Daily Dose Of Jazz…
David Matthews was born on June 6, 1911 in Chagrin Falls, Ohio but was raised in McAlester, Oklahoma. He attended the University of Oklahoma and Chicago College of Music.
He started out as an alto saxophonist with Ben Pollack in 1935, moved to Jimmy Dorsey then Benny Goodman through the rest of the decade. In the Forties Dave went on to play with Harry James, Hal McIntyre, then switched to tenor saxophone with Woody Herman, Stan Kenton and Charlie Barnet.
Matthews arranged for many of these groups, and continued working as an arranger in New York City and California well into the 1960s, with Duke Ellington among others. Occasionally he played with his own bands, including at Lake Tahoe in the 1970s.
He made recordings with the big bands of Bud Freeman, Lionel Hampton, Jimmy Noone, Jack Teagarden, and Hot Lips Page. Saxophonist Dave Matthews, who was principally playing in the swing era, transitioned in 1997.
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Requisites
The Kicker ~ Bobby Hutcherson | By Eddie Carter
In 1963, vibraphonist Bobby Hutcherson recorded his first album as a leader which was supposed to be his debut on Blue Note. Sadly, it wasn’t released, and the session remained in the vaults for thirty-six years until it hit the stores in 1999 as a CD album. The Kicker (Blue Note BST 21437), this morning’s choice from the library submitted for your inspection reunites the musicians that recorded Idle Moments by Grant Green six weeks earlier in November. Joe Henderson on tenor sax, Duke Pearson on piano, Grant Green on guitar (tracks: A3 to B2), Bob Cranshaw on bass, and Al Harewood on drums. My copy used in this report is the 2020 Blue Note Tone Poet Series Stereo audiophile reissue.
Side One commences with Mirrors by Joe Chambers, a very pretty song beginning with a brief introduction by Duke opening the way for Hutcherson and the rhythm section’s delicately gentle theme supported by Henderson. Bobby starts with a stunning showcase that’s intimately passionate and very moving. Joe continues expressing deep feelings on the second statement ahead of the ensemble’s thoughtfully polite ending. For Duke P. Bobby’s swinging dedication to Duke Pearson takes off with a brisk opening chorus in unison. Hutcherson gets right down to business on the first interpretation with a spirited reading. Henderson gets into a vibrant workout next and Pearson swings into the closer confidently before the ensemble reprise and close.
The Kicker by Joe Henderson brings Grant Green to the group with an effervescent opening chorus led by the composer. Henderson begins this swinging affair with a swiftly paced solo, then Bobby launches into the next reading vigorously. Grant brings a lot of joy to the third statement and Duke finds some invigorating things to say ahead of the closing chorus and quick climax. Side Two starts with Henderson’s, Step Lightly, an easygoing blues that the ensemble gets underway with a collectively calm theme. Pearson starts the opening solo with easy, unhurried strokes. Hutcherson is smooth as velvet on the second statement. Green swings with a light, refreshing beat next and Henderson provides a fitting summation with a soulful groove preceding the sextet’s ending theme disappearing into a slow fade.
Bedouin by Duke Pearson possesses a Middle Eastern flavor that begins at a snappier tempo than Duke recorded a year later on Wahoo! The solo order is Joe, Grant, Bobby, and Duke, and each gives charming, articulate performances into an ending theme that dissolves into emptiness. The Kicker was originally produced by Alfred Lion and recorded by Rudy Van Gelder. Joe Harley supervised this reissue, and Kevin Gray did the remastering. The sound quality is outstanding with a breathtaking soundstage. The front and rear covers are high-quality with stunning gatefold photos. The vinyl is 180-gram and incredibly quiet until the music starts. If you enjoy good vibes and are looking for a perfect album to enjoy after a long day or week, I highly recommend and offer for a spot in your library, The Kicker by Bobby Hutcherson. It’s a wonderful companion to Idle Moments that’ll reward its owner with many hours of listening pleasure!
~ Idle Moments (Blue Note BLP 4154/BST 84154), The Kicker (Blue Note Connoisseur Series 7243 5 21437 2 6), Wahoo! (Blue Note BLP 4191/BST 84191) – Source: Discogs.com
© 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
Erica Lindsay was born June 5, 1955 in San Francisco, California to parents who were both teachers and lived in Europe in the 1960s. She began her studies in composition with Mal Waldron in Munich, Germany when she was fifteen years old. She played clarinet, then alto and tenor saxophone. In 1973, she spent a year of study at the Berklee School of Music in Boston, Massachusetts and then went back to Europe, where she began her music career. She formed a local quartet and went on tour. Since 1980, she has lived in New York.
As a saxophonist she has worked with Melba Liston, Clifford Jordan, Dizzy Gillespie, McCoy Tyner, Reggie Workman, George Gruntz, and Pheeroan akLaff. Lindsay composed for theater, television, and dance productions and worked with poets and performance artists such as Carl Hancock Rux, Janice King, Janine Vega, Mikhail Horowitz and Nancy Ostrovsky. She leads her own quartet and is the co-leader of a quartet with Sumi Tonooka.
Erica’s 1989 debut album Dreamer was released on Candid Records, with contributions from Robin Eubanks, Howard Johnson, Francesca Tanksley, and Anthony Cox. The 1990s and 2000s saw her playing with Oliver Lake, Baikida Carroll, Howard Johnson, Jeff Siegel, Thurman Barker and the band Trace Elements. Their album Yes – Live at the Rosendale Cafe appeared in 2008.
Saxophonist Erica Lindsay is co-founder of the Artists Recording Collective recording label, a visiting Assistant Professor at Bard College and continues to perform and record.
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Daily Dose Of Jazz…
Mark Whitecage was born on June 4, 1937 in Litchfield, Connecticut and began playing in his father’s family ensemble as early as age six. In his youth he listened a lot to Roy Eldridge, Ben Webster, Lester Young and Stan Getz. He moved to New York City in the 1970s and was loosely associated with the loft scene with INTERface, a quartet with clarinetist Perry Robinson, bassist John Shea and pianist John Fischer. Fortune smiled and he met Gunter Hampel and ong tours with Hampel’s Galaxie Dream Band became a way of life, which helped him to build up a network outside the US.
In the 1980s, he played with Gunter Hampel’s Galaxy Dream Band, Jeanne Lee, and Saheb Sarbib. After touring solo in Europe in 1986, he put together two bands as a leader, Liquid Time and the Glass House Ensemble. By the Nineties he was releasing his first album with Liquid Time which was chosen by Cadence Magazine as one of the year’s best albums.
He worked in the Improvisers Collective from 1994, and began releasing albums on CIMP in 1996. Late in the decade he worked with Anthony Braxton, including in performances of Braxton’s opera, Trillium R. He also played with William Parker, Perry Robinson, Joe Fonda, Dominic Duval, Joe McPhee, Steve Swell, Richie “Shakin'” Nagan and Sikiru Adepoju.
His marriage to clarinetist Rozanne Levine led to him performing together with Perry Robinson in a trio called Crystal Clarinets. Alto saxophonist and clarinetist Mark Whitecage, who recorded fifteen albums as a leader and another 60 as a sideman, transitioned on March 7, 2021.
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Daily Dose Of Jazz…
Phillip Rista Nimmons was born on June 3, 1923 in Kamloops, British Columbia, Canada. He studied clarinet at the Juilliard School and composition at the Royal Conservatory of Music in Toronto, Canada. In 1953 Nimmons formed the ensemble Nimmons ‘N’ Nine, which later he led during his weekly radio show on CBC radio. This ensemble eventually grew to 16 musicians in 1965 and was active intil 1980.
He joined the University of Toronto in 1973 and as an educator, Nimmons has made substantial contributions to the study of jazz. In 1960, Along with Oscar Peterson, he founded the Advanced School of Contemporary Music in Toronto, Canada. He was involved in the development of the jazz performance program at the University of Toronto.
Nimmons received the first Juno Award given in the Juno Awards jazz category, for his album Atlantic Suite. His composition The Torch was commissioned for the 1988 Winter Olympics in Calgary, Alberta, Canada and was performed at the Olympics by a big band led by Rob McConnell.
In 1993, he was made an Officer of the Order of Canada, received the Order of Ontario, the Jazz Education Hall of Fame honor, the Lifetime Achievement Award by SOCAN and the Governor General’s Performing Arts Award, Canada’s highest honour in the performing arts, for his lifetime contribution to popular music.
Clarinetist, composer, bandleader, and educator Phil Nimmons, known for playing in the free jazz and mainstream styles, has recorded seventeen albums as a leader and at 98 is still involved in music.
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