 in Philadelphia, Pennsylvania and studied piano with Sophie Stokowski, the wife of Leopold Stokowski, from the age of four. He began composing early and went on to receive a bachelor’s degree from Temple University and then continued his studies at the Schillinger House of Music.

He led his own band in Philadelphia before settling in New York City in 1945. The move saw him arranging for Tiny Bradshaw and Luis Russell, and working with Noble Sissle, Lucky Millinder, and Mercer Ellington. During his period away from Duke Ellington, Leroy was in the band of Johnny Hodges and recorded with him until 1955. At the end of the 1950s, he was in the Cootie Williams band and the Cat Anderson band.

During the 1950s he was a music publisher, a record producer, and had a dance orchestra in Philadelphia. From 1959, he worked for Wynne Records, and from 1968 to 1973 for Motown Records. He was still active as a musician and arranger with the Melodymakers Orchestra, he also appeared with the Uni-Bigband of Halle.

He recorded two albums under his own name and also recorded with Al Sears, Harry Carney, Al Hibbler, Lawrence Brown, Billie Holiday, Cootie Williams, Cat Anderson, and Johnny Hodges.

Pianist and arranger Leroy Lovett, who also wrote music for film, transitioned on  December 9, 2013 in Chatsworth, California.

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Daily Dose Of Jazz…

Jiver Hutchinson was born Leslie George Hutchinson on March 16, 1906 in Kingston, Jamaica. He played in Bertie King’s band in Jamaica in the 1930s, then moved to England, where he played with Happy Blake’s Cuba Club Band. By 1936 he was a part of Leslie Thompson’s Emperors of Jazz and two years later he was performing with Ken “Snakehips” Johnson, before joining Geraldo’s band in 1939.

He led his own ensemble from 1944 to 1950, featuring many of the musicians from Thompson’s band. His ensemble toured throughout the United Kingdom and Europe, and in 1945 played concerts in India.

Recording with his ensemble in 1947, he returned to play with Geraldo after the group’s dissolution, and recorded with Mary Lou Williams in 1952. During the Fifties he worked in television on the Benny Hill Show and Make Mine Music.

Trumpeter and bandleader Jiver Hutchinson was killed in a car crash in Weeting, England while on tour with his band on November 22, 1959.

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Three Wishes

When Ernie Wilkins was approached by Nica and asked what his three wishes would be, he told her:

1. 1. “The first would be the ideal jazz club where I could use all the jazz groups I like, and where we’d never go out of business.”

   2. “The second would be a recording company the same way, where I’d could use all the musicians I like, and which would never go out of business.”

   3. “A million dollars. If I had all these I wouldn’t need to wish for anything for my wife and family, because they’d be covered and it would be Utopia.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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Daily Dose Of Jazz…

Marty Sheller was born March 15, 1940 in Newark, New Jersey. Sheller initially studied percussion, but switched to trumpet as a teenager. He played with Hugo Dickens in Harlem, and arranged for Sabu Martinez, before working with Afro-Latin percussionists such as Louie Ramirez and Frankie Malabe.

In 1962 he became a trumpeter in Mongo Santamaria’s band, and worked with Santamaria for more than forty years as a composer and arranger. He also had an extensive association with Fania Records. As their house arranger Marty worked with Joe Bataan, Ruben Blades, Willie Colon, Larry Harlow, Hector Lavoe, and Ismael Miranda.

Outside of Fania, he arranged for musicians, not limited to, George Benson, David Byrne, Jon Faddis, Giovanni Hidalgo, T.S. Monk, Idris Muhammad, Manny Oquendo, Dave Pike, Tito Puente, Shirley Scott, Woody Shaw, Lew Soloff, and Steve Turre.

In the 2000s, he led his own ensemble, which included the sidemen Chris Rogers, Joe Magnarelli, Sam Burtis, Bobby Porcelli, Bob Franceschini, Oscar Hernández, Ruben Rodriquez, Vince Cherico, and Steve Berrios.

Trumpeter and arranger Marty Sheller, who plays primarily in latin jazz idioms, continues to pursue his musical endeavors.

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