Daily Dose Of Jazz…

Lynn Baker was born on November 9, 1955 and spent the early years of his life in Salem, Oregon. At seven he started piano lessons and by fifth grade was in band class playing clarinet. While in sixth grade he received his first tenor saxophone and enrolled in summer band program at Morningside Elementary. By seventh grade he was first chair in the junior and high school bands.

During his training he learned many Dixieland tunes that started him on the road to jazz. He would go on to play with McNary High School band and swing choir, and after graduation enrolled at Oregon College of Education (OCE) with the intent of playing and teaching music. He would later transfer to the University of Oregon, return to OCE and eventually enter Mt. Hood Community College’s music program.

After graduation he joined a top 40 band, bought an old Rickenbacker bass and learned some rudimentary bass lines. Post band and teaching privately Baker moved to Los Angeles, California but ended up in Washington teaching in Upward Bound. A Move to Eugene, Oregon put him in the Experimental Jazz Ensemble. He then joined a rock/Latin band and then found his niche as a college educator.

Throughout most of Lynn’s professional career he would teach saxophone, start and direct college bands, form big bands, become director of Jazz Studies, build music programs, playing with several jazz orchestras, an improvising trio culminating in his forming the Lynn Baker Quartet and Quintet. He has performed on several jazz, big band and classical recordings, but finally released his debut album as a leader titled “Azure Intention in 2010. He continues to compose, perform, tour and educate.

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Requisites

Sunny Side Up ~ Lou Donaldson | By Eddie Carter

This morning’s spotlight shines on alto saxophonist Lou Donaldson, who would’ve turned 100 on November 1st. Sunny Side Up (Blue Note BLP 4036/BST 84036) was his seventh release as a leader and hit the U.S. stores in 1961. Musically, it bridges Donaldson’s bebop roots and the blues-soaked hard bop and soul-jazz sound he later became known for. On this album, he’s working with Bill Hardman on trumpet (tracks: A1 to A4, B2, B3); Horace Parlan on piano; Laymon Jackson (A1, A2, A4, B1) and Sam Jones (A3, B2, B3) on bass; and Al Harewood on drums. For this report, I used my 1983 King Records Company Japanese mono reissue (Blue Note BLP 4036-K18P-9236).

The opener, Blues For J.P., by Horace Parlan, begins with an easy swing into the quintet’s theme. Bill’s opening solo is crisply constructed right from the start. Lou continues cooking with a down-home flavor in the second statement. Horace delivers a relaxing reading next, and Laymon takes a short walk, leading to the melody’s restatement and ending. Lou deceptively opens The Man I Love by George and Ira Gershwin slowly before the pace picks up for the group’s upbeat melody. Lou has the first spot this time for a rocking reading. Bill follows the leader with a solo of infectious energy. Horace comfortably digs into the third statement, and the front line shares a short conversation with Al before the song concludes.

Politely by Bill Hardman starts with the group’s theme at a slow, relaxing tempo. Lou gets things going with a solo as comfortable as a walk in the park. Bill glides through the second statement with a model of consistency and execution. Horace wraps things up before the ensemble returns to take the song out. It’s You or No One by Jule Styne and Sammy Cahn is a happy romper that takes off with the quintet’s brisk opening chorus. Lou takes charge on the first solo with an energetic statement. Bill flexes in the second interpretation, and Horace’s fingers get a good workout before the ensemble’s reprise and ending.

Lou Donaldson’s The Truth opens the second side, blending the blues with a spiritual flavor in a quartet showcase. Lou’s opening statement is warm and affectionate as it unfolds. Horace steps into the spotlight next for a short solo that’s hauntingly beautiful until Lou returns for a tender theme restatement and close. Goose Grease reunites the quintet for a medium-tempo melody led by both horns. Lou’s opening solo establishes an engaging rhythmic momentum, then Bill follows the leader with an impressive performance. Horace settles into an easygoing groove, while Sam delivers a terrific closing statement before the ensemble’s reprise and fadeout.

Softly As In A Morning Sunrise by Oscar Hammerstein II and Sigmund Romberg begins with Bill leading the rhythm section on the theme and opening solo. Lou steps up next and puts his personal stamp on a relaxing interpretation, then Horace delights with a soulful statement. Sam walks with well-thought-out ideas before the group takes it out softly. Alfred Lion produced Sunny Side Up, and Rudy Van Gelder recorded it. This King reissue’s sound quality is simply superb, with a dynamic soundstage that brings the musicians to your listening room with stunning fidelity.

For fans of Lou Donaldson who only know his soul-jazz releases and want a terrific alto sax-led album, I invite you to check out Sunny Side Up the next time you’re out record shopping. Lou Donaldson keeps things rocking, and his sidemen deliver in fine style. It’s an album that makes you feel good, rewards repeated listening and is highly recommended for a spot in your jazz library!

~ Softly As In A Morning Sunrise, The Man I Love – Source: JazzStandards.com ~ It’s You or No One – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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Daily Dose Of Jazz…

Chris Connor was born Mary Loutsenhizeron November 8, 1927 in Kansas City, Missouri. Her mother died when she was thirteen and her older sister finished raising her. She studied 8 years through junior and high school and became a proficient clarinetist. She first sang publicly in 1945, performing “Amor” at the Jefferson City Junior College’s graduation.

Having been well received Chris decided to pursue a singing career full-time, initially working around Kansas City. Her first professional job was with the University of Missouri college band. Moving between local bands from 1946–47; in 1948 she moved to New York City, struggled to acquire work, finally becoming a member of the  Claude Thornhill ’s vocal group “The Snowflakes”. During her time with the Snowflakes, Connor recorded “There’s A Small Hotel” and “I Don’t Know Why”. She joined Jerry Wald’s big band and recorded more prolifically with songs like “Cherokee” and “Pennies From Heaven”.

Nearing one of her sporadic engagement departures June Christy recommended Connor to  Stan Kenton and subsequent recording of Jeepers Creepers, If I Should Lose You, I Get A Kick Out Of You and All About Ronnie, which would become her signature song. Tired of touring by 1953 she left Kenton, she returned to New York, found a manager who got her work at Birdland that eventually landed her a recording contract at Bethlehem Records. Her solo career took flight and a succession of successful albums followed. She moved to much bigger Atlantic label, becoming the first white female signed. She worked with such jazz musicians like  Ralph Burns, Ralph Sharon, Richard Wess, Jimmy Jones, Al Cohn, Don Sebesky, Maynard Ferguson, Oscar Pettiford and others.

Chris had a long and prolific career through the Sixties and Seventies recording for FM, ABC, Paramount, JVC, Stanyan, Sony Japan, Progressive and Japanese Lobster Record labels. She made her final two recordings in the early 2000s for HighNote Records. Vocalist Chris Connor died on August 29, 2009, from cancer at age 81.

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Daily Dose Of Jazz…

Howard Rumsey was born on November 7, 1917 in Brawley, California and first began playing the piano, followed by the drums and finally the bass. After jobs with Vido Musso and Johnnie Davis, he became part of Stan Kenton‘s first band. After an argument ensued he left Kenton and played with Charlie Barnet and Barney Bigard before taking a short hiatus from music.

Upon his return Howard hit the Los Angeles jazz scene and formed the Lighthouse All-Stars. For most of the 1950s this group played each Sunday at the Lighthouse Cafe in Hermosa Beach. During its lifetime, the Lighthouse All-Stars were one of the primary modern jazz institutions on the West Coast that provided a home for many Los Angeles musicians. He opened his debut show on May 29, 1949 to immediate success.

Rumsey employed in the first Lighthouse All-Stars group the Los Angeles musicians who had been a part of the Central Avenue scene in the 1940s, including Richie Kamuca, Rolf Ericson, Bud Shank, Bob Cooper, Shorty Rogers, Jimmy Giuffre, Hampton Hawes, Shelly Manne, Herb Geller, Stan Levey, Max Roach, Chet Baker, Russ Freeman, Sonny Clarke, Conte Candoli, Pepper Adams, Barney Kessel,and Frank Rosolino among others. His second band featured a new wave of players, Jimmy Giuffre, Shorty Rogers, and Shelly Manne. The success of this group soon had them recording for Les Koenig’s Contemporary Records. This contract expanded to include many of the members of the group leading sessions for this same label, such as Art Pepper and Stan Getz.

This third edition of the Lighthouse All-Stars included Bud Shank, Bob Cooper, Rolf Ericsson and Max Roach. This band took part in a historic recording in 1953 that featured both Chet Baker and Miles Davis, along with Russ Freeman and Lorraine Geller.

Various editions of the band hosted other players until the early Sixties when jazz interest faded in Los Angeles, but during its heyday some seventy-five musicians came through their ranks until the group eventually dissolved. From 1971 to 1985 he owned and operated the 200 seat club Concerts by the Sea in Redondo Beach, California.In 2005 the film Jazz on the West Coast: The Lighthouse was released about the group. Double-bassist Howard Rumsey passed away on July 15, 2015 from complications of pneumonia in Newport Beach, California, at the age of 96. 

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Daily Dose Of Jazz…

Francy Boland was born François Boland on November 6, 1929 in Namur, Belgium. He first gained notice in 1949 and worked with Belgian jazz greats like Bobby Jaspar. In 1955 he joined Chet Baker’s quintet before moving to the US where he began arranging for Count Basie, Benny Goodman , Woody Herman and Dizzy Gillespie.

Boland set up an octet with drummer Kenny Clarke before returning to Europe and becoming Kurt Edelhagen’s chief arranger. In 1961, based around a rhythm section featuring Clarke, Jimmy Woode and himself, he founded Kenny Clarke/Francy Boland Big Band, which rapidly became one of the most noted Big Bands assembled outside the United States. A decade later in 1972 the band broke up and he mainly concentrated on composing.

Francy primarily lived in Switzerland, from 1976 wrote musical arrangements for Sarah Vaughan among others, and played as a sideman with Johnny Griffin. He was also part of One World One Peace, an effort involving Pope John Paul II. He recorded some three-dozen albums and Carola covered his song “Just Give Me Time” in 1966,

Belgian composer and pianist Francy Boland passed away on August 12, 2005 in Geneva, Switzerland.

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