Daily Dose Of Jazz…
Gene Schroeder was born on February 5, 1915 in Madison, Wisconsin to a pianist mother and a father who was a trumpeter. He studied at the Wisconsin School of Music, and when he was 11 he was playing now and then with his father’s band, and doubling on clarinet in his high school orchestra a few years later.
After a year at the University of Wisconsin Music School, Schroeder moved to Milwaukee, Wisconsin. He led his own band and played with local musicians including Wild Bill Davison. His next move was to New York City in 1939 and was briefly with the Wes Westerfield Trio, then headed a combo. Gene went on to spend a year apiece as a member of the groups of Joe Marsala and Marty Marsala.
By the summer of 1942, Schroeder was working again with Wild Bill Davison then beginning in 1943 at Nick’s with Miff Mole. After becoming Eddie Condon’s regular pianist, he played at the opening of the club Condon’s in 12 1945. He was with Condon most of the time from then on up to 1962 appearing on many recordings. During his long association with Condon’s Chicago jazz bands his talent was continually overshadowed, most likely due to his being a subtle player.
He had a three year stint with the Dukes of Dixieland from 1961 to 1964 and then worked in the late ’60s with Tony Parenti. Despite his busy activity, he only led one recording session in his career, four songs cut in 1944 for the Black & White label with a trio.
Pianist Gene Schroeder died at the age of 60 on February 16, 1975 in his hometown of Madison.
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Requisites
A Letter From Slowboat ~ Ryo Fukui | By Eddie Carter
My nephew Kyle introduced me to this morning’s album by Ryo Fukui. A Letter From Slowboat (Sapporo Jazz Create SJC-1501) was initially released as a CD album in 2015. It was his final release and recorded with no audience on January 25 and 26 at the Sapporo Jazz Club that he owned with his wife, Yasuko. Ryo Fukui was born in Biratori, Hokkaido, Japan and at eighteen, learned the accordion. Four years later, he taught himself the piano and moved to Tokyo in 1970. His first album, Scenery, was released in 1976, and as his skills improved, he often performed at Shinjuku Pit Inn in Kichijōji and Jazz Inn Lovely in Nagoya. Takumi Awaya on bass and Ittetsu Takemura on drums complete the trio. My copy is the 2020 We Release Jazz Switzerland Stereo audiophile reissue (WRJ008LTD).
The album opener, Sonoro by Ryo Fukui, swings at a lively pace, beginning with the trio’s introduction ahead of their melody. Ryo takes the lead and stretches out on a cheerfully bright opening statement. Takumi takes over and walks effectively in the second reading. Ryo shares the final conversation with Ittetsu, preceding the theme’s restatement and lovely ending. Stella By Starlight, by Victor Young and Ned Washington, starts with a beautiful solo introduction by Fukui until his colleagues join him for the opening chorus. Ryo is the song’s only soloist, and he delivers an elegantly tender interpretation before the song’s gentle climax.
The tempo moves upward for Speak Low by Kurt Weill and Ogden Dash, opening at a fast clip with the trio’s brisk introduction and speedy theme. Ryo launches the first solo, exhibiting great energy, followed by the vigorous workout Ittetsu gives his drums ahead of the quick closing chorus and ending. Nobody Knows The Trouble I’ve Seen is an African American spiritual song from the 1800s. Their rendition opens with a gorgeous piano introduction that blossoms into a bluesy theme. Fukui stirs the soul with a tasteful interpretation. Awaya and Takemura compliment the pianist with their support into the elegant reprise and close.
Side Two starts with the trio’s visit to the Old Country by Nat Adderley and Curtis Lewis. It gets underway with a mid-tempo stroll through the melody. Ryo speaks prominently in the opening statement, and then Takumi builds the next reading efficiently. Ittetsu gets down to business last, until the group says goodbye in their closing chorus. Soultrane by Tadd Dameron is a pretty song that Fukui begins with a gentle introduction leading to a softly subdued melody. Ryo’s opening statement possesses all the warmth and feeling that one could ask for. Awaya answers with a response of haunting beauty in Fukui’s return for a tranquil finale.
Chasin’ The Bird by Charlie Parker is a lively tune with an irresistible groove as the melody unfolds. Ryo leads the way with an excellent interpretation. Takumi has a lot to say in the following reading. The pianist then blends beautifully with Ittetsu in an exchange of closing remarks before the theme resurfaces. Be My Love by Nicholas Brodszky and Sammy Cahn brings the album to a close with a showcase for one of Fukui’s prettiest performances. As the song’s only soloist, he provides an exquisite presentation that shows off his lyrical side, shadowed by Awaya and Takemura, leading to the lovely ending.
Masato Komatsu produced the original session of A Letter From Slowboat. It is unknown who recorded the original session, but Stephen Armleder and Oliver Ducret supervised this half-speed mastered audiophile reissue. The sound quality on this limited edition album is excellent with an impressive soundstage that’s very detailed. The record is pressed on one hundred eighty grams of audiophile vinyl and is quiet until the music starts. The front and rear cover is printed on three hundred fifty GSM (grams per square meter) of heavy card stock that despite not being a glossy cover, is still quite sturdy.
Ryo Fukui’s professional career lasted forty years, and, in that time, he only recorded five albums, but he did travel to and perform live in America and France. Fukui also taught jazz piano to students internationally. In 1995, Ryo opened the Slowboat Jazz Club with his wife and hosted local and international jazz musicians. He passed away on March 15, 2016, at age sixty-seven. After his death, Yasuko took over the day-to-day operations of the club, and it’s still going strong with live jazz daily. I thoroughly enjoyed listening to A Letter From Slowboat by Ryo Fukui. If you’re a fan of jazz piano, it’s a great discovery that I recommend you check out for a spot in your library!
~ Scenery (Nadja PA-7148) – Source: Discogs.com ~ Speak Low, Stella By Starlight – Source: JazzStandards.com ~ Be My Love, Chasin’ The Bird, Nobody Knows The Trouble I’ve Seen, Old Country, Ryo Fukui – Source: Wikipedia.org © 2024 by Edward Thomas Carter
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Daily Dose Of Jazz…
Tony Fruscella was born February 4, 1927 in Orangeburg, New York and grew up in Greenwich Village, Manhattan, New York. He played in an Army band early in his career. He worked as a sideman in the 1950s for Charlie Barnet, Lester Young, Gerry Mulligan, and Stan Getz.
He played with Don Joseph later in the 1950s, but by the early 1960s his problems with drug abuse and alcoholism prevented him from performing. Fruscella released one album, I’ll Be Seeing You in 1955, as a leader during his lifetime. It was recorded with Allen Eager and Danny Bank for Atlantic Records.
He married singer Morgana King, however it ended in divorce after nine years. Trumpeter Tony Fruscella died on August 14, 1969 at 42 years old.
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Daily Dose Of Jazz…
Claude Ranger was born in Montréal, Canada on February 3, 1941 and studied drums briefly with several teachers and arranging with Frank Mella. Beginning his career with Montréal show bands, he was a leading figure among the city’s jazz musicians by the mid-1960s.
A sideman to Lee Gagnon, Pierre Leduc, and Ron Proby among others, Claude led the bands heard on the CBC’s Jazz en Liberté. He was a member of Aquarius Rising with Brian Barley, Michel Donato and Daniel Lessard from 1969 to 1971. Moving to Toronto, Canada he lived there for fifteen years beginning in 1972. It was here that Claude was a member of the Moe Koffman Quintet and accompanied Canadian and U.S. musicians when they came through the city, such as, Lenny Breau, George Coleman, Larry Coryell, Sonny Greenwich, James Moody, Doug Riley, Don Thompson, and Phil Woods.
His own bands appeared at the Music Gallery, Jazz City, the Festival International de Jazz de Montréal (FIJM) and the Ottawa International Jazz Festival. A Ranger quintet was a finalist in the 1986 FIJM, receiving a special jury citation for his drumming. Relocating to Vancouver, Canada he served as a mainstay of the du Maurier International Jazz Festival, again as an accompanist to Canadian and U.S. musicians and as a leader of his own groups.
West Coast musicians Ron Samworth, Clyde Reed, Bruce Freedman and drummer Dylan vander Schyff also influenced Claude’s career. He was considered a jazz musician and drummer with natural swing, in the bebop-based tradition of Max Roach. Displaying great stamina, he sometimes worked against the grain of jazz in Canada. His ensembles ranged from a trio to the 15 and 19-piece Jade Orchestra that debuted at the 1990 Vancouver festival.
Ranger played a role in Canada similar to the one created by Art Blakey in the US – that of a veteran musician whose bands served as an important platform for the development of younger players. His discography included recordings by Allen, Barley, Breau, Gagnon, Greenwich, Koffman, Riley, Thompson, Jane Bunnett, P.J. Perry, Herb Spanier, Michael Stuart, and U.S. musicians Dave Liebman, and Michael Munoz.
Drummer, composer, arranger, and teacher Claude Ranger continues to pursue his career in music.
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Daily Dose Of Jazz…
Louis Keppard was born February 2, 1888 in New Orleans, Louisiana and was the older brother of cornetist Freddie Keppard. The guitarist played in the Cherry Blossom Band before leading his own group, the Magnolia Band, which included King Oliver and Honore Dutrey among its members.
He played with Papa Celestin’s Tuxedo Brass Band, Manuel Perez, and followed that residency with the Olympia Orchestra alongside Freddie. In 1917 he moved briefly to Chicago, Illinois but returned soon after. Playing in several New Orleans brass bands, Louis performed as an alto hornist and guitarist from the 1920s through the 1950s, including in the Gibson Brass Band and the Young Excelsior Brass Band.
Keppard’s style of “shuffle rhythms” was an influence on Danny Barker. He recorded with Wooden Joe Nicholas in 1949, and retired from music some time after 1962.
Guitarist, tubist and alto hornist Louis Keppard, who led a band but never recorded as a leader, died in his hometown sixteen days after his 98th birthday on February 18, 1986.
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