Daily Dose Of Jazz…
Leon Joseph Roppolo was born on March 16, 1902 in Lutcher, Louisiana but by age ten was living in New Orleans. Young Leon’s first instrument was the violin, but being a fan of the New Orleans marching bands he wanted to play clarinet. Soon excelling on clarinet, he played youthful jobs for parades, parties and at Milneburg on the shores of Lake Pontchartrain. By his teens he left home with Bee Palmer’s group that evolved into the New Orleans Rhythm Kings, that become one of the hot jazz bands in 1920s Chicago along with King Oliver’s band. Leon’s style influenced many younger Chicago musicians, most famously Benny Goodman.
Following the breakup of the Rhythm Kings he went to New York City jazz scene and recorded with the Original Memphis Five and the California Ramblers. Returning to New Orleans he briefly reformed the Rhythm Kings, made a few recordings but primarily worked with other bands like the Halfway House Orchestra, with whom he recorded on saxophone.
Roppolo soon began exhibiting more eccentric behavior and violent temper outbursts. Too much for his family to take, Leon was committed to the state mental hospital. Aging and feeble far beyond his years in his later life, he would come home for periods when a relative or friend could look after him, and he would sit in with local bands on saxophone or clarinet.
Leon Roppolo, nicknamed “Rap” and who played clarinet, saxophone and guitar, passed away in New Orleans at the age of 41 on October 5, 1943. He left for posterity such compositions as Farewell Blues, Gold Leaf Strut and Make Love To Me, the latter recorded by Jo Stafford in 1954 and that hit No. 1 on the Billboard charts and #2 on Cashbox.
Requisites
After The Morning ~ John Hicks | By Eddie Carter
Feeling exhausted after a long week, I sought an album that offered a gentle, soothing escape. I went to the turntable, and put on After The Morning (West 54 WLW 8004) by John Hicks, and playing it was like a thoughtful act of self-kindness, gently easing my tension. Hicks’ piano work is both delicate and confident, creating a sense of tranquility reminiscent of a fresh morning. This album marks his third session as a band leader, but it was his first release. Joining him are Walter Booker, Jr. on bass (tracks: A1, A3, B1, B3), and Clifford Barbaro on drums (track: B1). The copy I own is the 1979 U.S. stereo release.
Side One opens with the title tune, After The Morning, by John Hicks. John is merry and playful as the melody is skillfully presented, and he continues swinging softly through the song’s only solo. Walter provides excellent support throughout, leaving the listener spellbound as the duo’s theme reprise gently closes. Serenata by Leroy Anderson and Avery Parrish provides Hicks with an unrestricted canvas in which to work in a solo performance. The song opens with a tranquil introduction and theme, then transitions into a breezy solo that captivates the listener, culminating in an exquisite ending.
Dierdre de Samba by Clifford Barbaro is a beautiful ballad that begins with a short introduction from the duo and unfolds into a lush, rich melody. John shines again as the song’s only soloist, playing with elegance and sensitivity ahead of a gorgeous reprise and a peaceful climax. Some Other Spring by Arthur Herzog, Jr. and Irene Kitchings is Hicks’ second solo performance, and a song he associated with the early morning of the day. Here, he delivers a delicately passionate and tender performance, and every note and phrase weaves a haunting spell ahead of the pianist’s return to take the song out softly.
The Duke by Dave Brubeck is a tribute to Duke Ellington, and John’s final solo performance of the first side. His introduction and melody feel like the calm of a new morning, showcasing his virtuosity in one of the album’s most beautiful moments. Impact by Charles Tolliver is the trio’s only appearance together and is the most adventurous song on the album. The cascading introduction rolls in like a severe, sudden thunderstorm, before Hicks takes charge of the theme ahead of a sizzling interpretation propelled by Booker’s bass and Barbaro’s brushwork, preceding a quick return to end on a sudden stop.
Until The Morning by John Hicks opens with a very pretty introduction that blossoms into a beautifully flowing theme of refined elegance. As the song’s only soloist, he offers an interpretation that’s both carefully crafted and deeply expressive, culminating in a touchingly delicate finale. Night Journey by Andrew “Tex” Allen wraps up the album with a delightful introduction by John and Walter into a vivacious theme. As the song’s only soloist, his tone is as airy as ever, and he explores several points of interest as the interpretation unfolds before the duo reprises the theme and brings the song to a graceful conclusion.
Roger Pola produced After The Morning, and Bob Cubbage was the recording engineer behind the dials. The album’s sound quality is excellent, with an outstanding soundstage. Your sweet spot will feel like you’re in the studio with the musicians as they’re recording. John Hicks recorded over 30 albums as a leader and contributed as a sideman to more than 300 releases. If you’re a fan of jazz piano and looking for something soothing, I offer After The Morning by John Hicks for your consideration on your next record-shopping trip. It’s a perfect album to begin your journey into his music, and after a tough day or week, a terrific companion to help you unwind and catch your breath!
© 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Joachim Kühn was born March 15, 1944 in Leipzig, Germany. He was a musical prodigy and made his debut as a concert pianist, having studied classical piano and composition. Influenced by his elder brother, clarinetist Rolf Kühn, he simultaneously got interested in jazz and in 1961 he became a professional jazz musician.
He put together a trio in 1964 and presented the first free jazz in East Germany. In 1966 he left the country and settled in Hamburg and together with his brother played the Newport Jazz Festival and recorded with Jimmy Garrison on the Impulse Record label.
Kühn moved to Paris in 1968 and has since worked with Don Cherry, Karl Berger, Slide Hampton, Phil Woods and Jean-Luc Ponty among others. As a member of Association P.C. he turned to electronic keyboards and during the second half of the 70’s he lived in California and joined the West Coast fusion scene. This period saw him recording with Alphonse Mouzon, Billy Cobham, Michael Brecker and Eddie Gomez.
Returning to Europe and settled near Paris again, he has played in an acoustic trio with Jean-Francois Jenny-Clark and Daniel Humair since 1985. In the summer of 1996, he joined Ornette Coleman for two concerts at the Verona and Leipzig festivals, which opened the way for his Diminished Augmented System. He continues to perform and record.
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Daily Dose Of Jazz…
Vanessa Rubin was born on March 14, 1957 and raised in Cleveland, Ohio in a musical household of Trinidadian and Louisianan parentage. After achieving her Bachelor of Arts degree in Journalism from Ohio State University, she received a standing ovation for her performance of “God Bless The Child” while competing in the Miss Black Central Ohio Contest, which convinced her that her true calling was to sing in the jazz tradition.
Returning to Cleveland after graduation, Rubin started singing locally, forming and managing her first group, consisting of organ, guitar, vibes and drums. By 1982 she was in New York City performing at such landmarks as Sweet Basil and the Village Vanguard with the Pharoah Sanders Quartet. She studied with pianist Barry Harris, went on to work with Kenny Barron, Lionel Hampton, the Mercer Ellington Orchestra, Cecil Bridgewater, Toots Thielemans, Steve Turre, Cedar Walton and Grover Washington, Jr.
In 1992 Vanessa signed with the Novus label, releasing four albums including a 1994 session I’m Glad There Is You: A Tribute to Carmen McRae. She left Novus to sign with RCA for one album and then Telarc releasing Language of Love and Girl Talk. She has recorded with Antonio Hart, Kenny Burrell, Monty Alexander, Houston Person, Frank Foster, E.J. Allen and Clark Terry.
Vocalist and composer Vanessa Rubin expertly interprets the lyrics with both honest emotion and swing, occasionally scatting in unison or in counterpoint with the horns. Billie Holiday’s classic God Bless The Child has since become her official theme song. Her latest release is The Dream Is You: Vanesa Rubin Sings Tadd Dameron. She continues to entertain audiences around the world.
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Daily Dose Of Jazz…
Terence Oliver Blanchard was born March 13, 1962 in New Orleans, Louisiana and began playing piano at the age of five and then the trumpet at age eight. He played trumpet recreationally alongside childhood friend Wynton Marsalis in summer music camps but showed no real proficiency on the instrument. While in high school, he began studying at the New Orleans Center for Creative Arts and then studied at Rutgers, toured with Lionel Hampton, joined Art Blakey and became the Messenger’s music director.
While playing with Blakey, Blanchard rose to prominence as a key figure in the 1980s Jazz Resurgence as a co-leader of a quintet with saxophonist Donald Harrison and pianist Mulgrew Miller, The Harrison/Blanchard group recorded five albums from 1984-1988 until Blanchard left to pursue a solo career in 1990 and recorded his self-titled debut for Columbia Records.
He scored and performed on every Spike Lee movie soundtracks, including his 4-hour HBO Hurricane Katrina documentary “When The Levees Broke: A Requiem In Four Acts” and the soundtrack for “Red Tails”. Composing for other directors, with over forty scores to his credit Blanchard is the most prolific jazz musician to ever compose for movies.
Terence has recorded eighteen albums, been nominated for twelve times and won five Grammy Awards, has won Soul Train Music Award, an Emmy and Golden Globe among others. On the short list his collaborations include Herbie Hancock, Diana Krall, Gary Bartz, Jane Monheit, Dianne Reeves, Christian McBride, Lewis Nash and McCoy Tyner.
Composer, educator and trumpeter Terence Blanchard is the artistic director of the Thelonious Monk Institute of Jazz at the University of Southern California. All the while, he has remained true to his jazz roots as a trumpeter and bandleader on the performance circuit.
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