Three Wishes

Nica’s request of Julian Priester led him to answering the question of three wishes with: 

1. 1. “The first one is a government~sponsored music program.”
   2. “I’d like to play with Monk.”
   3. “A change in this country’s economic system.”

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Daily Dose Of Jazz…

Joseph L. Sanders was born on October 26, 1896 in Thayer, Kansas. Best known for co-leading the Coon-Sanders’ Nighthawks along with Carleton Coon, the pair formed the group in 1920 in Kansas City under the name Coon-Sanders Novelty Orchestra.

Their broadcast for the first time on radio the following year, they became simply known as the Nighthawks because of their frequent appearances on late night radio. They recorded in Chicago, Illinois in 1924 and held a residency at the Blackhawk club in that city from 1926. The ensemble toured as a Midwestern territory band, and after Coon’s death, Joe continued to lead the band under his own name.

During the 1940s Sanders worked mostly in Hollywood studios, and occasionally led performances at the Blackhawk once again. He was a vocalist for the Kansas City Opera in the 1950s.

Pianist, singer, and bandleader Joe Sanders, associated with Kansas City jazz for most of his career, passed away in Kansas City, Missouri on May 14, 1965.

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Daily Dose Of Jazz…

Reuben “River” Reeves was born in Evansville, Indiana on October 25, 1905 and started out playing locally in the Midwest before moving to New York City in 1924. The next year he moved to Chicago, Illinois and by 1926 joined Erskine Tate’s orchestra, then played with Fess Williams and Dave Peyton by the end of the decade. While in Chicago he took lessons from a German trumpet player, Albert Cook, who played in the Chicago Symphony.

While playing at the Regal Theater in 1929, Peyton featured Reuben, his hot trumpet player, on a night where Louis Armstrong had a gig across the street at the Savoy, to outdo the latter which didn’t work. Signed to Vocalion he recorded as a bandleader with his groups the Tributaries and the River Boys. His sidemen were his brother, trombonist Gerald Reeves, and clarinetist Omer Simeon and in 1929, twenty sides were recorded in 1929.

He played under Cab Calloway in the early Thirties, and recorded again with the River Boys in 1933. He toured as a leader for two years from 1933 to 1935, then played freelance through the late 1930s. During World War II, he led an Army band called the Jungleers. Stationed at the Army Jungle Training Center on the northeast coast of Oahu, Hawaii. There they were popular participants in Battle of the Band competitions that were an integral part of the extraordinary music scene in Hawaii during the war.

After the war, he played in Harry Dial’s Blusicians in 1946. Trumpeter and bandleader Reuben Reeves, whose entire output as a bandleader has been released to a single compact disc by RST Records, passed away in September 1975 in New York City.

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Requisites

Up at Minton’s, Volume 1 ~ Stanley Turrentine | By Eddie Carter

My introduction to tenor saxophonist Stanley Turrentine began in 1963 with two albums by Jimmy Smith, Midnight Special (1961), and Back at The Chicken Shack (1963). Anyone who’s listened to either record knows Turrentine possessed some serious Soul-Jazz chops. He impressed me so much that I wanted to hear more from him. Up At Minton’s, Volume 1 (Blue Note BLP 4069/BST 84069) follows his debut, Look Out (1960), and documents his first live performances at Minton’s Playhouse. Sharing the stage with Turrentine are Horace Parlan on piano, Grant Green on guitar, George Tucker on bass, and Al Harewood on drums. My copy used in this report is the 2011 Analogue Productions 45-rpm two-record Stereo audiophile reissue (AP-84069/BST-84069).

Record One opens with But Not For Me by George, and Ira Gershwin. It first appeared in the musical Girl Crazy, and the quintet’s rendition is exciting from the opening chorus. Stanley is sincere and warm as he begins the first solo but quickly evolves into a rhythmic romp of fire and fury. Grant is equally spirited on the second statement and Horace dispels plenty of energy on a few heated choruses, showing he can swing as hard as his bandmates. Stanley’s Time, an original by the saxophonist starts Side Two at a medium tempo. The rhythm section begins a brief dialogue on the introduction before Turrentine emerges with a relaxing melody. Green is up first with a crisply constructed solo, then the leader explores some interesting avenues on the next reading. Tucker follows with the first of two statements that swing with ease. Parlan provides a remarkable interpretation next, and Stanley adds a brisk footnote on the finale preceding the close.

Record Two begins with a trip to Broadway by Wilbur H. Bird, Teddy McRae, and Henri Woode. The quintet turns the heat up on this swinger with a lively theme. Grant takes the first spot with aggressive fierceness. Stanley steps in next with an enthusiastic performance that receives a well-deserved round of applause from the crowd at its conclusion. Horace makes the piano sizzle next with a hard-hitting attack by his fingers. Stanley and Grant take turns in a vigorous exchange with Al who sparkles like a gem into the ensemble’s ending. The finale is Yesterdays by Jerome Kern and Otto Harbach. The trio starts with a brief introduction, then Stanley’s melody and opening solo are silky smooth. Grant weaves an unforgettable spell of inspiration on the next interpretation and Horace counters with a blissful reading that swings easy. George steps into the spotlight last for a beautifully relaxed performance ahead of Stanley reprising the melody into a calm, serene ending.

Rudy Van Gelder made the original recording, and this reissue was remastered by Kevin Gray and Steve Hoffman of AcousTech Mastering. Both records produce an incredible soundstage with amazing clarity that brings the instruments alive and places the listener in the Minton Playhouse crowd. You not only hear the musicians but the crowd as well and a few glasses tinkling during each song. The music on all four sides is superb and with this lineup, how could it not be? The cover is glossy, but not a gatefold; both records reside in the same opening. The one issue that concerns me is the sleeve doesn’t appear to be sturdy enough to manage the records behind the album cover in outer sleeves to reduce wear to the opening, seams, and spine. If you’re a fan of live jazz and are looking for an album that’s beautifully recorded and engineered, I submit for your consideration, Up at Minton’s, Volume 1 by Stanley Turrentine. It’s a great introduction to his music and a splendid listening experience that not only leaves the crowd satisfied but the listener as well!

~ Back at The Chicken Shack (Blue Note BLP 4117/BST 84117), Look Out (Blue Note BLP 4039/BST 84039), Midnight Special (Blue Note BLP 4078/BST 84078) – Source: Discogs.com ~ But Not For Me, Yesterdays – Source: JazzStandards.com ~ Broadway – Source: Wikipedia.org © 2021 by Edward Thomas Carter

Daily Dose Of Jazz…

Alexander Balos “Sandy” Williams was born on October 24, 1906 in Summerville, South Carolina, the son of a preacher. The family of thirteen moved to Washington D.C. when he was very young however, losing their parents six months apart, they were sent to an orphanage in Delaware. There he joined the school band, but was put on tuba rather than trombone despite his requests. Taking private lessons while attending Armstrong High School, he occasionally played with his professor’s sons, and played with several bands before he started playing with the Lincoln Theater pit band.

Fletcher Henderson strongly influenced Williams jazz musicianship which received local notice. He played with Claude Hopkins, and later in 1929 joined Horace Henderson. He became a staple player in the Chick Webb band from 1933-1940 where he later worked with Ella Fitzgerald. Through the Forties he went on to work with other bands including Cootie Williams, Sidney Bechet, Duke Ellington, Art Hodes and Roy Eldridge, with whom he toured Europe in 1947.

By the early Forties Sandy was suffering from alcoholism, and despite his attempts to become sober, he continued to drink with many of his band leaders until he suffered from a severe breakdown with his health in 1950 causing him to retire from music.

Although he attempted to return to music, his dental health affected his embouchure causing him to quit music entirely. Trombonist Sandy Williams passed away on March 25, 1991 in New York City.

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