Daily Dose Of Jazz…
Antonio Underwood was born on July 7, 1960 in Charlottesville, Virginia. He matriculated through the Yale School of Music as a Classical Tuba Major, where he was awarded several honors. Graduating in 1987 he has since been a member of the two-time Grammy Award winning McCoy Tyner Big Band.
He began his career playing in NYC clubs at the age of nineteen and has performed alongside Max Roach, Jerry Gonzalez, Julius Preister, Delfeayo Marsalis, Bob Belden, Christian McBride, Cecil Taylor, Cecil Bridgewater, Vincent Herring, Joshua Redman, Javon Jackson, Lester Bowie, John Faddis, Charlie Haden, Eddie Henderson, Billy Harper, and the list goes on.
He has been a cast member of Broadway musicals Juan Darien, Jelly’s Last Jam, One Mo’ Time and Further Mo. Tony’s composition and orchestration credits include recordings by Be Be Winans, Terry Dexter, John Purcell, The World Saxophone Quartet, Anthony Montgomery, among others. Owner of his own published material (380), brass quartets published by TAP Music (Iowa), and Jazz compositions published by ENJA Music, Germany.
Underwood has scored films Rumbling of the Earth and Shadows of the Dead. He has produced tracks for Lisa Fischer, Katreese Barnes, Steve Jordan, and Anthony Jackson. He is the first Black person to be a George Lucas scholar to the Scoring for Motion Pictures and Television program at USC and is a Fulbright Scholar Lecturer in Serbia.
Tubist, composer and lecturer Tony Underwood continues to perform, compose and lecture.
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Requisites
Live! ~ Brother Jack McDuff | By Eddie Carter
Three cherished family members inspired this morning’s discussion. My mom, Merlyn Carter, introduced my sister and me to Brother Jack McDuff during our Sunday dinners when we were younger; my uncles, Benjamin and Emmanuel Curry, often featured this album at their weekend jazz gatherings. Offered now for your consideration is his 1963 release and first concert performance, Live! (Prestige PRLP 7274/PRST 7274). (Prestige PRLP 7274/PRST 7274). This album captures the organist igniting a lively crowd at The Front Room in Newark, New Jersey, joined by his stellar quartet: Red Holloway on flute (track B1) and tenor sax (tracks A1 to A3, B2, B3), George Benson on guitar, and Joe Dukes on drums. My copy of the album is the 1964 U.S. stereo reissue.
The announcer’s introduction gets the set off to a roaring start with Rock Candy by Jack McDuff. The quartet’s infectiously spirited theme segues into Red’s vigorous opening statement. A swinging interlude is succeeded by George’s lively solo ahead of the foursome’s second interlude. Brother Jack states his case in fine form before the theme’s closing chorus, and Jack speaks to the crowd. The tempo eases as the foursome takes on George and Ira Gershwin’s It Ain’t Necessarily So. Benson and Dukes’ soulful warmth paves the way for McDuff’s down-home melody that whets the appetite for more. George pays his respects in the opening solo, then Red compliments him with a bluesy, slow-cooked groove, preceding McDuff’s theme reprise fading softly into Jack’s introduction of the next tune.
The group ushers us into Jack McDuff’s Sanctified Samba, launching the soulful gathering with an irresistible, bossa-nova tinged beat that calls the congregation to worship. George begins with a lively, melodic progression that builds to a satisfying climax. Jack delivers a stream of inventive ideas with characteristic ease next. Red wraps up the readings, blending bluesy flair with smooth, expressive lines before the group unites for a rousing conclusion. Side Two starts with Whistle While You Work, by Frank Churchill and Larry Morey from Disney’s “Snow White and the Seven Dwarfs.” Red opens the whimsical melody on flute, then steps aside for McDuff to take two happy solos with Benson’s cheery statement sandwiched in between them, leading back to the ending theme.
Jack shares the story behind his blues, A Real Good’un, and then the organist’s introduction segues into the quartet’s home cooking during the melody. Benson comes to the table first, serving up a platter of appetizing notes. After the first of several short interludes, Holloway brings the musical equivalent of red beans and rice to the table. McDuff adds a generous helping of fried chicken and mac and cheese before the group wraps up the song on a tasty note. The set concludes with Undecided, by Sid Robin and Charlie Shavers. The ensemble’s brisk introduction and catchy melody open the door for McDuff to deliver a swinging solo. Holloway maintains the momentum in a peppy interpretation. Benson plays with energetic finesse, then Dukes has the last word preceding the spirited closing chorus.
>Produced by Lew Futterman and Peter Paul, this live session captivates listeners from the very first note. Though the identity of the recording engineer remains a mystery, the album’s sound places listeners right in The Front Room, giving them the sense of being part of the lively crowd. The energy of the performances is infectious, and it’s nearly impossible not to snap your fingers, tap your feet or get up and dance along. Throughout his career, Jack McDuff masterfully fused hard bop, R&B, and soul jazz, drawing out the best from his fellow musicians at every turn. If you’re a jazz organ fan seeking an album that’s vibrant and uplifting, Live! by Brother Jack McDuff is a top recommendation for your library. It’s the perfect soundtrack to relax after a busy day or week, and is guaranteed to brighten your mood!
~ It Ain’t Necessarily So, Whistle While You Work – Source: Wikipedia.org
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Karl Kiffe, born July 6, 1925 in Los Angeles, California first attracted attention as winner of the annual Gene Krupa Contest in 1943. Succeeding Chuck Falkner as leader of the Hollywood Canteen Kids he was featured in novelty numbers in several feature films before working as a single in Ken Murray’s Blackouts.
1945 saaw him hired by Jimmy Dorsey, with whom he worked for about a year, and then again from 1950 through 1953. Over the next decade, Kiffe worked with Stan Getz, Zoot Sims, Charlie Shavers, Red Norvo and Woody Herman, as well as singers Andy Williams, June Christy, and Ella Fitzgerald.
Speaking in 1946, when asked which drummer he most admired, Kiffe cited the solos of Buddy Rich, while praising the big band work of Don Lamond and Jo Jones.
Drummer Karl Kiffe, who was great friends with saxophonist Warne Marsh, died on May 10, 2004 at the age of 76 in Las Vegas, Nevada
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Daily Dose Of Jazz…
Charles William Jenkins was born July 5, 1956 in Bromley, Kent, England and was known to the jazz and blues worlds as Billy. He began learning the violin from the age of nine and two years later added piano and choir. By twelve he taught himself to play the guitar.
As a young teenager, Billy started regular jam sessions in the basement of the bohemian twenty-three room former hotel where he grew up. This jam session attracted many local contemporaries, his best friend at the time, Bill Broad, who the world came to know as Billy Idol and Steven Bailey, later to become Steven Severin.
During those teen years he performed in local church halls, USAF Bases in East Anglia, riverside pubs, local colleges and clubs under various names 1970-72. Jenkins toured and recorded for Arista Record’s Clive Davis with art rock band Burlesque from 1972-77, performed as a young adult with ‘alternative musical comedy’ duo The Fantastic Trimmer & Jenkins from 1979-82 and drummer Ginger Baker before founding the VOGC, the Voice of God Collective.
From 1983 – 93 he lived and worked at Wood Wharf Rehearsal Studios in Greenwich, England. Since then Billy has produced a large body of over 40 recorded albums including Scratches of Spain, Motorway At Night, Entertainment USA and Music For Two Cassette Machines. Some of his recordings are about his SE London environs and include Sounds Like Bromley, Greenwich, Still Sounds Like Bromley and Suburbia.
Guitarist, composer and bandleader Billy Jenkins, who is immersed in improvisation as ell as standards, continues to pursue his love of jazz and blues.
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Daily Dose Of Jazz…
Maria Speight was born in Savannah, Georgia on July 4, 1958 and got a head start in the world of jazz, as her birthplace is the home of kindred brother, lyricist Johnny Mercer. The oldest of five siblings, her mother thrust her onstage at her local church when she was six. From that moment on she was hooked.
Her dad was exposed to everything from opera to jazz and her mother taught Maria about Gospel music, and was exposed to so many influences of music, and have found they are part of her style. In college she studied operatic voice for four years, however, after her last recital she realized opera wasn’t for her. It was at this point six years later that she found jazz.
Touring professionally fourteen years with a gospel band and paid her dues for her life in jazz. Her style is in the vein of Ella Fitzgerald, Sarah Vaughan and Peggy Lee and the standards she performs endure.
Now based in Perth, Scotland she is new on the jazz scene. She weaves rich colours and textures into every swinging note with the Maria Speight Quintet.
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