Requisites
Club Date ~ Yusef Lateef | By Eddie Carter
A few nights ago, I spent time with an album I hadn’t listened to in a while and thought it deserved discussing. Club Date (ABC Impulse ASD-9310), by multi-instrumentalist Yusef Lateef, was released in 1976 and showcases his live performance at Pep’s Lounge on June 29, 1964, first heard on Live at Pep’s. My introduction to Lateef’s artistry came through his work on Cannonball Adderley Sextet in New York, Nippon Soul, and Jazz Workshop Revisited. The tracks on Club Date were not available before this release. The group includes Richard Williams on trumpet; Yusef Lateef on flute (tracks B1, B3), oboe (track B1), and tenor saxophone (tracks A1 to A3, B2); Mike Nock on piano; Ernie Farrow on bass; and James Black on drums. The copy I own is the 1976 U.S. Stereo release.
The set opens with Oscarlypso by Oscar Pettiford, a lively tune featuring a Caribbean groove from the start of Ernie’s introduction to the quintet’s theme. Yusef takes the opening solo, as smooth as velvet. Richard follows with a cheerfully festive performance. Mike enters the spotlight last, with a relaxing reading, before both horns share a short exchange leading to the reprise and a vibrant finish. Gee Sam Gee by Yusef Lateef is a slow-moving ballad that begins with the saxophonist stating a hauntingly dreamy theme and opening solo. Williams and Nock follow with two delicately gentle statements preceding Lateef’s return for the closing chorus.
Richard Williams’ Rogi brings the beat way up to end the first side with the group’s collective melody. Yusef steps up first with a spirited performance, then Richard vigorously launches into the following solo. Mike has the last word with an energetic statement ahead of the theme’s return and climax. Brother John, Yusef Lateef’s tribute to John Coltrane, opens the second side with the rhythm section’s trio to Lateef’s switching to oboe for the melody and adventurous opening statement. Williams takes flight next in a scintillating solo. Nock keeps the listener captivated, sailing smoothly until the final note, while Yusef’s flute comments shadow him, before the quintet returns to take the song out.
Yusef Lateef introduces P-Bouk, a speedy original by the saxophonist that the ensemble takes out of the gate at a vigorous pace. Yusef soars upward into the sky on the opening solo with joyful exhilaration. Richard comes in cooking hard next, then Mike meets the challenge with a robust reading, leading to the theme’s restatement and the introduction of Nu-Bouk, also by Yusef Lateef, which he describes as a new blues. He’s back on the flute as he glides over the rhythm section for the soulful melody and lead solo. Williams makes his case in a short statement, returning to the theme and the group’s down-home ending.
Bob Thiele produced the initial session for Club Date, and Esmond Edwards supervised this release, but the identity of the engineer who recorded it remains unknown. The sound quality is very good for a ‘60s live date, with an excellent soundstage that transports the listener to the club’s audience. If you’re new to the music of Yusef Lateef, or are in the mood for a wonderful live album to listen to after a long day or week, I offer for your consideration Club Date by Yusef Lateef. It gives a glimpse into an incredible musician who transcended hard bop through music inspired by exotic locales. While the recording’s live atmosphere adds raw authenticity, it’s the interplay among the players that truly shines, making this record a rewarding listen for both longtime fans and newcomers to Lateef’s work!
~ Cannonball Adderley Sextet in New York (Riverside RLP-404/RLP-9404), Jazz Workshop Revisited (Riverside RM 444/RS 9444), Live at Pep’s (Impulse! A-69/AS-69), Nippon Soul (Riverside RM 477/RS 9477) – Source: JazzStandards.com
© 2026 by Edward Thomas Carter
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Norman Connors was born on March 1, 1947 in Philadelphia, Pennsylvania. He became interested in jazz as a child when he began to play drums and while in middle school once sat in for Elvin Jones at a John Coltrane performance. He continuing music studies took him to Temple University and Julliard.
His first recording was on Archie Shepp’s 1967 release, Magic of JuJu and then played with Pharoah Sanders for the next few years. In 1972 he signed with Cobblestone Records and released his first album as a leader. He went on to front some great jazz recordings with Carlos Garnett, Gary Bartz, Dee Dee Bridgewater and Herbie Hancock such as “Love From the Sun”.
By the mid 70s Norman’s focus leaned more towards R&B, scoring several U.S. hits with songs and love ballads featuring guest vocalists such as Michael Henderson, Jean Carn and Phyllis Hyman. He also produced recordings for various artists, including collaborations with Carn and Hyman and also Norman Brown, Al Johnson, and Marion Meadows.
Norman Connors is a drummer, composer, arranger and producer who has recorded for Buddah, Arista, Capitol, Motown and Shanachie record labels; worked with Howard Hewitt, Bobby Lyle, Ray Parker Jr., Peabo Bryson and Antoinette and has since ventured into disco and smooth jazz and urban crossover arenas.
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Daily Dose Of Jazz…
Charles Gayle was born February 28, 1939 in Buffalo, New York and his childhood was influenced by religion, and his musical roots trace to black gospel music. He began his musical education on piano then added tenor and alto saxophone. Much of his history is murky, he spent an apparent homeless period of about twenty years playing saxophone on street corners and subway platforms around New York City.
A multi-instrumentalist playing pianist, bass clarinetist and percussion, his music is spiritual, heavily inspired by the Old and New Testaments, explicitly dedicated several albums to God. Gayle credits among his influences Louis Armstrong, John Coltrane, Albert Ayler, Thelonious Monk and Art Tatum.In 1988, he gained fame through a trio of albums recorded on the Swedish label Silkheart Records. Since then he has become a major figure in free jazz, recording for Black Saint, Knitting Factory, FMP and Clean Feed record labels.
Charles has performed and recorded with Cecil Taylor, William Parker and Rashied Ali with his most celebrated work to date being Touchin’ on Trane with Parker and Ali. He would include lengthy spoken-word addresses in his performances and for a period performed as a mime, “Streets the Clown”. As an educator he taught music at Bennington College.
In 2001, Gayle recorded an album titled Jazz Solo Piano of consisted mostly of straightforward jazz standards in response to critics who charge that free jazz musicians cannot play bebop. In 2006, Gayle followed up with a second album of solo piano originals, and his most recent release in 2012 is titled Streets. His final recording as a leader was The Alto Sessions in 2019.
Suffering from complications of Alzheimer’s disease, saxophonist Charles Gayle, who also played piani, bass clarinet, bass and percussion, died in Brooklyn, New York on September 7, 2023 at the age of 84.
Daily Dose Of Jazz…
Harold Jones was born on February 27, 1940 in Richmond, Indiana. His early professional years were spent drumming with the Count Basie Orchestra and over a five year span recorded fifteen albums before moving on to work with Sarah Vaughan. He toured the world with her, playing the White House five time. Natalie Cole enlisted him on her landmark album “Unforgettable” and subsequent tour.
He has played with such luminaries as Frank Sinatra, Sammy Davis Jr., Roger Williams, Nancy Wilson and Tony Bennett to Herbie Hancock, Jimmy Smith, Donald Byrd and Benny Goodman to Marlena Shaw, Billy Eckstine, Kay Starr, Carmen McRae and John Lee Hooker on the short list.
As an educator, Jones has held a position on the staff for the Henry Mancini Institute at the University of California in Los Angeles and leads drumming workshops at colleges and universities throughout the country.
He has performed on the Quincy Jones CD, “Count Basie and Beyond,” fronts his own 17-piece big band, The Bossmen, bringing the Basie swing style back by playing for community events and corporate occasions.
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Daily Dose Of Jazz…
Claire Daly was born on February 26, 1959. At the age of 12 she began playing the saxophone and was soon turned onto jazz by way of a live performance by the Buddy Rich Big Band. She went on to attend Berklee College Of Music and upon graduation she became a full-time professional musician.
In the late 70s and early 80s Claire played with various groups in the jazz and rock arenas, and her powerful tenor saxophone suited the latter perfectly. However, playing more jazz than rock, Daly switched to the baritone saxophone and has worked in New York City since the mid-80s.
>A seven-year association with the all-female big band, Diva, was followed with her working with People Like Us. Daly’s versatility moves between jazz, R&B and Latin, releasing two CDs as a leader for Koch Records and three on her own label DalyBread.
Her influences include Rahsaan Roland Kirk and Sonny Rollins and, on baritone, Serge Chaloff, Ronnie Cuber and Leo Parker. She has performed with Aretha Franklin, James Brown, Joe Williams, and Rosemary Clooney among many others, and her first CD Swing Low resides in the William Jefferson Clinton Library in Little Rock, Arkansas.
Claire Daly, a gifted improviser whose rich tone and emotional depth has earned her a place as a respected member of the baritone saxophone family, continues to lead her own jazz groups and to pass the gift of music on to the next generation.
Diagnosed with head and neck cancer in 2023, baritone saxophonist and composer Claire Daly died at the residence of a friend in Longmont, Colorado, on October 22, 2024, at the age of 66.
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