Daily Dose Of Jazz…

Algeria Junius “June” Clark was born on March 24, 1900 in Long Branch, New Jersey and played piano as a child. He went on to learn bugle and trumpet, playing in local brass bands. Taking a job as a porter in New Orleans, he played in a musical revue called S. H. Dudley‘s Black Sensations, alongside James P. Johnson.

Clark and Johnson parted from the show to play on their own, landing in Toledo, Ohio and playing with Jimmy Harrison in the late 1910s. By 1920 Clark relocated to Philadelphia performing with Josephine Stevens and Willie “The Lion” Smith. He would go on to work in the traveling show Holiday in Dixie, but after a poor run it folded and Clark temporarily took up work in an automobile factory.

Rejoining Harrison soon after as a member of the Fess Williams Band, by 1924 June was in New York City playing with his own band. In the 30s he played with Ferman Tapp, Jimmy Reynolds, George Baquet, Charlie Skeete and Vance Dixon. However, failing health led him to quit music and he became Louis Armstrong’s tour manager.

Suffering from an extended bout of tuberculosis in 1939 Clark was bedridden for several years. After his recovery he worked as a musical advisor and assisted Earl Hines. Giving up music altogether, in the Forties he turned to boxing and became Sugar Ray Robinson’s manager. On February 23, 1963 trumpeter, cornetist, advisor and manager June Clark passed away in New York City.

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Daily Dose Of Jazz…

David Samuel Pike was born March 23, 1938 in Detroit, Michigan and learned drums at the age of eight and is self-taught on vibraphone. He made his recording debut with the Paul Bley Quartet in 1958. While working with flautist Herbie Mann in the early Sixties he began putting an amplifier on his vibe. By the late 1960s, Pike’s music became more exploratory, contributing a unique voice and new contexts that pushed the envelope in times remembered for their exploratory nature.

Dave’s release Doors of Perception produced by Mann in 1970 on Vortex Records explored ballads, modal territory, musique concrete, and free and lyrical improvisation. He has recorded as a leader and sideman with Lee Konitz, Chuck Israels, Herbie Mann, Bill Evans, Nick Brignola, and Kenny Clarke.

Pike’s move to Europe and his tenure at MPS Records produced some of the most original jazz of the period. He formed the Dave Pike Set and recorded six albums between 1969 and ’72 that ran the gamut from funky grooves to free, textural territory. The group, though short-lived, created a unique identity and textural palette.

Collaborating with Volker Kriegel during this period provided compositional and instrumental contributions to the group, playing acoustic, classical, and electric guitar as well as sitar, that helped set the Dave Pike Set’s sound apart, organically incorporating influences from jazz, soul jazz, psychedelia, avant-garde music, and World music. With 19 albums to his credit, vibraphonist Dave Pike continued exploring different realms of music until his passing away of lung emphysema on October 3, 2015 in Del Mar, California.

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Requisites

For Basie ~ Paul Quinichette | By Eddie Carter

A few nights ago, with rain falling and a cold atmosphere outside, it felt like the ideal moment to listen to a favorite album by tenor saxophonist Paul Quinichette. For Basie (Prestige PRLP 7127), first released in 1958, is a great “blowing session” of the 1950s and a heartfelt homage to Count Basie, offering memorable tunes and lively arrangements by pianist Nat Pierce. The group features two alumni from Basie’s band, showing that these jam sessions were anything but rushed or lacking in artistic merit. Rounding out the sextet are Shad Collins on muted trumpet (tracks: A1, A2, B2) and trumpet (tracks: A3, B1, B2), Freddie Green on guitar, Walter Page on bass, and Jo Jones on drums. The copy I own is the 1963 remastered stereo reissue (Prestige Swingville SVST 2036).

Side One opens at a relaxing beat with Rock-a-Bye Basie by Count Basie, Shad Collins and Lester Young. Nat opens with a short introduction, segueing into Shad's leisurely-paced melody, with Paul playing behind him. Paul’s opening solo is cool and inviting, then Shad comes in on muted trumpet like a gentle breeze on a summer night. Nat sums it up with a friendly reading, returning to the theme’s restatement and a soft conclusion. Texas Shuffle by Herschel Evans and Edgar Battle turns up the heat significantly, beginning with Pierce and Jones’ quick introduction ahead of the ensemble’s speedy melody. Quinichette takes the lead first, then Collins, again using a mute, takes over for a quick run. Quinichette has a short conversation with Jones, and Pierce has the last word before the group ends softly.

Out The Window, by Count Basie and Eddie Durham, was first recorded by Basie’s band in 1937. The sextet pays homage, with the front line featuring Shad on the open horn, leading the mid-tempo melody. Shad struts boldly into the opening statement. Paul follows with a solo that soothes as it swings, then Nat strolls into the third reading with finesse, leading to a lengthy theme reprise with quick comments by Paul and Jo before the close. The group starts Side Two with Jive at Five by Count Basie and Harry Edison, which opens at an easygoing beat for Jones, Pierce, and Page’s introduction to the ensemble’s melody. Quinichette takes the lead here at an unhurried pace. Collins steps up next, still on the open horn with an easily flowing solo. Pierce continues moving along toward the sextet’s closing chorus.

Digging For Dex by Count Basie and Eddie Durham is their tribute to former “Down Beat” editor, Dave Dexter. Nat continues the easygoing pace, leading the rhythm section through the introduction, segueing to the sextet’s theme with Shad still on the open horn. Paul has the first say and makes the most of each note. Shad steps into the spotlight next for some muted work, then Nat takes over and cruises comfortably toward the ensemble’s laid-back climax. Bob

Weinstock supervised the session, and Rudy Van Gelder managed the recording console. I was pleasantly surprised by the reissue’s sound quality, especially for a remastered stereo album from the 50s. The soundstage is excellent, and brings the listener to the studio as the musicians perform.

In my opinion, For Basie captures the essence of Count Basie’s music, allowing each musician in the ensemble to shine. With Quinichette leading the sextet and his subtle homage to Lester Young in his playing, hence his nickname, The Vice Pres pays a respectful tribute to Basie’s legacy, blending nostalgia with innovative interpretations. The seamless chemistry between Collins, Pierce, Green, Page, and Jones elevates each tune into a stellar example of jazz artistry. If you enjoy swing, big band jazz, or have a soft spot for the tenor sax as I do, I invite you to check out Paul Quinichette’s For Basie on your next record-shopping trip. It’s a delightful album that’s perfect for listening to at any time of day or night, a real joy for jazz fans, and a title well worth adding to your library!

© 2026 by Edward Thomas Carter

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Daily Dose Of Jazz…

Masahiko Togashi was born in Tokyo, Japan on March 22, 1940 and began his musical education with the violin at age 6. It was some time later that the young man took up drums. He made his debut as a professional drummer at 14 with his father’s swing band and appeared on his first recording three years later with Sadao Watanabe’s Cozy quartet.

Togashi would go on to form his own quartet, releasing his group’s debut album, We Now Create, in 1969. However, a spinal injury in 1970 left the jazz percussionist permanently paralyzed from the waist down, and he would play the rest of his life seated in a specially designed wheelchair.

His physical disability limited his international travels and festival appearances, but frequently played with visiting musicians most notably saxophonist Steve Lacy who performed and recorded extensively with Togashi during his 12 tours in Japan, in particular Bura-Bura featuring Lacy along with Don Cherry and Dave Holland.

Drummer Masahiko Togashi passed away of heart failure at age 67 in his home in Kanagawa, Japan on August 22, 2007. Over the course of his career, which spanned more than 50 years, the percussionist strived to broaden the exposure of Japanese jazz and bridge Western music with the traditional sounds of eastern Asia.

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Daily Dose Of Jazz…

Charles Phillip Thompson was born in Springfield, Ohio on March 21, 1918 and became a professional pianist from the age of 10. By age twelve Thompson was playing private parties with Bennie Moten and his band in Colorado Springs. During this time Count Basie played off and on with Moten’s band and at one of these shows Basie called the young Charles up to play.

Throughout his career has chiefly worked with small groups, although he belonged to the Coleman Hawkins/Howard McGhee band in 1944-1945. Throughout the 40s he recorded with Charlie Parker, Dexter Gordon and J.C. Heard among others.

Thompson composed the jazz standard “Robbins’ Nest” and was dubbed Sir Charles Thompson by Lester Young. The swing and bop pianist, organist and arranger at age 98, passed away of colon cancer on June 16, 2016 in Tokyo, Japan.

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