Daily Dose Of Jazz…

Steve Khan was born April 28, 1947 in Los Angeles, California to lyricist Sammy Cahn. As a teenager he was a terrible drummer but grew a love for guitar and switched at around age 19. He would go on to matriculate through U.C.L.A. and move to New York, performing one of his first guitar duos with Larry Coryell in 1974.

During the 80s he was a member of the group Elements. Khan has worked with Jack DeJohnette, Maynard Ferguson, Billy Cobham, Hubert Laws, Steely Dan, Billy Joel, Michael Franks and Weather Report on his short list.

He toured with the CBS Jazz All Stars in Japan, led a band called Eyewitness, authored five jazz books, was nominated for a Grammy in the Best Latin Jazz Album category for his album “Borrowed Time” and recorded over thirty albums as a leader and sideman for such labels as Concord, Arista, Columbia, Flying Dutchman and Novus to name a few. He continues to perform, record and tour.

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Daily Dose Of Jazz…

Tommy Smith was born April 27, 1967 in Edinburgh, Scotland and grew up in Wester Hailes. Encouraged to lean the tenor saxophone from age 12, by sixteen he had a scholarship to Berklee College of Music. While at Berklee he formed his first group ”Forward Motion” with Laszlo Gardony, Ian Froman and Tene Gewelt and joined Gary Burton’s group.

During his tenure with Burton at age eighteen he toured and recorded “Whiz Kids”, worked in jazz groups and big bands, and has recorded and toured with world-renowned jazz musicians including Joe Lovano, David Liebman, Benny Golson, Joe Locke, Chick Corea, Tommy Flanagan, John Scofield, Joanne Brackeen, Jack DeJohnette and Kenny Wheeler to name a few.

He has recorded twenty-three albums as a leader Hep, GFM, Linn, Blue Note and his own record label Spartacus and since the late-1980s and the musical director and driving force behind the Scottish National Jazz Orchestra and his own Youth Jazz Orchestra.

He has composed for and performed with classical orchestras and ensembles including the Orchestra of St. John’s Square, the Scottish Ensemble, the Edinburgh Youth Orchestra, BBC Symphony Orchestra and the Scottish National Jazz Orchestra. His work in jazz education has him presenting master classes all over the world, teaching at Broughton High School, Napier University and created the curriculum for the National Jazz institute and is Artistic Director of a new conservatoire-level course in jazz at the Royal Scottish Academy of Music and Drama. He continues to perform, record and tour.

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Requisites

Open Sesame ~ Freddie Hubbard | By Eddie Carter

I’ve been a huge Freddie Hubbard fan since I was ten years old, and he’s always been one of my favorite trumpet players. It was while listening to a few of his albums that the inspiration for this morning’s discussion was born. Submitted for your consideration is his first release as a leader, a 1960 release, Open Sesame (Blue Note BLP4040/BST 84040). Freddie was 22 years old when he recorded it, and he’s joined by an excellent ensemble: Tina Brooks on tenor saxophone, McCoy Tyner on piano, Sam Jones on bass, and Clifford Jarvis on drums. The copy I own is the 1999 Classic Records U.S. stereo audiophile reissue sharing the original catalog number.

The title tune, Open Sesame by Tina Brooks, gets the first side off to a good start with the rhythm section’s intro to the quintet’s lively theme. Freddie launches into the first solo with vigorous zest. Tina follows him into the second statement enthusiastically, then McCoy explores the third reading at a consistently high level before the group reassembles for the closing chorus and ending. But Beautiful by Jimmy Van Heusen and Johnny Burke is a pretty ballad whose gentle melody begins with Freddie leading the group. Brooks starts the first solo gracefully, then Tyner continues with a wonderfully rich interpretation. Hubbard shares the song’s final elegant reflection, leading to the ensemble’s reprise and tender close.

Gypsy Blue by Tina Brooks is a medium blues that the quintet brings to life with an easygoing melody. Tina starts the opening solo at an unhurried pace, then Freddie takes over, giving a soulful interpretation. McCoy follows, feeding fresh ideas into the third statement, and Sam takes a carefree walk toward the ensemble’s restatement of the theme and fadeout. Tyner’s introduction sets the stage for the group’s speedy melody of All or Nothing at All by Arthur Altman and Jack Lawrence. Hubbard flies swiftly out of the gate first, then Brooks swings to perfection next. Tyner follows with a spirited statement, and Hubbard and Jarvis share a short exchange preceding the group’s return to the theme.

The trio’s bluesy introduction segues to the ensemble’s relaxed theme, One Mint Julep by Rudolph Toombs. Tina opens with a laid-back swing as comfortable as a favorite outfit. Freddie follows, demonstrating great poise and precision in every note. McCoy then steps into the spotlight for a few easy, flowing lines before the theme returns and the song fades out. The closer is a toe-tapper original by Freddie Hubbard, Hub’s Nub. After the sextet establishes the theme, Freddie takes the lead and constructs a joyous interpretation. Tina is right on his heels with a sprightly statement, and McCoy gets the last word before the theme’s reprise and fadeout.

The original session was produced by Alfred Lion, with Rudy Van Gelder at the controls. The Classic Records audiophile edition was expertly remastered by Bernie Grundman, delivering exceptional audio quality and an outstanding soundstage that places the musicians right in your listening room. Pressed on 180-gram vinyl, the record is perfectly quiet until the music fills the room. Fans of Freddie Hubbard’s Blue Note releases will find this album essential for their library. Open Sesame is a remarkable showcase of musicianship, and this album marks the beginning of a remarkable career. It’s also a title I’m proud to own and wholeheartedly recommend for your shelves!

~ But Beautiful – Source: JazzStandards.com ~ All or Nothing at All – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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Daily Dose Of Jazz…

Herman Foster was born on April 26, 1928 in Philadelphia, Pennsylvania and began his musical career before age ten playing the violin, clarinet, saxophone, and piano. A self-taught pianist, Foster created a distinguished earthy sound. When his family moved to New York City in 1947, Herman began to attend jam sessions and then played with Eric Dixon, Dick Carter and the big band of Herb Jones.

His success came when he met Lou Donaldson and the two played together for thirteen years from 1953 to 1966. During the 1950s he worked with King Curtis, Bill English and Seldon Powell, in the 1960s with Al Casey, in addition to playing with his own trio over the next decade. He returned to work in Donaldson’s quartet in the 1980s.

He released four records as a leader for Epic, Argo and Timeless Records and as a sideman recorded nineteen albums with Lou Donaldson, Gloria Lynne, Johnny Hartman, Hisayo Tominaga, George V. Johnson Jr., Joan Shaw, Al Casey and King Curtis.

On April 3, 1999, bebop pianist Herman Foster passed away in New York City.

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Daily Dose Of Jazz…

Harry Miller was born Harold Simon Miller on April 25, 1941 in Cape Town, West Cape, South Africa. He began his career as a bassist with Manfred Mann, and settled in London. He became a central figure in the mixture of South-African township music and free jazz, which became dynamic on the London scene at the end of the Sixties and into the Seventies.

Miller recorded frequently with musicians such as Mike Westbrook, Chris McGregor, John Surnam, Mike Cooper, Louis Moholo, Keith Tippett and Elton Dean. He found work as a session player and appeared on the 1971 album Islands by the progressive rock band, King Crimson. For economic reasons at the end of the 1970s he moved to the Netherlands, working with musicians of Willem Breuker’s circle.

He recorded five albums between 1972 and 1983 for Cuneiform, Reel Recordings, and his Ogun Records that he founded with his wife Hazel Miller. The label was vital for documenting that period, and is still active today.

Bassist Harry Miller passed away on December 16, 1983, in the Netherlands.

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