Daily Dose Of Jazz…
Eric “Big Daddy” Dixon was born on March 28, 1930 in New York City, New York. Although he played bugle as a child,he switched to the tenor saxophone at the age of 12. Following a stint as a musician in the US Army from 1951 to 1953 he played in groups that sometimes included Mal Waldron, with whom he would later record.
In 1954, he played with Cootie Williams and the following year with Johnny Hodges. In 1956, he performed and recorded with Bennie Green and also took up the flute.
The late Fifties had him spending four years in the house band led by Reuben Phillips at the Apollo Theatre in New York. At the end of the decade he toured Europe and recorded with the Cooper Brothers.
He also worked with Paul Gonsalves, Ahmed Abdul-Malik, Oliver Nelson, Quincy Jones, Jack McDuff, Joe Williams, Frank Foster, and Eddie “Lockjaw” Davis, but is probably best known for his tenure in Count Basie’s band, which lasted almost two decades. Dixon continued to play in the ghost band after Basie’s death.
Tenor saxophonist, flautist, composer, and arranger Eric Dixon, who has been credited on as many as 200 recordings, transitioned on October 19, 1989 in New York City.
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Daily Dose Of Jazz…
Burton L. Collins was born on March 27, 1931 in New York City but raised in Philadelphia, Pennsylvania. During the 1950s he worked with Dizzy Gillespie, Urbie Green, Neal Hefti, Woody Herman, Elliot Lawrence, Johnny Richards, and Claude Thornhill.
Relocating to New York around 1960 he played in Broadway orchestras and in ensembles with Cannonball Adderley, Albert Ayler, Jimmy McGriff, Blue Mitchell, Duke Pearson, and Stanley Turrentine, among others. With Joe Shepley he formed the group Collins-Shepley Galaxy in 1970, recording two albums, including a Lennon/McCartney tribute. Later in the decade he played flugelhorn with Urbie Green again as well as with Janis Ian, Lee Konitz, David Matthews, and T. Rex’s album Electric Warrior.
Over the course of his career he recorded a hundred albums as a sideman with, among others, Manny Albam, Woody Herman, Duke Pearson, Cy Coleman, Frank Foster, Sal Salvador, Pat Moran, Astrud Gilberto, George Benson, Chris Connor, Manhattan Transfer, Tony Bennett, Luiz Bonfa, Airto Moreira, Paul Desmond, Eumir Deodato and Lalo Schifrin.
He played little after the 1970s, though he appeared on record with Loren Schoenbergin 1987. Trumpeter Burt Collins transitioned on February 23, 2007 in Philadelphia.
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Requisites
Barry Harris At The Jazz Workshop | By Eddie Carter
This morning’s subject is one of my favorite albums from the library. Barry Harris at The Jazz Workshop (Riverside RLP 326/RLP 1177) is a 1960 live date capturing the pianist in performance with two-thirds of Cannonball Adderley Quintet’s rhythm section, Sam Jones on bass, and Louis Hayes on drums. It was his debut on the label and his second release as a leader. My copy is the 1976 Riverside Original Recording Series Japanese Stereo reissue (SMJ-6123) by Victor Musical Industries. The album opener, Is You Is or Is You Ain’t My Baby by Louis Jordan and Billy Austin, begins with the trio cruising comfortably in the melody. Barry swings easily into the opening solo; then Sam enhances the appeal of the song’s lyrics in a splendid performance before Barry reappears to end the song softly.
Up next is Curtain Call, the first of three tunes by Barry Harris. After the trio states the theme, the pianist takes off for a speedy ride in the opening statement. Louis comes in next to have a short conversation with Harris leading to the closing chorus. The ensemble infuses Star Eyes by Gene de Paul and Don Raye with an infectious Latin-flavored melody and ending theme. In between them, Barry illustrates his melodic ideas efficiently while Sam and Louis collaborate tastefully in support. Charlie Parker’s Moose The Mooche begins with the trio’s easy-going theme. Harris sets the mood with a cheerful opening solo. Jones takes over for some leisurely walking, and Hayes puts his best foot forward in an exchange with Harris preceding the song’s climax.
Side Two gets underway with Lolita, a pretty song by Barry Harris with a toe-tapping tempo that gives the pianist the spotlight for the song’s only solo. Barry offers a smartly paced performance with exquisite accompaniment by Sam and Louis preceding a gorgeous finale. Morning Coffee, the leader’s third original, is what many of us drink to begin our day. Hayes introduces this tune, segueing into the ensemble’s lively melody. Harris kicks off the solos with an enjoyable romp; Sam contributes to the fun in the second reading. Louis sparkles in an exchange with Harris ahead of the exit. Don’t Blame Me by Jimmy McHugh and Dorothy Fields is a ballad highlight for Barry, who gives a sensuously beautiful performance supplemented by the gentle accompaniment of Sam and Louis, leading to a gorgeous ending.
Woody ‘n’ You by Dizzy Gillespie takes off briskly from the trio’s melody. Harris gets busy immediately on the opening statement; next, Jones takes an enthusiastic walk with the bass. Hayes gets the last word and heightens the group’s energy in a vigorous exchange with Harris before the conclusion and appreciative applause from the club crowd.
Orrin Keepnews produced Barry Harris at The Jazz Workshop, and Wally Heider was the recording engineer. Victor Musical Industries has done an excellent job remastering this reissue. The sound quality is gorgeous, transporting the listener to the club among the audience. If you’re a fan of Barry Harris or enjoy a good jazz trio, I highly recommend checking out Barry Harris at The Jazz Workshop the next time you’re out vinyl shopping. It’s a superb concert recording by one of the best pianists in jazz and is worthy of a spot in your library!
~ Don’t Blame Me, Star Eyes, Woody ‘n’ You – Source: Discogs.com ~ Is You Is or Is You Ain’t My Baby, Moose The Mooche – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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Daily Dose Of Jazz…
Abe Bolar was born on March 26, 1909 in Oklahoma City, Oklahoma. From 1932-1936 he was a member of the Oklahoma City Blue Devils. During the late Thirties he moved to New York City where he played with Hot Lips Page, then with Lucky Millinder from 1940 to 1941.
In the early 1940s he was a member of the Count Basie’s orchestra. In 1939 and 1940 he made recordings with Pete Johnson.
Double bassist Abe Bolar, who was married to pianist Juanita Bolar, transitioned on February 29, 2000 in Portland, Oregon.
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Daily Dose Of Jazz…
Linton Garner was born on March 25, 1915 in Greensboro, North Carolina. As a youngster he wanted to play cornet rather than piano, but due to problems with his teeth, was forced to concentrate on the keyboard. From the age of 8 until 10 he had piano lessons, as did his three sisters, unlike his brother.
He was arranger and pianist with Fletcher Henderson’s band before the Second World War, then spent 1943 to 1946 in the army, where he played both piano and trumpet in different bands. Afterwards he was pianist and arranger for a number of distinguished bands including those of Billy Eckstine and Dizzy Gillespie. He also accompanied Sarah Vaughan, Nat King Cole, Carmen McRae and Della Reese. He also wrote songs, including You’re the One For Me.
Moving to Canada in 1963, by 1974 he was invited by Arni May to Vancouver, British Columbia to accompany him at the opening of the Richmond Inn Hotel. Linton stayed in Vancouver and worked in many venues becoming the resident pianist for seven years at the Four Seasons Hotel.
The 1990s had him playing at the Three Greenhorns in Vancouver. He also sang and played the piano in Rossini’s restaurant in Kitsilano. The Linton Garner Legacy Quartet, featuring drummer Don Fraser, bassist Russ Botten, pianist Ron Johnston, and pianist Miles Black continues to play Garner’s music.
Pianist, trumpet and vocalist Linton Garner, who was Erroll’s older brother, transitioned from kidney failure in Vancouver, at the age of 87 on March 6, 2003.
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