Daily Dose Of Jazz…

Alfred “Tubby” Hall was born October 12, 1895 in Sellers, Louisiana and his family moved to New Orleans, Louisiana in his childhood. His younger brother Minor “Ram” Hall also became a professional drummer. He played in many marching bands in New Orleans, including with Buddie Petit. His drumming style was forceful and sober, generally maintaining constant tempo on the snare.

By 1917 Hall had moved to Chicago, Illinois where he played with Sugar Johnny Smith. After two years in the United States Army, he returned to playing in Chicago mostly with New Orleans bands, joining Carroll Dickerson’s Orchestra and recording in 1927. He later played with the groups of King Oliver, Jimmie Noone, Tiny Parham, and Johnny Dodds.

He is seen in Armstrong’s Paramount movies of the early 1930s, including the live action and Betty Boop cartoon I’ll Be Glad When You’re Dead, You Rascal You and A Rhapsody in Black and Blue in 1932. Only Armstrong and Hall got closeups in the two films, and both get their faces transposed with those of racially stereotyped jungle natives in the cartoon. Hall morphs from a jazz drummer to a cannibal stirring a cooking pot with two wooden sticks.

Drummer Tubby Hall, considered one of the three greatest jazz drummers of his generation by jazz critic Hugues Panassié, along with Zutty Singleton and Baby Dodds, transitioned in Chicago, Illinois on May 13, 1945.

More Posts: drums,history,instrumental,jazz,music

Three Wishes

While having a conversation with Denis Charles the Baroness brought up the subject of three wishes and asked him if they could be granted what would he wish for and he said:

1. “To be able to be playing my instrument regularly, so as to truly express myself.”
2. “To be in a better position financially, so as to satisfy some of my personal wants, which I’m sure would make me much more calm inside.”
3. “Lastly, to stay healthy and enjoy living.”

More Posts: baroness,drums,history,instrumental,jazz,music,pannonica,three,wishes

Daily Dose Of Jazz…

Luděk Hulan was born on October 11, 1929 in Prague, Czechoslovakia and started his career as a founder-member of the amateur Hootie Club ensemble in 1948. In the early Fifties he performed in various professional jazz ensembles and helped organize jam sessions in Prague. From 1953 to 1957 he moved to Brno and played double bass with the Gustav Brom Orchestra.

Upon his return to Prague he co-founded Studio 5, which later became a part of The Dance Orchestra of Czechoslovak Radio. Studio 5, one of the country’s most important modern jazz ensembles, disbanded in 1961. Then Hulan founded his next band, The Jazz Studio, which often performed his own short compositions. The late 1960s he still collaborated with the Jazz Orchestra of Czechoslovak Radio and actively participated in Czech musical life.

He was one of the pioneers of the Jazz and Poetry movement which focused on cross-connections between various spheres of the Arts. In his Jazz Studio, Luděk collaborated with many important jazz instrumentalists, among them tenor saxophonist Milan Ulrich and trumpeter Richard Kubernát.

Following the Soviet invasion of Czechoslovakia in 1968 he emigrated to Switzerland, but couldn’t find any work connected with music and soon returned while his wife and daughter remained abroad. Listed as politically undesirable he had to organize night-time jam sessions in the poetic wine bar Viola, founded a new band, Jazz Sanatorium with former colleagues from Jazz Studio, and helped its younger members in their careers.

He also found work – occasional at first – with the Linha Singers ensemble. In 1972 the Traditional Jazz Studio invited him to record with the New Orleans clarinetist Albert Nicholas. He also performed with the American clarinetist Tony Scott, and prepared a TV series, The Jazz Herbarium. He then organized the Jazz Quiz as part of his Jazz Sanatorium, using American films, recordings and literature.

Double bassist Luděk Hulan, an important exponent of Czech jazz in the second half of the 20th century, transitioned in Prague on February 22, 1979 under unhappy circumstances, breaking a rib in a stairway fall which pierced a lung. Unaware of the nature or extent of his injury, he went to bed as usual, not to awaken.

More Posts: bandleader,bass,history,instrumental,jazz,music

Daily Dose Of Jazz…

Freddie Jenkins was born on October 10, 1906 in New York City, New York and played in the Jenkins Orphanage Band when young before he attended Wilberforce University. Following this he played with Edgar Hayes and Horace Henderson between 1924 and 1928. 

He then took a position in Duke Ellington’s Orchestra in 1928 where he soloed in the 1930 film Check and Double Check, during a performance of the song Old Man Blues. He remained with the Ellington Orchestra until 1935, when lung problems forced him to quit.

Recovered, he formed his own group in 1935, recording one session as a leader. His sidemen included Ward Pinkett, Albert Nicholas and Bernard Addison. After this he played with Luis Russell in 1936. Rejoining Ellington in 1937 he played with him for a year, then for a short time thereafter played with Hayes Alvis. 

After 1938, his lung ailment returned and he retired again from performance. In his later years he worked as a songwriter, disc jockey, and in music press. He became a deputy sheriff in Fort Worth, Texas. 

Trumpeter Freddie Jenkins transitioned in 1978.

Bestow upon an inquiring mind a dose of a New York City trumpeter to motivate the perusal of the genius of jazz musicians worldwide whose gifts contribute to the canon…

Freddie Jenkins: 1906~1978 | Trumpet

More Posts: bandleader,history,instrumental,jazz,music,trumpet

Requisites

Sonny’s Crib ~ Sonny Clark | By Eddie Carter

Sonny Clark steps into the spotlight with his third LP as a leader, Sonny’s Crib (Blue Note BLP 1576/BST 81576), released in 1957. He was considered the label’s house pianist appearing on many albums with some incredible musicians. On this date, he heads a stellar sextet of heavy hitters; Donald Byrd on trumpet; Curtis Fuller on trombone; John Coltrane on tenor sax; Paul Chambers on bass; and Art Taylor on drums. My copy used in this report is the 1990 Toshiba-EMI Limited Japanese Mono reissue (Blue Note BLP 1576 – BN 1576).

Side One starts with a rapid burner; the 1929 show tune With a Song In My Heart by Richard Rodgers and Lorenz Hart. The sextet takes off on a brisk run through the melody stepping aside for Byrd who gives an electrifying first solo. Coltrane emerges with a vengeance delivering passionate fire at a high velocity on the next reading. Fuller responds with a robust, resonant tone releasing plenty of energy during his turn. Afterward, Clark offers an exhilarating reading that cooks and swings into the climax.

Speak Low by Kurt Weill and Ogden Nash is a popular song from 1943 that starts at mid-tempo. John takes the lead on the Latin-flavored melody with the ensemble manufacturing a firm foundation behind him. He continues with a fervent opening statement that heightens the trio’s flawless accompaniment. Curtis and Donald share the next reading; both men bring out the best in each other with two presentations showcasing their technical chops. Sonny steps in last, summing up the song with a captivating solo before the close. Come Rain or Come Shine by Harold Arlen and Johnny Mercer brings the first side to a close as a beautiful slow-tempo ballad.  Fuller opens the melody with a simple statement that’s seductively tender. Clark guides his way sensuously through the next reading presenting an ardently touching interpretation. Coltrane follows with a beautifully constructed, elegant reading and Byrd takes the ensemble home on the ending theme into a gentle climax.

The final two tracks are by the leader Clark and occupy Side Two. Sonny’s Crib is a blues with everyone laid-back and taking it easy on the carefree melody. John goes first swinging expressively with rhythmic verses that are enjoyable listening; Curtis comes in next also contributing some fine solo work. Donald takes the next turn, making his mark with an easy swing that’s cheerfully bright. Sonny is artfully tasteful on the next solo with nimble piano lines that affirm his capability as a great interpreter of Hard-Bop. Paul cuts into the final reading with an exceptionally articulate statement that says plenty about the ensemble’s exit.

Sonny’s News For Lulu closes out the album giving everyone a solo opportunity except Art. The song opens with a brief introduction by the trio followed by a collective midtempo melody presentation and the solo order is piano, trumpet, tenor sax, trombone, and bass. The leader’s opening statement shows his rhythmic vitality on spirited lines that move freely and confidently. Donald reciprocates with a happy, infectious groove on the next solo that shows the workings of a very creative mind. John comes in next, infusing his performance with an energetic effervescence that’s bold, and assertive. Curtis sparkles on the fourth reading with a flow of musical ideas that are brimming with vitality. The finale is a delectable dish served up by Paul anchored by just Art’s tranquil brushwork that swings very nicely into the sextet’s closing chorus and the album’s climax concluding an enjoyable album.

The original recording by Rudy Van Gelder has been lovingly remastered by Toshiba-EMI Limited with a superb soundstage that surrounds your listening spot as if you’re in the studio with the musicians. In addition to Sonny’s Crib, Clark recorded eight more albums for Blue Note as a leader and with many other stars on the label as a sideman. He passed away on January 13, 1963, at the age of thirty-one from a heroin overdose in New York City although the official cause was listed as a heart attack. On this album, Clark and his colleagues leave a lasting impression on the listener through their outstanding interplay together that makes the music come alive. If you’re seeking some Hard-Bop on your next vinyl hunt, I offer for your consideration, Sonny’s Crib by Sonny Clark. It’s an excellent album of good tunes with great solos by six remarkable musicians who together, make highly delectable listening that should appeal to any jazz collector who’s also a fan of jazz piano!

~ Come Rain or Come Shine, Speak Low – Source: JazzStandards.com ~ Sonny Clark, With a Song In My Heart – Source: Wikipedia.org © 2022 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,piano