Daily Dose Of Jazz…
Tineke Postma was born on August 31, 1978 in Heereveen, The Netherlands. At the age of eleven she began playing the saxophone and studied at the Amsterdam Conservatory. Graduating the conservatory in 2003, Tineke received a Masters from the Manhattan School of Music in New York and during this period of her education Tineke was taught by David Liebman, Dick Oatts and Chris Potter. She has been teaching at the Amsterdam Conservatory since 2005.
Performing internationally the saxophonist and composer has worked with Esperanza Spaulding, Terri Lyne Carrington and Wayne Shorter; she has received numerous recognitions from Down Beat Poll, won the Dutch Edison Award, the Jazz Juan Revelations Award, the Midem International Jazz Revelation of the Year Award and The Sisters in Jazz All Star Award.
Postma leads the Tineke Postma Quartet and The Tineke Postma International Quartet featuring Geri Allen on piano, Scott Colley on bass and Terri Lyne Carrington on drums. They have played festivals around the globe and recorded five albums under the leaders name. Postma has recorded as a sideman and collaborator and continues to compose, perform and tour.
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Doin’ Allright ~ Dexter Gordon | By Eddie Carter
This morning’s discussion came up after dinner a few nights ago, when I chose a few titles to play and considerreviewing for our jazz members. After listening, I’d settled on one of my favorite tenor saxophonists, Dexter Gordon. Doin’ Allright (Blue Note BLP 4077/BST 84077) was released in 1961 and is his Blue Note debut, celebrating his comeback from personal struggles and incarceration. The album showcases Gordon at his very best, backed by Freddie Hubbard on trumpet, Horace Parlan on piano, George Tucker on bass, and Al Harewood on drums. I own the 1992 Toshiba-EMI Japanese Stereo reissue in the Blue Note 4000 Series Ultra Collection, sharing the original catalog number.
The album opens with a classic by George and Ira Gershwin, I Was Doin’ All Right. The quintet gets things going with an easy medium groove on the melody. Dexter makes a relaxed entrance for the first solo, followed by Freddie, who swings smoothly and confidently in the second statement. Horace comes in last, complementing the horns with a laid-back reading before the group returns to reprise the theme and fade out gradually. You’ve Changed by Carl Fischer and Bill Carey slows down to a ballad tempo for an emotionally sensitive melody by Dexter. He continues communicating his heart and soul in the opening statement. Freddie speaks next in a warm, emotional tone, and Horace has a deeply expressive moment before the front line returns and slowly takes the song out.
Dexter’s For Members Only ends the first side with an infectious ensemble theme that gets things started. Dexter goes right to work with a relaxing opening statement. Freddie is next, swinging effortlessly with a bright tone and articulate, precise notes. Horace takes his turn last with a laid-back solo ahead of the ensemble’s restatement of the melody and close. Society Red, a funky blues by Dexter Gordon, gets the second side underway with the quintet’s easy-flowing melody. Freddie puts together the first appetizer of this soulful meal. Dexter then shares a rich, bluesy flavor, simmered to perfection, inviting the listener to savor every note. Horace adds a delightful touch of seasoning, and George adds the final ingredient, wrapping up a musical feast that feels like home ahead of the close.
It’s You or No One by Sammy Cahn and Jule Styne wraps up the album on a brisk note, beginning with Dexter’s introduction before the quintet’s lively theme. Dexter takes center stage first with an energetic solo. Freddie adds some bite with the second statement. Horace follows, delivering exuberant verses with an aggressive impact. George takes a short, robust walk in the fourth reading, and Al brings plenty of heat in the finale preceding the group’s return to take the song out. Alfred Lion produced the session, and Rudy Van Gelder managed the recording console. The album’s sound quality is demonstration-class, with a stunning soundstage that if you close your eyes, you’ll swear the musicians are playing right in front of your sweet spot. The front and back covers are glossy, and the record is absolutely quiet until the music starts.
If you’re in the mood for a terrific hard bop album to enjoy anytime of the day or evening, I highly recommend you check out Doin’ Allright on your next record store visit. It makes a great introduction for jazz newcomers discovering Dexter Gordon, and a title I’m sure will also please seasoned fans. It also proves that the tenor saxophonist was not only back, but definitely Doin’ Allright!
~ I Was Doin’ All Right, You’ve Changed – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Jewel Brown was born on August 30, 1937 in Houston, Texas and her first professional performance was at the age of 12 in the Manhattan Club in Galveston, Texas. Before she graduated from Jack Yates High School Lionel Hampton heard her sing and offered the opportunity to tour professionally in Europe.
In 1957 while on a vacation in Los Angeles, California, Jewel sat in with organist Earl Grant at the Club Pigalle and he hired her that night. Their collaboration lasted for a year. She went on to work for nightclub owner Jack Ruby in Dallas, Texas.
In the Sixties she was offered singing positions with Duke Ellington and Louis Armstrong, and she chose the later, appearing with Armstrong in the films, “Louis Armstrong and All Stars” and “Solo”.
Brown recorded an exuberant solo of “Jerry” and vocal backup and “twist choreography” on “When the Saints” on the 1962 live performance “Jazz Festival, Vol. 1 with ‘Louis Armstrong All Stars”, “With Louis Armstrong: Best Live Concert 1: Jazz In Paris” and also recorded with Milton Hopkins.
She retired in 1971 to care for ailing members of her family, establishing a successful hair salon in Houston. In recent years she has revived her career, singing in the Heritage Hall Jazz Band. Vocalist Jewel Brown’s publicist announced her death from colon cancer on June 26, 2024 at the age of 86.
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Daily Dose Of Jazz…
Bennie Maupin was born on August 29, 1940 in Detroit, Michigan and undertook extensive instrumental studies, both privately and at the Detroit Institute of Musical Art from age 14 until 1962. During this period his influences were Yusef Lateef, Wayne Shorter, John Coltrane and Sonny Rollins. By 1966 he was working with Roy Haynes followed by a two-year tenure with Horace Silver in ’68.
Maupin joined Herbie Hancock’s Mwandishi sextet and his Headhunters band, and then joined Miles Davis for the recording of Bitches Brew. He has also performed on several Meat Beat Manifesto albums.
Bennie is noted for having a harmonically advanced, “out” improvisation style, and as a composer, he has the ability to create brief melodies and song forms that create vast landscapes for improvisation.
Multireedist Bennie Maupin was also a member of the group “Almanac” with Cecil McBee, has recorded a half dozen albums as a leader and another two-dozen as a sideman. He has worked with the likes of Lee Morgan, Eddie Henderson, Marion Brown, John Beasley, Mike Clark, Jack DeJohnette, Darek Oles, Lonnie Smith, McCoy Tyner and Lenny White. He appears in the 2016 biopic I Called Him Morgan about trumpeter Lee Morgan and continues to pursue his career in music from jazz to rock to abstraction.
In January 2025 he lost his home, instruments, and other belongings in the Eaton Wild Fire in Los Angeles, California. Flutist, clarinetist and saxophonist Bennie Maupin continues to perform and record.
Daily Dose Of Jazz…
Larry Goldings was born on August 28, 1968 in Boston, Massachusetts and Larry studied classical piano until the age of twelve. While in high school he attended a program at the Eastman School of Music and during this period Errol Garner, Oscar Peterson, Dave McKenna, Red Garland and Bill Evans were prime influences. As a young teenager, Larry studied privately with Ran Blake and Keith Jarrett.
Goldings moved to New York in 1986 to attend The New School and while in college he studied piano with Jaki Byard and Fred Hersch. As a freshman he traveled to Copenhagen with Sir Roland Hanna and played piano with Sarah Vaughan, Harry Sweets Edison and Al Cohn. His later college years saw him touring worldwide with Jon Hendricks and subsequent collaboration with guitarist Jim Hall.
In 1988, Larry started developing his organ style while gigging at Augie’s (now Smoke) in New York City. His 1991 debut release was Intimacy Of The Blues and since then has performed and/or recorded with Charlie Haden, Jack Dejohnette, Carla Bley, Pat Metheny, Madeleine Peyroux, Michael Brecker, Luciana Souza, Steve Gadd, Melody Gardot, David Sanborn, Al Jarreau, Sia, John Scofield and India.Arie to name a few.
Pianist, organist, producer/arranger and composer Larry Goldings has 16 albums as a leader, eighty-four as a sideman, half dozen film and tv credits, has been nominated for a “Best Jazz Album of the Year” Grammy, has twice been a Jazz Journalist Association Winner “Best Organist/Keyboardist of the Year”, has won The New Yorker Magazine Best Jazz Albums for Awareness and Big Stuff. His latest released this year is Rhombus, with Peter Bernstein and Bill Stewart, proves that he continues to compose, perform, tour and record.