Daily Dose Of Jazz…
Sadi Pol Lallemand was born on October 23, 1927 in Andenne, Belgium. His first instrument was the xylophone, which he played in a circus in the 1930s. After World War II, he turned professional playing the vibraphone and performed with Bobby Jaspar in the Bob Shots, then with Don Byas.
Moving to Europe he lived in Paris, France from 1950 to 1961 where he played with Aimé Barelli, Django Reinhardt, and Martial Solal. In the Sixties, Fats moved to Brussels, Belgium and was a member of Kenny Clarke/Francy Boland Big Band.
He worked for RTBF, the TV channel of the French Community in Belgium. Sadi led both a quartet and nonet, and won the Belgian Golden Django for best French-speaking artist in 1996.
Vibraphonist, percussionist, vocalist and composer Fats Sadi, who chose the name “Sadi” because he disliked his last name, which means “the German” in French, transitioned on February 20, 2009 in Huy, Belgium.
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Requisites
Peer Pressure ~ Brian Lynch Sextet | By Eddie Carter
This morning’s discussion is about a flugelhorn (track: B2) and trumpet (tracks: A1 to A3, B1, B3) player named Brian Lynch, who I first heard on Chippin’ In by Art Blakey and The Jazz Messengers. Peer Pressure (Criss Cross Jazz 1029) by The Brian Lynch Sextet is Lynch’s debut, and he was born in Urbana, Illinois. He grew up in Milwaukee and got a degree from the Wisconsin School of Music. Brian’s played with quite a few jazz greats and currently is a faculty member of New York University, the North Netherlands Conservatory, and the University of Miami. The other members of the ensemble are Jim Snidero (tracks: A1, A3, B2, B3) on alto sax, Ralph Moore (A1, A3, B1, B2) on tenor sax, Kirk Lightsey on piano, Jay Anderson on bass, and Victor Lewis on drums. My copy is the 1987 Netherlands Stereo release.
Side One starts with the trio’s carefree introduction to Thomasville by Tommy Turrentine. The horns take over to deliver the melody in unison. Jim is up first with a delightfully cheerful solo; then Brian takes a comfortable stroll. Ralph takes care of business next, and Victor concludes with an exchange with each horn ahead of the reprise and ending. Benny Golson’s Park Avenue Petite is a quartet highlight that opens with Lightsey’s introduction, segueing into Lynch’s elegantly touching theme and opening statement. Lightsey follows with a sensuously tender interpretation before Lynch infuses the finale with sentimental warmth, leading to a gentle, nostalgic ending.
The title tune, Peer Pressure by Brian Lynch, takes off at a fast clip from the sextet’s brisk introduction and theme. Brian opens with a lively statement, and then Jim takes a high-spirited romp. Ralph swings with authority next. Kirk follows with an excellent reading and shares the finale with Victor, preceding the ending theme and exit. The Outlaw by Horace Silver begins Side Two with the ensemble easing back the throttle in their introduction and melody. Lynch gets busy on the opening statement. Moore adds a bit of joy in the second interpretation, and Lightsey has a few things to say preceding the theme’s return.
Brian Lynch’s Change of Plan shows off the leader’s softer side and features him on flugelhorn for the sextet’s pretty melody. Brian opens with an eminently disciplined solo. Jim and Ralph share the next statement; then Jay gives a beautiful reading. Kirk has the last word with a tasteful comment into the reprise and soft conclusion. Lynch’s ‘Nother Never closes the album at a breakneck pace from the start of the ensemble’s melody. Snidero tears into the opening solo vigorously; then Lynch moves like a whirlwind in the following statement. Lightsey takes an exhilarating turn next, and Lewis engages in a rapid exchange with the front line before the close.
Gerry Teekens produced Peer Pressure, and Rudy Van Gelder was behind the dials of this digital recording. The sound quality is excellent, with a stunning soundstage throughout the highs, midrange and bass that isn’t thin or harsh. Brian Lynch recorded twenty-one albums as a leader and collaborated with Eddie Palmieri on eleven others. If you’re seeking an album with excellent musicians and enjoyable tunes, I invite you to audition Peer Pressure by The Brian Lynch Sextet on your next record shopping trip. It’s quickly become a favorite of mine and will feel right at home in your library with each listen!
~ Chippin’ In (Timeless SJP 340) – Source: Discogs.com ~ Brian Lynch – Source: Album liner notes by Mike Hennessey, Wikipedia.org © 2023 by Edward Thomas Carter
CD Bonus Track: I Concentrate On You
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Daily Dose Of Jazz…
Jan Gunnar Hoff was born in Bodø, Norway on October 22, 1958. A graduate of the Teachers’ College in his hometown and Bergen, Norway, he pursued further education in the Jazz program at Trondheim Musikkonservatorium under Terje Bjørklund for three years starting in 1986. He trained in composition at Norges Musikkhøgskole in 2001.
He had his jazz debut with his own trio on Ad Lib Jazzklubb in 1976. Hoff’s background includes classical piano, progressive rock, pop and jazz. Over the course of his career Hoff has released 21 recordings as solo artist and co-leader, fifty-seven as a sideman, and has composed 250 works for different settings.
He has received several awards for his music including a US Grammy nomination for the album Quiet Winter Night. Hoff’s quartet album Fly North with Marilyn Mazur, Anders Jormin and Arve Henriksen was nominated for the Norwegian Grammy, Spellemannpris 2014. He received the highest distinction in Norwegian Jazz, the Buddy-award and became a Steinway Artist.
He is a professor at the University of Tromsø and the University of Agder. He co-founded The Groove Valley JazzCamp in Beiarn, Norway and was artistic director for TGV Jazz camp from 2005 to 2009. Hoff also initiated Bodø Jazz Open which was launched in 2011, where he was artistic leader and festival head until 2020.
Pianist, composer, arranger and professor Jan Hoff, who has worked with Pat Metheny, Mike Stern, Alex Acuña, Karin Krog, Maria João, Marilyn Mazur, Gary Novak and Arild Andersen among numerous others.
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Daily Dose Of Jazz…
Donald Arthur Rader was born October 21, 1935 in Rochester, New York and began playing trumpet at age five, being taught by his father. He studied at Sam Houston State Teachers College before serving in the Navy in the 1950s as a member of the band.
At the end of the decade he played and arranged for Woody Herman into the Sixties, followed by Maynard Ferguson, Count Basie, Louie Bellson, Harry James, Terry Gibbs, Frank Foster, Henry Mancini, Les Brown from 1967 to 1972. Then he left Brown for the Stan Kenton Orchestra.
He toured with Della Reese, Sarah Vaughn, Andy Williams, Percy Faith, Diana Ross, Elvis Presley, Jerry Lewis and Bob Hope, both intermittently for 28 years with five tours of wartime Vietnam with the latter.
Assembling a quintet in Los Angeles, California in 1972 Don continued working with West Coast jazz musicians, including Lanny Morgan, Lew Tabackin, and Toshiko Akiyoshi. He recorded as a leader and worked in music education for many years, including in Australia in the 1980s.
He has recorded eight albums as a leader, and as a sideman three with Count Basie, and seven with Maynard Ferguson. Trumpeter Don Rader continues to perform at the age of 87.
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Daily Dose Of Jazz…
William Jones Jr. was born October 20, 1929 in New York City, New York and mainly taught himself to play the drums, and played left handed. He performed and recorded with pianist Thelonious Monk in 1953, making his debut on the album Thelonious Monk and Sonny Rollins. Two years later he appeared with Monk on The Tonight Show.
He went on to become a sideman for another recording in 1955 on pianist Elmo Hope’s Meditations and with Randy Weston on his The Modern Art of Jazz by Randy Weston in the following year. Jones also played with Kenny Dorham, J. J. Johnson, Charlie Parker, and Cecil Payne in the mid-1950s.
In 1955–56 Jones was part of Charles Mingus’ Jazz Workshop, and was the drummer in the bassist’s band that recorded Pithecanthropus Erectus, which helped develop a freer form of group improvisation. Willie was tenor saxophonist Lester Young’s drummer from late 1956 to early 1959. In 1961, he played on Sun Ra’s The Futuristic Sounds of Sun Ra.
He went into obscurity after this recording session and his date of death was taken from social security records.
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