Daily Dose Of Jazz…

John Paul Pizzarelli Jr. was born April 6, 1960, in Paterson, New Jersey and started playing guitar when he was six He attended Don Bosco Preparatory High School, an all-boys Catholic school. In his teens, he performed with Benny Goodman, Les Paul, Zoot Sims, Slam Stewart, and Clark Terry.

He played trumpet through his college years, attending the University of Tampa and William Paterson University, but his most important teacher was his father through the Eighties. During that period he established himself as a jazz guitarist and a vocalist and released his debut solo album, I’m Hip (Please Don’t Tell My Father) in 1983.

During the 1990s, Pizzarelli played in a trio with Ray Kennedy and his younger brother Martin. In 1993, the trio opened for Frank Sinatra in Las Vegas, Nevada and four years later, he was starring on Broadway in Dream, a show devoted to the music of Johnny Mercer.

Naming Nat King Cole as the inspiration for his career, he has honored him with the albums Dear Mr. Cole and P.S. Mr. Cole. He has also recorded tribute albums to Frank Sinatra, Duke Ellington, Antônio Carlos Jobim, Richard Rodgers, and Paul McCartney. Along with his father accompanying Annie Ross, they recorded her album To Lady with Love, a tribute to Billie Holiday that Ross recorded when she was eighty-four.

He has hosted a national radio show, Radio Deluxe with John Pizzarelli, and has worked with George Shearing, Rosemary Clooney, Johnny Frigo, Buddy DeFranco, the Clayton-Hamilton Jazz Orchestra, the Boston Pops Orchestra, and the Cincinnati Pops Orchestra.

As a co-producer of the James Taylor album American Standard, he received a Grammy nomination for Best Traditional Pop Vocal Album in 2020. Guitarist and vocalist John Pizzarelli continues to explore and expand his musical vocabulary.

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Three Wishes

The Baroness inquired of Jo Jones as to what his three wishes would be if granted and he responded with this simple statement:

1. 1. “I have only one wish:  to play ten more years.”

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Daily Dose Of Jazz…

Kenny Baldock, was born on April 5, 1932 in the affluent district of Chiswick in London, England. Having studied both piano and bass, he continued on the instruments at the Guildhall School of Music and Drama in London. By the early ’60s he began showing up on jazz bandstands as a bassist in the company of players such as Peter King and the John Dankworth Orchestra, with whom he continued to be associated into the mid Seventies.

In 1972 he joined pianist Oscar Peterson at the Montreux Jazz Festival, and his performance opened opportunities to collaborate with Freddy Randall’s all-star caravan, and many more engagements with Peterson.

Summer in Montreux presented recording circumstances with guitarist Barney Kessel and  the following year Baldock was leading own band projects featuring some of Britain’s heavy hitters. He worked in the Ronnie Scott Quartet that led to backup stints at Scott’s club behind many visiting American jazz performers.

By the early 1980s, Kenny seemed most interested in intimacy and stuck to a small group, often using electric guitarists as sidemen. Throughout his career he performed with among others, the Bobby Wellins Quartet, Freddy Randall~DAve Shepherd Jazz All Stars, Gordon Beck + Two, and the Laurie Holloway Quartet.

Active as an educator, bassist Kenny Baldock, whose composition Kosen Rufu garnered him an Arts Council award in 1983, transitioned from cancer on March 22, 2010.

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Daily Dose Of Jazz…

Bob Shoffner was born on April 4, 1900 in St. Louis, Missouri. Growing up he played drums and bugle before settling on trumpet at age eleven. Playing trumpet in a military band, he served in the U.S. Army from 1917-1919, and after his discharge he played with Charlie Creath and Tommy Parker in territory bands.

Relocating to Chicago, Illinois in 1921, Bob played with John H. Wickcliffe, Everett Robbins, and Mae Brady. He returned to St. Louis, served briefly under Creath before heading back to Chicago to play with Honore Dutrey. Then, in 1924,he replaced Louis Armstrong in King Oliver’s Creole Jazzband, playing with Oliver until 1927.  He went on to spend time with Dave Peyton and Lottie Hightower during this time as well, and recorded with Lovie Austin, Jimmy O’Bryant, Ida Cox, and Luis Russell.

Shoffner suffered a lip ailment in 1927, but returned after a few months to hit with Charles Elgar in 1928, Erskine Tate, Jerome Carrington, McKinney’s Cotton Pickers in 1931, and Frankie Jaxon in ‘32. A move to New York City in 1934, had him with Fess Williams, Fletcher Henderson, and Hot Lips Page towards the end of the decade..

Around 1940 he returned once more to Chicago and took a job working for the state but recorded with Richard M. Jones in the middle of the 1940s. Taking a hiatus from music until 1957he came back to play with Franz Jackson’s Original Jazz All-Stars from 1957 to 1963.

Health concerns forced him into semi-retirement after this time. Trumpeter Bob Shoffner transitioned on March 5, 1983.

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Requisites

Live at Memory Lane ~ Nat Adderley | By Eddie Carter

This morning’s choice from the library is one of my favorite records that always takes me back to my childhood each time it’s on the turntable. Live at Memory Lane (Atlantic 1474/SD 1474) by Nat Adderley is a 1966 release recorded on Halloween night before an enthusiastic audience. Nat is featured on trumpet exclusively with a stellar supporting cast including his brother Cannonball’s rhythm section. Joe Henderson (tracks: A2 to B3) on tenor sax, Joe Zawinul on piano, Victor Gaskin on bass, and Roy McCurdy on drums complete the ensemble. I was thirteen when I first heard it at Record Rendezvous in Cleveland, Ohio and it still delivers all treats and no tricks. My copy used in this report is the original US Mono album.

Side One starts with On My Journey Now, an original by Nat Adderley endowed with the spirit of a sanctified church song. The leader kicks off the melody with a lively energy advancing to an uplifting opening statement. Zawinul follows with an extremely funky performance that’s sure to get your foot stomping to the rhythm section’s contagious beat preceding Nat leading the congregation out. Adderley’s second composition, Fun, is exactly that. It first appeared on Mercy, Mercy, Mercy (1967) with the trio anchoring both brothers. The group heats up the opening chorus, then Joe steps up first to cook with a fiery passion. Nat speaks with bright and brassy enthusiasm next. Zawinul follows with a feisty attack on the closer before the ensemble’s theme comes to a standstill.

Good Old Summertime by George Evans and Ren Shields is a pretty song from Tin Pan Alley. Nat begins the mid tempo melody on mute accompanied by the trio, then continues floating like a cloud over a picturesque landscape with a discretely rich tone. Henderson is equally enchanting on the second statement, and Joe unfolds a simply gorgeous interpretation ahead of Nat’s tender muted climax. Side Two opens with the first of two from Joe Zawinul’s pen, Lavender Woman. Nat begins with a brief introduction, then picks up the pace for the ensemble’s theme. Henderson takes the lead and swings adventurously. Adderley comes after him and perks up our ears on the second solo. Zawinul soars to great heights on an imaginatively conceived and executed finale into the theme’s return.

Painted Desert is simply breathtaking in its lyrical beauty and the ensemble opens with a gorgeous theme. Henderson is in the spotlight first and delivers an exquisitely beautiful reading. Adderley takes the reins next for an emotionally charged interpretation. Zawinul approaches the finish line with a degree of sensitivity that segues into a vivacious presentation, then the quintet reassembles for a final word. Theme by Nat Adderley and Joe Zawinul brings the set and album to an upbeat close. The group takes off on the opening chorus and Henderson, Adderley, and Gaskin (in his only solo) each take a turn to cook. Nat adds the exclamation mark by acknowledging his bandmates and thanking the audience during the closing chorus.

Nesuhi Ertegun supervised Live at Memory Lane and Wally Heider was the recording engineer for the ensemble’s performance. The sound quality is excellent for a fifty-five-year-old release surrounding your sweet spot with great music that’s a fantastic listen. This was Nat’s first live album leading his own group and I wish he’d recorded more as a leader. The quintet swings like crazy with superb musicianship that makes the listener feel he or she is part of the audience enjoying the music. If you’re a fan of live jazz, just becoming acquainted with the music of Nat Adderley, or only know of his work with Cannonball, I invite you to check out Live at Memory Lane on your next viny hunt. It’s a thoroughly enjoyable album deserving of reaching a wider audience!

~ Mercy, Mercy, Mercy (Capitol Records T 2663/ST 2663) – Source: Discogs.com
~ In The Good Old Summertime – Source: Wikipedia.org
© 2022 by Edward Thomas Carter

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