Daily Dose Of Jazz…

Cab Kaye was born Nii-lante Augustus Kwamlah Quaye on September 3, 1921 on St. Giles High Street in Camden, London to a musical family of Ghanaian ancestry. After his father’s death when he was four months they moved to Portsmouth where he was introduced to the timpani by a soldier who taught him how to count and use the mallets. At fourteen, he began visiting nightclubs where Black musicians were welcome, and where he eventually won first prize in a song contest and a tour with the Billy Cotton band. In 1936, he recorded his first song Shoe Shine Boy under the name Cab Quay.

During 1937 Kaye played drums and percussion with Doug Swallow and his band, the Hal Swain Band and Alan Green’s band. Until 1940 he sang and drummed with the Ivor Kirchin Band, with Steve Race on piano, in the Paramount Dance Hall on Tottenham Court Road. When a guest was refused entrance because of their skin colour, Kaye refused to perform, the incident led to the regular acceptance of black people and the venue grew into a sort of Harlem of London.

He would go on to play with Britain’s first black swing bandleader Ken “Snakehips” Johnson and His Rhythm Swingers, play in several radio broadcasts and joined the British Merchant Navy before his mother and Johnson were killed in bombings during World War II. A move to New York saw him playing in Harlem and Greenwich Village with Roy Eldridge, Sandy Williams, Slam Stewart, Pete Brown, Charlie Parker, Dizzy Gillespie and Willie “The Lion” Smith. Returning to London in 1943 he sang with clarinetist Harry Parry, then formed a band that included 16-year-old saxophonist Ronnie Schatt (Ronnie Scott), Ralph Sharon and Dick Katz on piano. Following this he sang with Vic Lewis, Ted Heath, Tito Burns and Jazz In The Town. Leading his own bands Ronnie Scott, Johnny Dankworth and Denis Rose. Throughout his career he formed several bands that included Mary Lou Williams, Dizzy Reece, Dennis Rose, Denny Coffey, Dave Smallman, Pat Burke and performed with Billy Daniels, Benny Payne Eartha Kitt, and 16 year old Shirley Bassey among numerous others

Opening his own club in Amsterdam he performed with visiting musicians such as Rosa King, Slide Hampton, Aart Gisolf, Dirk-Jan “Bubblin” Toorop, David Mayer, Gerrie van der Klei, Cameron Japp, Max Roach, Oscar Peterson, Pia Beck and others. During this period Cab played all the major festivals until the 1990s when he was diagnosed with mouth floor cancer that resulted in the loss of the ability to speak. On March 13, 2000 vocalist, pianist, guitarist, drummer and composer Cab Kaye, also known as Cab Quay, Cab Quaye and Kwamlah Quaye and who recorded for the Melody Maker label, passed away at the age of 78.

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Daily Dose Of Jazz…

Walter Davis Jr. was born September 2, 1932 in Richmond, Virginia. As a teenager he performed with Babs Gonzales and in the 1950s he recorded with Melba Liston, recorded and played with Max Roach, Charlie Parker, and Dizzy Gillespie. In 1958 he played with trumpeter Donald Byrd at Le Chat Qui Pêche in Paris and shortly after realized his dream of becoming pianist and composer-arranger for Art Blakey’s Jazz Messengers.

He retired from music in the 1960s to work as a tailor, painter, and designer, but returned in the Seventies to perform and record with Sonny Rollins and again with the Jazz Messengers. Walter recorded with Kenny Clarke, Sonny Criss, Walt Dickerson, Teddy Edwards, Slide Hampton, Jackie McLean, Pierre Michelot, Julian Priester, Hank Mobley, Philly Joe Jones, Art Taylor and Archie Shepp.

Known as an interpreter of the music of Bud Powell, he recorded an album capturing the compositional and piano style of Thelonious Monk. Although few of Davis’ recordings as a pianist remain in print, several of his compositions served as titles for albums by Blakey’s Jazz Messengers. Combining traditional harmonies with modal patterns and featuring numerous rhythmic shifts along with internal melodic motifs within operatic, aria-like sweeping melodies, Davis’s compositions included Scorpio Rising, Backgammon, Uranus, Gypsy Folk Tales, Jodi and Ronnie Is a Dynamite Lady.

Occasionally he played the role of the piano player on the CBS television comedy Frank’s Place and contributed to the soundtrack of the Clint Eastwood film Bird. Hard bop pianist Walter Davis Jr. passed away in New York City on June 2, 1990 from complications of liver and kidney disease.

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The Jazz Voyager

Just hours away from landing on my overnight flight to the other side of the world in the South Pacific, the Jazz Voyager is planning to sit down under and enjoy a weekend of live jazz in an intimate, dimly lit room while dining on tapas and cocktails in the Paris Cat. Located at 6 Goldie Pl, Melbourne VIC 3000, Australia tonight will start at 7:00pm with a tribute to Chet Baker’s musical life with  and then check out some Latin Grooves with Sincopa featuring Paul Van Ross.

Too far to travel to just turn around and jump on another plane, on Saturday I’ll check out the city during the day before catching Nichaud Fitzgibbon celebrating Cole Porter & The Gershwins in the Parisian Loft. Make your reservation at 61 3 9642 4711.

#jazzvoyager#wannabewhereyouare

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Daily Dose Of Jazz…

Velma Middleton was born September 1, 1917 in Holdenville, Oklahoma and later moved with her parents to St. Louis, Missouri. She started her career as a chorus girl and dancer, and throughout her career performed acrobatic splits on stage despite being overweight. After working as a solo performer, and singing with Connie McLean’s Orchestra on a tour of South America, she joined Louis Armstrong’s big band in 1942, and appeared with him in soundies.

When Armstrong’s orchestra disbanded in 1947, Velma joined his All-Stars, a smaller group. She was often used for comic relief, such as for duets with Armstrong on That’s My Desire and Baby, It’s Cold Outside. She did occasional features, recorded eight tracks as a solo singer for Dootone Records in 1948 and 1951. Although she was not widely praised for her voice as average but reasonably pleasing and good-humored, Armstrong regarded her as an important and integral part of his show.

While touring with Armstrong in Sierra Leone in 1961 she had a stroke or heart attack in January and passed away the following month on February 10, 1961 in a hospital in Freetown, Sierra Leone. Vocalist Velma Middleton was 43 years old.

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Review: Virginia Schenck | Aminata Moseka

Whenever I hear the word ambitious used by critics, I take pause, because it rings of a generosity that references an artist who has made a conscious decision to cover the music of an icon. The artist is often convinced that they have the chops to give a new life to the music; however, they are often the singers who release the adequate. And then there are those vocalists who are the light at the end of the tunnel and successfully walk into posterity. This offering by Virginia Schenck, however, happens to be a case of the latter and this is her moment.

The last time I saw this talented interpreter of lyrics I was amongst a gathering of jazz enthusiast under a beautiful Atlanta evening sky. During her set while singing Caged Bird, providence stepped forward and a small flock of birds answered her call with an appropriate and timely response. I knew a higher power was at work and everyone felt the energy pass throughout the audience. There are very few occasions when I experience a connection with nature in an urban setting as I did that night.

So to choose to pay homage to a poet of Abbey Lincoln stature was not only adventurous but exhibited a resolve that resulted in a highly rewarding experience. As I sat listening to Virginia’s delivery, with each composition hope blossomed again and again into a blissful reality. This was no mere one or two listens to this compendium of songs, but a dozen or more at different times in light and darkness, at different levels of volume and not all songs at the same time. I became engrossed in the conversation between musicians and heard the joy and pain, the laughter and sadness, the troubles and the victories as each song unfolds and began feeling the spirit of Abbey in every word from this messenger.

Though the subtitle states this recording is a tribute, this is so much more. It is a conversation between Abbey and Virginia. If you are familiar with Ms. Lincoln, then you know each vocalist is holding her own tempo and pacing within the understanding of the lyrics. Ms. Schenck’s choice of compositions were well thought out, with a precision that compliments her voice and clearly represents thirteen of Abbey’s best. To be true to the emotion and exhibit every side of the composer, these musicians invite you to be privy to the conversation between poet and vocalist.

Virginia hangs with a few of Atlanta’s best in the recording studio for a session that may appear perfunctory, however, it is the banked talent that makes it look and sound effortless in their execution that allows one to hear the voice until it’s time for the musicians to shine. With Kevin Bales tickling the 88, Rodney Jordan walking the bass, Marlon Patton keeping time on the drums and their special guest on alto saxophone Kebbi Williams, they bring a fresh breath of interpretation to these 13 songs. It is here that we hear the musical dialogue between the rhythm section and Virginia as they playfully emote their understandings. Kebbi’s frenetic improvisation keeps pace, adding complementary emphasis to Schenck’s spoken word of The River.   

The arrangements. Listen but listen most carefully and you will hear the subtleties in the playing of piano, bass and drum that will entice you to desire more. This project goes beyond the borders of convention as collectively and individually each musician contributes their thoughts to each song that will touch, move and inspire each listener differently.

So, suffice it to say, Ms. Schenck has made a joyful noise in honoring one of America’s preeminent lyricists by crossing the borders of time, race and emotion with Aminata Moseka. She has raised the bar a few feet and what she leaves behind is an indelible audible mark on the industry that she loves. I would be remiss if I didn’t compel you to sit and listen, then read the liner notes for context, then listen again to truly hear the magic of Virginia and company talking to the sun.

carl anthony | notorious jazz | august 28, 2017

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