Daily Dose Of Jazz…

Marc Hoffman was born April 16, 1961 in Salisbury, North Carolina. He attended the North Carolina School of the Arts and received a degree in composition. He continued his education at The Dartington International Summer School of Music in Devon, England then studied film composition at the University of Southern California. He studied with David Ott, Sherwood Shaffer, Leo Arnaud and Neil Hefti.

Up until the early 1990s Hoffman wrote concert music, music for theater, pop, Christian music and film composition. Then he focused his attention on jazz and began writing original compositions, both instrumental and vocal, creating his own arrangements of jazz standards. Establishing his own label, Virillion Music, he recorded Long Way Home in 2003 followed by his sophomore album Christmas Time. In 2010 he released Curioso of all-original jazz.

As an educator and author he teaches and lectures on classical, pop and film music and has published two books. He also is an instructor of piano, composition, and voice at Bold Music in the Charlotte, NC area.

Pianist, composer and vocalist Marc Hoffman continues to write concert music, instrumental and vocal jazz pieces, film scores, as well as performing works solo, or with his trio, quartet or quintet and with four- or five-piece bands in a variety of venues.

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Jazz Poems

LEAVING SATURN

Sun Ra & His Year 2000 Myth Science

Arkestra at Grendel’s Lair Cabaret, 1986

Skyrocketed—

My eyes dilate old

Copper pennies.

Effortlessly, I play

*

Manifesto of the One

Stringed Harp. Only

This time I’m washed

Ashore, shipwrecked

*

In Birmingham.

My black porcelain

Fingers, my sole

Possession. So I

*

Hammer out

Equations for

A New Thing

Ogommetelli.

*

Ovid & Homer

Behind me, I toss

Apple peelings in

The air & half-hear

*

Brush strokes,the up

Kick of autumn

Leaves, the Arkestra

Laying down for

*

New dimensions,

I could be at Berkeley

Teaching a course—

Fixin’s How to Dress

*

Myth or Generations

Spaceships in Harlem

Instead, vibes from Chi-

Town, must be Fletcher’s

*

Big Band Music—oh,

My brother, the wind—

I know this life is

Only a circus. I’m

*

Brushed aside: a naïf,

A charlatan, too avant-

Garde. Satellite music for

A futuristic tent, says

*

One critic. Heartbreak 

In outer space, says

Another, —lunar

Dust on the brain.

*

I head to New York

New York loves

A spectacle wet pain

Of cement, sweet

*

Scent of gulls swirling

Between skyscrapers

So tall, looks like war

If what I’m told is true

*

Mars is dying, it’s after

The end of the world.

So, here I am,

In Philadelphia,

*

Death’s headquarters,

Here to save the cosmos,

Here to dance in a bed

Of living gravestones.

MAJOR JACKSON 

from Jazz Poems ~ Selected and Edited by Kevin Young

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Daily Dose Of Jazz…

Bernard Sylvester Addison was born on April 15, 1905 in Annapolis, Maryland. At an early age, he learned mandolin and violin, and after moving to Washington, D.C. in 1920 he played banjo, initially with Claude Hopkins.

Moving to New York City he worked with Sonny Thompson and recorded for the first time in 1924. During the 1920s, he dropped the banjo for the acoustic guitar. The 1920s and 1930s saw Bernard playing with Louis Armstrong, Adelaide Hall, Fletcher Henderson, Bubber Miley, Art Tatum, and Fats Waller. Addison recorded with Red Allen, Coleman Hawkins, Horace Henderson, Freddie Jenkins, Sara Martin, Jelly Roll Morton, and Mamie Smith.

In 1936, John Mills of the Mills Brothers died, and Addison replaced him on guitar. For two years he toured and recorded with the Mills Brothers, increasing his popularity. After departing the Mills Brothers, he had little trouble finding work. He went on to record with Benny Carter and Mezz Mezzrow.

He played with Stuff Smith and recorded with Billie Holiday. In 1940, he recorded with Louis Armstrong and Sidney Bechet. He began to lead bands until he was drafted during World War II. In the late 1950s, he reunited with Henderson and played guitar for the Ink Spots. He performed at the Newport Jazz Festival with Eubie Blake in 1960 and recorded a solo album as a leader, Pete’s Last Date, and unfortunately was reissued under the name of saxophonist Pete Brown.

Guitarist Bernard Addison, who spent the remaining thirty years of his career teaching, died on December 18, 1990 at 85 in Rockville Centre, New York.

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Daily Dose Of Jazz…

Greg Fugal was born on April 14, 1991 and started playing when he was twelve, receiving a zephyr saxophone from his great aunt. He began on alto then eventually played on all three saxophones.

He initially learned the classical genre but was introduced to jazz in his junior high years. Fugal became involved in a band that was organized outside of high school and called themselves the Rum House Jazz Mafia or R.H.J.M. as a baritone player in that band.

Having moved several times Greg played at three different high schools. Those schools being Uintah, Lehi, and Westlake high school, all based in Utah. During his senior year he was first chair and section leader and was rewarded the Louis Armstrong Jazz Award.

Graduated from Westlake High School in 2010, saxophonist Greg Fugal now plays for The Utah Valley University Jazz Band.

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Requisites

Gettin’ Together ~ Art Pepper | By Eddie Carter

This morning’s library selection is a standout example of cool jazz by the multi-talented musician Art Pepper. Gettin’ Together (Contemporary Records M3573/S7573), released in 1960, was his third album on Lester Koenig’s label. It

demonstrated his creativity and versatility as a composer and featured a superb lineup. Conte Candoli on trumpet (tracks: A1, A2, B1), Art Pepper on alto (A1, A3, A4, B2) and tenor sax (A2, B1, B3), Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb (listed here as Jimmie) on drums. My copy is the 1984 U.S. Original Jazz Classics stereo reissue (Contemporary Records OJC-169).

Side One opens with Whims of Chambers by Paul Chambers, initially recorded by the bassist in 1957. Art, Paul, and Jimmie’s introduction gets things started ahead of the ensemble’s melody. Art sets the groove with some homecooking, and then Wynton follows with a thoroughly satisfying statement. Conte steps in briefly before Paul takes the next flight. Art and Jimmie briefly exchange thoughts, leading to the theme’s reprise. Bijou the Poodle is an original by Art Pepper, inspired by his dog; the quintet collectively presents the medium-paced melody. Pepper opens with long, flowing phrases, and then Candoli makes a profound impression. Kelly gets into the groove next, succeeded by Chambers, who weaves comfortably through the final interpretation until the climax.

Up next is a quartet performance of Why Are We Afraid? by Dory Langdon and André Previn. Wynton’s brief introduction leads into Art’s gentle theme and first solo, which asks this tender question with tranquil support from the rhythm section. Wynton continues the thoughtful mood in the following interpretation before Art makes a few final comments and delivers the ending theme. The tempo picks up with Softly As In a Morning Sunrise by Sigmund Romberg and Oscar Hammerstein II. The trio gets things started, then Pepper leads the lively melody. The leader steps into the spotlight first with a terrific presentation. Kelly takes a sizzling reading next. Paul walks through the third reading with strong bass lines, and Pepper and Cobb engage in an upbeat conversation, leading to the melody’s restatement.

Side Two opens with Thelonious Monk’s Rhythm-a-Ning. Jimmy starts with a brief introduction before the quintet dives into the playful theme. Art goes right to work with fiery passion, and then Conte plays with intense emotion. Wynton makes a quick, impressive statement, and then Paul delivers a deeply expressive reading. Art and Jimmie conclude with an inspired improvisation, leading to the finale. Diane is Art Pepper’s heartfelt tribute to his wife. The rhythm section introduces this gentle ballad ahead of Pepper’s beautiful melody. He continues in the opening solo, displaying romantic tenderness. Kelly glides elegantly into the following performance, culminating gracefully with the quartet’s out-chorus and exit.

The title tune, Gettin’ Together, by Art Pepper, is a blues that allows each musician to shine. The quartet gets underway with Art guiding them through the relaxing theme. The saxophonist opens with a lightly swinging statement. Wynton offers a few breezy choruses next, and then Paul strolls leisurely. Finally, Art and Jimmie briefly converse before the theme returns. Lester Koenig produced the album, and Roy DuNann and Howard Holzer were behind the dials. This OJC reissue is an excellent recording with a stellar soundstage and crystal-clear sonics. If you’re a cool jazz fan, I invite you to check out Gettin’ Together by Art Pepper on your next record hunt. It’s a stellar effort in allareas that sounds as fresh as when it was first released and is highly recommended for a spot in your library!

~ Whims of Chambers (Blue Note BLP 1534/BST 81534) – Source: Discogs.com

~ Softly As In a Morning Sunrise – Source: JazzStandards.com

~ Rhythm-a-Ning – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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