Daily Dose Of Jazz..
Robert Coull Wellins was born January 24, 1936 in Glasgow, Scotland and studied alto saxophone and harmony with his father Max, and also played piano and clarinet when young. Joining the RAF as a musician playing tenor saxophone and after demobilization he played with a few Scottish bands before moving to London. England in the mid-1950s.
He was a member of the Buddy Featherstonhaugh quintet between 1956 and 1957 with Kenny Wheeler. Around that time Wellins also joined drummer Tony Crombie’s Jazz Inc., where he first met pianist Stan Tracey, and then joined Tracey’s quartet in the early 1960s.
In the mid-1970s he led his own quartet with pianist Pete Jacobsen, bassist Adrian Kendon and drummer Spike Wells. Ken Baldock, and then Andy Cleyndert in the 1980s would replace Kendon. He also worked with Lionel Grigson in 1976 and by the end of the 1970s he was a member of the Jim Richardson Quartet.
The 1980s had him forming a quintet with fellow saxophonist Don Weller and Errol Clarke on piano, Cleyndert and Wells, while the latter featured guitarist Jim Mullen and Pete Jacobsen on piano. Following this group, Wellins led various quartets that included pianist Liam Noble, bassist Simon Thorpe and Dave Wickens on drums. He renewed his association with Spike Wells and put together a quartet with pianist Mark Edwards and bassist Andrew Cleyndert.
In 2012, Wellins was the subject of a documentary film, Dreams are Free, directed by Brighton-based director Gary Barber, tracing the rise, fall and redemption of Wellins. It covered his addiction and depression, how he overcame it and rediscovered the desire to play after ten years away from jazz.
Tenor saxophonist Bobby Wellins, best known for his 1965 collaboration with Stan Tracey on jazz suite inspired by Dylan Thomas’s Under Milk Wood, passed away on October 27, 2016 after being ill for some years.
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Daily Dose Of Jazz…
Photographer Chuck Stewart was born in Henrietta, Texas in 1927 and grew up in Tucson, Arizona. He received a Kodak Brownie camera as a present when he was 13 years old and used it that same day to take photos of Marian Anderson, who had come to visit his school. After they were developed, he was able to sell his photos for two dollars, making him a professional photographer from the first day he took pictures. He attended Ohio University as a photography major, one of the only two universities in the United States that offered the program at the collegiate level and the only one that would then accept African American students.
While in college, his friendship with photographer Herman Leonard helped him make connections with record companies in New York City. His clients would include Impulse, Mercury, Reprise and Verve, for whom he took cover photos of artists such jazz and R&B icons as Louis Armstrong, Count Basie, Ray Charles, Miles Davis, Ella Fitzgerald, Duke Ellington, Lionel Hampton, Rahsaan Roland Kirk, Charles Mingus, Eric Dolphy, Max Roach, Sonny Rollins, Sarah Vaughan and Dinah Washington, appearing on more than 2,000 albums and in publications including Esquire, Paris Match and The New York Times, as well as in the Encyclopedia of Jazz by jazz journalist Leonard Feather. He also worked for Chess Records in Chicago and its Argo subsidiary.
Stewart always tried to capture his subjects in as flattering a pose as possible, saying “I didn’t want them picking their nose or scratching their behind. It was important to me that I take a picture of a person in a manner that I thought they looked best.” During the 1950s and 1960s he was turned down for more lucrative advertising photography when agencies said that their clients “don’t have black people down here sweeping the floors” and would rather resign the account than accept him.
A widowed father of three children, Stewart has lived in Teaneck, New Jersey since 1965 in a home furnished with carpeting and fixtures that he received from some of his photography assignments. Despite having a piano in his home and exposure to many of music’s greats, Stewart remarked that he himself “couldn’t play Chopsticks”, even after years of lessons.
In conjunction with Stewart’s recognition with the Milt Hinton Award for Excellence in Jazz Photography, Jazz at Lincoln Center presented an exhibition titled Looking at the Music: The Jazz Photography of Chuck Stewart, which ran from November 2008 to February 2009. In 2014, 25 of Chuck’s photographs documenting the recording of John Coltrane’s A Love Supreme were inducted into the Smithsonian.
Photographer Chuck Stewart passed away on January 20, 2017.
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Daily Dose Of Jazz..
Fred Lee Beckett was born on January 23, 1917 in Nettleton, Mississippi and began playing horn in high school. He began playing the trombone professionally in Kansas City, Missouri in the 1930s. Soon after beginning his career he landed a job with Eddie Johnson’s Crackerjacks in St. Louis, Missouri.
He went on to play with Duke Wright, Tommy Douglas, Buster Smith and Andy Kirk over the next few years. Beckett spent time as well in a territory band with Prince Stewart and played a gig in Omaha, Nebraska with Nat Towles. Towards the end of the Thirties he played with Harlan Leonard.
The early 1940s saw Fred performing and recording extensively with Lionel Hampton, and providing trombone support behind Dinah Washington recordings. Serving in the Army during World War II he contracted tuberculosis and passed away of the illness on January 30, 1946. He was twenty-nine years old.
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Atlanta Jazz Festival… 1991
The year was 1991. The baton of Program Director was passed from Rob Gibson to John Armwood, who had previously worked as the coordinator of the festival’s education component. He was instrumental in maintaining classical mainstream jazz in the parks while newer venues hosted smooth jazz, set up jam sessions at the Penta Hotel, established a jazz dance contest with improvisational dancing to improvisational music, and facilitated WLCK 91.9FM radio The Jazz of the City broadcasting the festival live from Grant Park.
Over the Memorial Day weekend performances and workshops and lectures were held on May 31st at Center Stage, Chastain Park Amphitheater, with a late night jam session at Club 590 West/Atlanta Penta Hotel. June 1st, 2nd held at High Museum of Art-Hill Auditorium and Grant Park with more late night jam session at Club 590 West/Atlanta Penta Hotel. On June 3rd-7th the Brown Bag Concerts were performed in Woodruff Park again ending the night with a late night jam session at Club 590 West/Atlanta Penta Hotel and on June 8th & 9th the festival closed out with performances in Grant Park.
Performing this year were Sonny Rollins, Spyro Gyra, Bob James, Rick Bell quintet, Joe Jennings and Life Force, Cecil Bridgewater, Arthur Blythe Quintet, Jackie McLean Quintet featuring Rene McLean, Ojeda Penn Experience, Bobby Hutcherson, The Harper Brothers, Charles Earland, David “Fathead” Newman, Grant Reed Quartet, Simone & Company, Mark Maxwell Band, Audrey Shakir Company, Eddie Davis Quintet and Johnny O’Neal, Olu Dara, Okra Orchestra, Azanyah, Jerry Gonzalez & The Fort Apache Band, Dameronia, Abbey Lincoln, Fusai Abdul-Khaliq Ensemble, Dvae Holland Quartet, Don Pullen Trio and the David Murray Octet.
As well as being on the main stage Joe Jennings & Howard Nicholson, The Harper Brothers also led the nightly Jam Sessions. Critic and editorialist Stanley Crouch hosted a lecture and film presentation.
Sponsoring the 1991 festival were Adams Outdoor Advertising, AT&T, Atlanta Penta Hotel, The Coca-Cola Company/Atlanta Coca-Cola Bottling Company, Coors Brewing Company, Creative loafing, KLM Royal Dutch Airlines, National Endowment For The Arts, RJ Reynolds Tobacco Company, Southern Keyboards/Kawai Piano Company, WVEE/V-103 FM and WCLK 91.9 FM.
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Daily Dose Of Jazz…
Ed Lewis was born on January 22, 1909 in Eagle City, Oklahoma. His early career saw him in Kansas City, Missouri playing with Jerry Westbrook as a baritone saxophonist, but in 1925 he switched to trumpet He played with Paul Banks and Laura Rucker before joining the Bennie Moten Orchestra, where he was the primary trumpet soloist from 1926-1932 until Hot Lips Page joined the outfit.
In the 1932 he worked with Thamon Hayes for two years followed by a three year stint with Harlan Leonard, the in 1937 played for a short time with Jay McShann. That same year Ed joined the Count Basie Orchestra, remaining until 1948 and though he recorded frequently with the orchestra, he almost never soloed.
In the 1950s Lewis led his own band in New York City for strictly local gigs, and worked for a period as a taxicab driver. He returned to play with The Countsmen in Europe in 1984, shortly before his death.
Harry “Sweets” Edison considered Lewis and Snooky Young the two greatest first trumpet players he ever played with. Trumpeter Ed Lewis, who never led his own recording session, passed away on September 18, 1985.
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