Daily Dose Of Jazz…
Voltaire “Volly” De Faut was born March 14, 1904 in Little Rock, Arkansas but his family moved to Chicago, Illinois when he was six. He started out studying the violin, however, by fourteen switched to the clarinet and saxophone.
At seventeen he had his first professional gig at a summer resort and the next year he was playing with Sig Meyers. During the early 1920s he spent time in the New Orleans Rhythm Kings before joining Art Kassel. He also played with The Bucktown Five.
His first recordings were made with Muggsy Spanier in 1924 followed by his recording with Jelly Roll Morton the next year. The late 1920s saw Volly playing with Merritt Brunies and Jean Goldkette, and played for a time in Detroit, Michigan.
Around the end of the decade De Faut held several positions in theater orchestras in Chicago, while working as a studio musician. He started his own dog breeding business but abandoned it to join the military and play in bands there.
He returned to Chicago in the middle of the 1940s, playing with Bud Jacobson and working extensively on the local jazz scene. In the 1950s he moved to Davenport, Iowa but returned to Chicago in 1965. In the last two decades of his life De Faut worked often with Art Hodes, including on many of his recordings for Delmark Records.
Clarinetist and saxophonist Volly De Faut transitioned on May 29, 1973 in Chicago Heights, Illinois.
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Requisites
The Happy Blues ~ Gene Ammons | By Eddie Carter
A few nights ago, I was in the mood to hear something bluesy while reading and that’s what prompted this morning’s discussion. I looked through the library and came across one of my favorite albums by tenor saxophonist Gene Ammons. It was originally released as Hi-Fidelity Jam Session (1956) but was reissued a few years later as The Happy Blues (Prestige PR 7039). Ammons is supported on this date by an all-star sextet, Art Farmer on trumpet, Jackie McLean on alto sax, Duke Jordan on piano, Addison Farmer (Art’s twin brother) on bass, Arthur Taylor on drums, and Candido on conga. My copy used in this report is the 1982 US Original Jazz Classics Mono reissue (Prestige OJC-013 – P-7039).
Side One starts with a perfect song for the weekend, The Happy Blues by Art Farmer. Duke opens with a friendly introduction preceding the ensemble’s strut through the melody collectively. Jackie sets the stage with a carefree walk on the opening solo. Art continues making some beautiful music on the second statement, followed by Gene’s stellar contribution aided by Farmer and McLean. Duke provides a good deal of inspiration next, then all three horns engage in a three-way conversation ahead of the ending. The Great Lie by Cab Calloway and Andy Gibson takes the beat to a lively pace on the septet’s swinging melody. Art takes the lead this time and delivers a brisk performance. Jackie and Gene set off some fireworks on the next two solos, then Jordan swings into view on a short statement and Candido takes an impressive reading before the close.
Side Two opens with a show tune from the musical revue, The Little Show (1929) by Paul James and Kay Swift, Can’t We Be Friends? Duke and the rhythm section begin the introduction, then Gene takes the first of two relaxing strolls on the opening chorus and first solo. Art delivers an impeccable laid-back muted performance next. Jackie comes in next with a cleverly executed statement. Duke drives the next interpretation with considerable warmth, then Gene returns for some tuneful blowing. Addison adds a concise comment during the out-chorus. The septet closes with a ferocious trip to Jackie McLean’s Madhouse, flying out of the gate on the fiery theme. The front line chases each other at breathtaking speed on the first of two exchanges. Jackie, Art, Gene, and Duke take one chorus each, then the horns end this vigorous exercise in quick succession ahead of a robust climax.
The Happy Blues was supervised by Bob Weinstock, and Rudy Van Gelder was the man behind the dials. This Prestige Original Jazz Classics reissue has quiet vinyl without any clicks or pops, and an excellent soundstage placing your sweet spot with the musicians surrounding you in your listening room. The Happy Blues is one of the superb albums in Gene Ammons’ extensive discography. If you’re a fan of Hard-Bop, I hope you’ll seek it out on your next vinyl hunt. It’s forty minutes of great music and performances that I not only recommend but is sure to be a welcome addition in your library and on your turntable!
~ Hi-Fidelity Jam Session (Prestige PRLP 7039) – Source: Discogs.com
~ Can’t We Be Friends? – Source: Wikipedia.org
© 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
Robert Sherwood Haggart was born March 13, 1914 in New York City, New York. He became a member of the Bob Crosby Band in 1935 and composed and arranged Big Noise from Winnetka, My Inspiration, What’s New?, and South Rampart Street Parade. He remained with the band until its 1942 dissolution. He went on to work as a session musician, with much of his time spent at Decca Records.
He recorded with Billie Holiday, Duke Ellington, Benny Goodman, and Ella Fitzgerald and his arrangements can be heard on Fitzgerald’s album Lullabies of Birdland. Haggart also starred in several commercials for L&M cigarettes on the radio program Gunsmoke.
He and Yank Lawson formed the Lawson~Haggart Band, and together led the World’s Greatest Jazz Band from 1968 until 1978. Over the next two decades he appeared at jazz festivals. Double bassist, composer and arranger Bob Haggart, who was associated with dixieland and swing, transitioned on December 2, 1998 in Venice, Florida.
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Daily Dose Of Jazz…
Adam Cohen was born on March 12, 1963 in Queens, New York but would soon find Los Angeles, California home when his parents moved to the West Coast. His musical foundation was built upon the piano lessons introduced to him at the age of six by his father Irwin, an accomplished pianist & composer. However, it would be the sounds of Earth, Wind & Fire, The Beatles, Chicago, Tower of Power, and Stanley Clarke that lured him to the low end. Add the influences of Ray Brown, Charles Mingus, Paul Chambers, and Dave Holland and lessons on both the upright and electric bass commenced.
Playing both acoustic & electric bass, Cohen has led him to work with Ernie Watts, Ray Charles, The New York Voices, Phil Upchurch, Taylor Dayne, Engelbert Humperdinck, David Benoit, Maxine Nightingale, Eric Benet, and Mark Isham, among others.
Having found his voice, he has become a ubiquitous presence on the Los Angeles scene and a leader in his own right with two albums, Gig Bag and Ritual, along with many compositions to his credit. Bassist Adam Cohen continues to move forward and reach upward, teaching privately and fueling his desire to make a positive impact on the musical situation at hand.
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Daily Dose Of Jazz…
Jackie Mills was born on March 11, 1922 in New York City and he first learned guitar before picking up drums when he was ten years old. He played in the swing groups of Charlie Barnet and Boyd Raeburn in the 1940s. He followed with gigs with Jazz at the Philharmonic, Gene Norman, Babe Russin, Mannie Klein, Dizzy Gillespie, Benny Goodman, Rene Touzet, Sonny Criss, Andre Previn, Lionel Hampton, Stan Getz, Woody Herman, and Red Norvo.
In the late 1940s Jackie became interested in bebop and began playing in a style influenced by Max Roach. He began playing with Harry James in 1949, working with him through the late 1950s.
Mills recorded as a session musician during the 50s, working with artists such as Gerry Wiggins and Anita O’Day. In his later career, Mills recorded occasionally, including with Freddie Roach in 1966 and Dodo Marmarosa in 1978, but was chiefly active as a record producer and co-founder of Choreo Records, doing production work for Columbia, MGM, Mainstream, Capitol and Liberty Records.
In 1969, Mills acquired Larrabee Sound Studios from its co-founders Gerry Goffin and Carole King. As owner and operator through the mid-1980s, the studio was acquired by his son Kevin.
Drummer Jackie Mills transitioned on March 22, 2010 in Beaumont, California.