Daily Dose Of Jazz…
Brian Colin Dee was born in London, England on March 21, 1936. He came to prominence in 1959 playing at Ronnie Scott’s Jazz Club in London. At that time he was playing with Lennie Best, Dave Morse and Vic Ash.
He later joined the Jazz Five and played opposite Miles Davis on a nationwide tour and was voted Melody Maker’s ‘New Star of 1960’. Brian also appeared at the Establishment Club in 1962 where his trio played opposite Dudley Moore.
Throughout an uninterrupted career, Dee has played with many jazz musicians, including Ben Webster, Zoot Sims, Al Cohn, Benny Carter, Harry “Sweets” Edison, Eddie “Lockjaw” Davis, Chet Baker, Al Grey, Sonny Stitt, Victor Feldman and Joe Newman.
From the late 1960s onwards, Dee was in demand as a session musician, appearing on many orchestral recordings. Subsequently, he went on to play with the Ted Heath Orchestra, for the last 10 years of its existence and was also a member of Laurie Johnson’s London Big Band.
Renowned as a fine accompanist to singers, Brian has recorded or appeared alongside Bing Crosby, Fred Astaire, Johnny Mercer, Elton John, Peggy Lee, Frankie Laine, Joe Williams, Jimmy Witherspoon, Mark Murphy, Cleo Laine and Annie Ross. He was musical director for Lita Roza, Cilla Black, Rosemary Squires, and Elaine Delmar.
Working with Irving Martin they composed the theme for Return of the Saint. In 1978, their Good Times album was released on Bruton Music BRG 4.
Pianist and musical director Brian Dee, who played organ and/or harmonium on four of Elton John’s early albums, at 87 years old, continues to perform.
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Daily Dose Of Jazz…
Michael Josef Longo was born in Cincinnati, Ohio on March 19, 1937 to parents who had a musical background. His father played bass, his mother played organ at church, and his music training began at a young age. Around four years old he heard Count Basie and Sugar Chile Mike, and the latter led him to begin researching boogie woogie bass lines. His parents took him for formal lessons at the Cincinnati Conservatory of Music at four. He moved to Fort Lauderdale, Florida soon after and by the age of 12, he won a local talent contest.
He received a scholarship from the Ft. Lauderdale Symphony Orchestra in 1955, a Downbeat Hall of Fame Scholarship in 1959 His career began in his father’s band, then Cannonball Adderley helped him get gigs of his own. Their working relationship pre-dated Adderley’s emergence as a band leader, having approached the white teenager to be the pianist at his black church in a town that was largely segregated. This led to recordings with Cannonball in the mid-1950s but he was too young to go to clubs with him. Longo played at Porky’s which was later portrayed in the movie of the same name. He would go on to receive his Bachelor of Music degree from Western Kentucky University.
He was a fan of Oscar Peterson from a young age and he studied with the pianist from 1961 to 1962. He received a National Endowment for the Arts Grant in 1972. During the 1960s he began to lead the Mike Longo Trio, which would remain active for the next 42 years. He would go on to play with Roy Eldridge, Paul Chambers and Dizzy Gillespie, who first heard him playing with Red Allen at the Metropole. He would become musical director for the Dizzy Gillespie Quintet and later the pianist for the Dizzy Gillespie All-Star Band. From 1966 until 1993 his music career would be linked to Gillespie who he was with on the night he died and later delivered a eulogy at his funeral.
Longo also taught a master class to upcoming jazz musicians, and his big band, the New York State of the Art Jazz Ensemble, would play and provide upcoming musicians a chance to learn on stage. A big part of his mission was to re-establish the apprenticeship relationship in teaching jazz.
He recorded two dozen albums as a leader, four with Dizzy and one with LeeKonitz. In 2002 he was inducted into Western Kentucky University’s Wall of Fame in 2002.
Pianist, composer, educator and author Mike Longo died in Manhattan from complications of Covid~19, three days after his 83 birthday on March 22, 2020.
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Jazz Poems
FALL DOWN in memory of eric dolphy All men are locked in their cells. Though we quake In fist of body Keys rattle, set us free. I remember and wonder why? In fall, in summer; times Will be no more. Journeys End. I remember and wonder why? In the sacred labor of lung Spine and groin, You cease, fly away To what? To autumn, to Winter, to brown leaves, to Wind where no lark sings; yet Through dominion of air, jaw and fire I remember! Eric Dolphy, you swung A beautiful axe. You lived a clean Life. You were young– You died. Calvin Herntonfrom Jazz Poems ~ Selected and Edited by Kevin Young
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Daily Dose Of Jazz…
Herb Bushler was born on March 7, 1939 in New York City and played piano and tuba in his youth before picking up double bass. Classically trained in bass he has performed with symphony orchestras in this capacity.
In 1966 he began a longtime association with ballet and film composer Coleridge-Taylor Perkinson. Herb played with The Fifth Dimension in the 1960s. He worked extensively in jazz idioms in the 1960s and 1970s, including with David Amram, Ted Curson, Blossom Dearie, Tony Williams, and Paul Winter.
He first played with Gil Evans in 1967 and the association would continue on and off until 1981. During the 1970s Bushler recorded sessions with Enrico Rava, Joe Farrell, Ryo Kawasaki, David Sanborn and Harold Vick. He also worked with Dee Dee Bridgewater, Billy Harper, Les McCann, Enrico Rava, Joe Chambers, and Howard Johnson.
Bassist Herb Bushler, whose composition Herbs was recorded by David Sanborn, at 85 years old continues to occasionally play both double bass and electric bass.
Jazz Poems
SNAKE-BLACK SOLO For Louis Armstrong, Steve Cannon, Miles Davis & Eugene Redmond with the music up high boogaloo bass down way way low up & under eye come slidin on in mojoin on in spacin on in on a riff full of rain riffin on in full of rain & pain spacin on in on a sound like coltrane my metaphor is a blues hot pain dealin blues is a blues axin guitar voices whiskey broken niggah deep in the heart is a blues in a glass filled with rain is a blues in the dark slurred voices of straight bourbon is a blues dagger stuck off in the heart of night moanin blike bessie smith is a blues filling up the wings of darkness is a blues & looking through the heart a dream can become a raindrop window to see through can become a window to see through this moment to see yourself hanging around the dark to see through can become a river catching rain feeding time can become a window to see through Quincy Troupefrom Jazz Poems ~ Selected and Edited by Kevin Young
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