Daily Dose Of Jazz…
June Richmond was born July 9, 1915 in Chicago, Illinois. She became one of the very first black singers to be featured regularly with a white band when she performed with Jimmy Dorsey’s Orchestra in 1938.
An enthusiastic vocalist who was excellent on blues but also effective on ballads, June was a popular attraction during the swing era although never a major name. She worked with Les Hite early on in California, toured with Jimmy Dorsey, was with Cab Calloway in 1938 and then became best known for her association with Andy Kirk’s Orchestra during 1939-42.
Richmond became a solo act after leaving Kirk and then from 1948 on mostly worked in Europe, at first based in France and then later on in Scandinavia. Her only recordings as a leader were a self-titled album on the Barclay label, four numbers in 1951 with Svend Asmussen and four songs on the album “Jazz In Paris” with the Quincy Jones Orchestra in 1957.
Vocalist June Richmond, who gained fame during the swing era, died of a heart attack at the age of 47 on August 14, 1962 in Gothenburg, Sweden.
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Daily Dose Of Jazz…
Herb Harris was born in Washington D.C. on July 8, 1968. He began his musical journey on clarinet at age 12. Upon entering high school, he switched to alto saxophone, playing the instrument in the marching band, and then switched to tenor saxophone at age 17.
His interest in jazz peaked when he heard a recording of John Coltrane’s Giant Steps. Early on, he admired the sound and style of Dexter Gordon, followed by Sonny Rollins, Sonny Stitt and Charlie Parker.
Upon graduating high school, Harris spent several years of study at Florida A&M University. It was while attending the university that Harris met and jammed with Marcus Roberts, eventually playing with Roberts, touring the States and Europe and recording with him on Deep in The Shed.
Harris also spent a short period in the Nineties with the Wynton Marsalis Septet with whom he toured the States, Europe, and South America. He has appeared on the soundtrack “Tune In Tomorrow”, was featured in the group of saxophonists dubbed the “Tough Young Tenors” on the album “Alone Together”, was a member of the second edition of the Jazz Futures, and saxophonist Herb Harris embarked on his first tour as a leader in the spring of 2002. He continues to perform, tour, compose and record.
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Daily Dose Of Jazz…
Joe Zawinul was born Josef Erich Zawinul on July 7, 1932 grew up in Vienna, Austria. Classically trained at the Konservatorium Wien, he played in various broadcasting and studio bands before emigrating to the U.S. in 1959 on a music scholarship to Berklee College of Music in Boston.
He went on to play with trumpeter Maynard Ferguson, where he first met Wayne Shorter after having had an influence in hiring him. Shorter left soon thereafter for Art Blakey’s group and Joe departed ways to tour and record with Dinah Washington for two years.
First coming to prominence in 1961 with saxophonist Cannonball Adderley, and during his nine-year stint composed the hit songs “Mercy, Mercy, Mercy”, “Walk Tall” and “Country Preacher”, the latter a tribute to Jesse Jackson
In the late 60s Zawinul played with Miles Davis, becoming one of the creators of jazz-fusion and one of the first to use electric pianos and synthesizers. He composed the title track on the album In A Silent Way and “Pharaoh’s Dance” on the landmark album Bitches Brew that occupied the whole of side one.[1]
In 1970, Zawinul co-founded Weather Report with Wayne Shorter bringing relatively open group improvisation with their fourth album Mysterious Traveller being their breakthrough. For the next fifteen years they would experience unparallel success with his composition “Birdland” being covered by the likes of Quincy Jones and the Manhattan Transfer and Jefferson Starship among others and winning him three Grammy awards.
Joe recorded 74 albums as a leader, sideman and collaborator; has been named Keyboardist” 28 times by the readers of Down Beat magazine, had several musicians honor him in song, written symphonies and performed and toured up until his hospitalization for a rare skin cancer where he died on September 11, 2007.
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Daily Dose Of Jazz…
Betty Smith was born on July 6, 1929 in Sileby, Leicestershire, England. She studied the saxophone as a young child and began playing the alto saxophone when she was nine in Archie’s Juveniles, not concentrating on jazz until her early teens.
1947 saw Smith touring the Middle East with pianist Billy Penrose, and then with Ivy Benson’s evening gown clad Girls’ Band, playing for off duty Nuremberg trials officials, and in 1948 with Rudy Starita’s All Girls Band to play for the troops.
Women jazz musician were rare in the Fifties, but Betty, by then playing tenor, proved herself in Freddy Randall’s Dixieland/Chicago styled band. She would be heard swinging, improvising and playing hotter jazz than her colleagues as they toured around Britain.
Following a tour of the U.S. the breakup of Randall’s band, and Betty forming a quintet in 1957, she returned to the States and toured with Bill Haley’s Comets. She worked fronting the Ted Heath Orchestra as a vocalist, got numerous radio and television jobs and had her own program on Radio Luxembourg.
She would meet trumpeter Kenny Baker, form the sextet “Best of British Jazz” and be the band’s only saxophonist for the remainder of her career until she got sick in 1985. She continued to sing and play the piano until a week before her death on January 21, 2011 in Kirby Muxloe, Leicestershire, England.
Requisites
Blowin’ Away ~ Dizzy Reece and Ted Curson | By Eddie Carter
This morning’s album from the library is an obscure gem from 1978. Blowin’ Away (Interplay Records IP-7716) is a terrific hard bop session that unites two outstanding musicians of the 50s and 60s, Dizzy Reece on trumpet (tracks: A1, A3, B2, B3) and Ted Curson on flugelhorn (track: A2) and trumpet (tracks: A3, B2, B3). They’re joined by an exceptional rhythm section: Claude Williamson on piano; Sam Jones on bass; and Roy Haynes on drums. The copy I own is the 1978 U.S. Stereo release. Dizzy and the trio open the album with Stella By Starlight by Victor Young and Ned Washington. The trumpeter gets things going with a solo introduction leading to the quartet’s medium melody. Dizzy opens and closes with two readings that are as smooth as glass. Claude contributes a fine solo in between them propelled by Sam’s and Roy’s peppy support.
Ted steps in next to lead the trio on flugelhorn for the ageless chestnut, All The Things You Are by Jerome Kern and Oscar Hammerstein II. Curson launches the first solo with a bouncy, up-tempo swing. Next up, Williamson delivers a captivating interpretation, gracefully darting around the rhythm section like fleeting shadows. Ted and Haynes close out the solos with an engaging conversation before the foursome’s exit. Bass Conclave by Dizzy Reece begins with Roy’s introduction ahead, both trumpets taking the spotlight with the mute on for the quintet’s easy beat theme. Dizzy takes the opening statement with the mute off, making every note count with surgical precision. Ted moves in next to tell a swinging story, then Claude shows youthful exuberance next. Sam makes a quick comment preceding the reprise and a quick stop.
The second side’s spotlight shines on the trio for Charlie Parker’s Moose The Mooche. Roy opens the door to this bebop classic leading to the ensemble’s swinging melody. Claude takes the opening solo for a sizzling ride, then Sam takes a short vibrant walk. The pianist and Roy share a concise conversation leading to the closing chorus. The quintet returns as the beat slows down for Marjo by Ted Curson. Claude starts things off with a pretty introduction to both horns taking charge as the theme unfolds. Ted has the first say, and gives a delicately tender opening statement. Claude is up next and delivers his message with gentle beauty, then Ted returns for a few final thoughts setting up the quintet’s restatement of the theme and the finish!
The album wraps up with the quintet turning the temperature up with the rhythm section’s introduction to Walkin’ by Richard Carpenter. The front line takes over and drives the melody. Dizzy leads the way with enough high voltage to charge a city, then Claude builds on the rising intensity in the following solo. Ted turns up the heat further in the following reading, followed by both horns chasing each other into the theme’s reprise and climax. Toshiya Taenaka produced Blowin’ Away and Mike Ewasko managed the recording console. The album delivers an exceptional soundstage in the highs, midrange, and bass with superb fidelity that makes it feel as though the quintet is performing right in front of your sweet spot. The chemistry between Reece and Curson on the three quintet tunes are a perfect complement to the rhythm section’s superb support.
If you’re in the mood for a terrific hard bop album and enjoy the music of Dizzy Reece and Ted Curson, I enthusiastically recommend Blowin’ Away the next time you’re out record-shopping. It’s a memorable entry in both their discographies, and is sure to delight novice and seasoned fans alike!
~ All The Things You Are, Stella By Starlight – Source: JazzStandards.com ~ Moose The Mooche – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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