Three Wishes

When Ernie Wilkins was approached by Nica and asked what his three wishes would be, he told her:

1. 1. “The first would be the ideal jazz club where I could use all the jazz groups I like, and where we’d never go out of business.”

   2. “The second would be a recording company the same way, where I’d could use all the musicians I like, and which would never go out of business.”

   3. “A million dollars. If I had all these I wouldn’t need to wish for anything for my wife and family, because they’d be covered and it would be Utopia.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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Daily Dose Of Jazz…

Marty Sheller was born March 15, 1940 in Newark, New Jersey. Sheller initially studied percussion, but switched to trumpet as a teenager. He played with Hugo Dickens in Harlem, and arranged for Sabu Martinez, before working with Afro-Latin percussionists such as Louie Ramirez and Frankie Malabe.

In 1962 he became a trumpeter in Mongo Santamaria’s band, and worked with Santamaria for more than forty years as a composer and arranger. He also had an extensive association with Fania Records. As their house arranger Marty worked with Joe Bataan, Ruben Blades, Willie Colon, Larry Harlow, Hector Lavoe, and Ismael Miranda.

Outside of Fania, he arranged for musicians, not limited to, George Benson, David Byrne, Jon Faddis, Giovanni Hidalgo, T.S. Monk, Idris Muhammad, Manny Oquendo, Dave Pike, Tito Puente, Shirley Scott, Woody Shaw, Lew Soloff, and Steve Turre.

In the 2000s, he led his own ensemble, which included the sidemen Chris Rogers, Joe Magnarelli, Sam Burtis, Bobby Porcelli, Bob Franceschini, Oscar Hernández, Ruben Rodriquez, Vince Cherico, and Steve Berrios.

Trumpeter and arranger Marty Sheller, who plays primarily in latin jazz idioms, continues to pursue his musical endeavors.

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Daily Dose Of Jazz…

Voltaire “Volly” De Faut was born March 14, 1904 in Little Rock, Arkansas but his family moved to Chicago, Illinois when he was six. He started out studying the violin, however, by fourteen switched to the clarinet and saxophone.

At seventeen he had his first professional gig at a summer resort and the next year he was playing with Sig Meyers. During the early 1920s he spent time in the New Orleans Rhythm Kings before joining Art Kassel. He also played with The Bucktown Five.

His first recordings were made with Muggsy Spanier in 1924 followed by his recording with Jelly Roll Morton the next year. The late 1920s saw Volly playing with Merritt Brunies and Jean Goldkette, and played for a time in Detroit, Michigan.

Around the end of the decade De Faut held several positions in theater orchestras in Chicago, while working as a studio musician. He started his own dog breeding business but abandoned it to join the military and play in bands there.

He returned to Chicago in the middle of the 1940s, playing with Bud Jacobson and working extensively on the local jazz scene. In the 1950s he moved to Davenport, Iowa but returned to Chicago in 1965. In the last two decades of his life De Faut worked often with Art Hodes, including on many of his recordings for Delmark Records.

Clarinetist and saxophonist Volly De Faut transitioned on May 29, 1973 in Chicago Heights, Illinois.

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Requisites

The Happy Blues ~ Gene Ammons | By Eddie Carter

A few nights ago, I was in the mood to hear something bluesy while reading and that’s what prompted this morning’s discussion. I looked through the library and came across one of my favorite albums by tenor saxophonist Gene Ammons. It was originally released as Hi-Fidelity Jam Session (1956) but was reissued a few years later as The Happy Blues (Prestige PR 7039). Ammons is supported on this date by an all-star sextet, Art Farmer on trumpet, Jackie McLean on alto sax, Duke Jordan on piano, Addison Farmer (Art’s twin brother) on bass, Arthur Taylor on drums, and Candido on conga. My copy used in this report is the 1982 US Original Jazz Classics Mono reissue (Prestige OJC-013 – P-7039).

Side One starts with a perfect song for the weekend, The Happy Blues by Art Farmer. Duke opens with a friendly introduction preceding the ensemble’s strut through the melody collectively. Jackie sets the stage with a carefree walk on the opening solo. Art continues making some beautiful music on the second statement, followed by Gene’s stellar contribution aided by Farmer and McLean. Duke provides a good deal of inspiration next, then all three horns engage in a three-way conversation ahead of the ending. The Great Lie by Cab Calloway and Andy Gibson takes the beat to a lively pace on the septet’s swinging melody. Art takes the lead this time and delivers a brisk performance. Jackie and Gene set off some fireworks on the next two solos, then Jordan swings into view on a short statement and Candido takes an impressive reading before the close.

Side Two opens with a show tune from the musical revue, The Little Show (1929) by Paul James and Kay Swift, Can’t We Be Friends? Duke and the rhythm section begin the introduction, then Gene takes the first of two relaxing strolls on the opening chorus and first solo. Art delivers an impeccable laid-back muted performance next. Jackie comes in next with a cleverly executed statement. Duke drives the next interpretation with considerable warmth, then Gene returns for some tuneful blowing. Addison adds a concise comment during the out-chorus. The septet closes with a ferocious trip to Jackie McLean’s Madhouse, flying out of the gate on the fiery theme. The front line chases each other at breathtaking speed on the first of two exchanges. Jackie, Art, Gene, and Duke take one chorus each, then the horns end this vigorous exercise in quick succession ahead of a robust climax.

The Happy Blues was supervised by Bob Weinstock, and Rudy Van Gelder was the man behind the dials. This Prestige Original Jazz Classics reissue has quiet vinyl without any clicks or pops, and an excellent soundstage placing your sweet spot with the musicians surrounding you in your listening room. The Happy Blues is one of the superb albums in Gene Ammons’ extensive discography. If you’re a fan of Hard-Bop, I hope you’ll seek it out on your next vinyl hunt. It’s forty minutes of great music and performances that I not only recommend but is sure to be a welcome addition in your library and on your turntable!

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Daily Dose Of Jazz…

Robert Sherwood Haggart was born March 13, 1914 in New York City, New York. He became a member of the Bob Crosby Band in 1935 and composed and arranged Big Noise from Winnetka, My Inspiration, What’s New?, and South Rampart Street Parade. He remained with the band until its 1942 dissolution. He went on to work as a session musician, with much of his time spent at Decca Records.

He recorded with Billie Holiday, Duke Ellington, Benny Goodman, and Ella Fitzgerald and his arrangements can be heard on Fitzgerald’s album Lullabies of Birdland. Haggart also starred in several commercials for L&M cigarettes on the radio program Gunsmoke.

He and Yank Lawson formed the Lawson~Haggart Band, and together led the World’s Greatest Jazz Band from 1968 until 1978. Over the next two decades he appeared at jazz festivals. Double bassist, composer and arranger Bob Haggart, who was associated with dixieland and swing, transitioned on December 2, 1998 in Venice, Florida.

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