Jazz In Film
Quicksand: 1950 film directed by Irving Pichel that starred Mickey Rooney, Jeanne Cagney and Barbara Bates relates the story of an auto mechanic who after borrowing $20 from his employer’s cash register, is plunged into a series of increasingly disastrous circumstances which rapidly spiral out of his control.
Appearances by Red Nichols and his band.
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Daily Dose Of Jazz…
Billy Harper was born on January 17, 1943 in Houston, Texas and by the age of 5 was singing both choral and solo at secular and sacred events. By 14 while attending Worthing High School, he formed his first Billy Harper Quintet. Graduating cum laude he studied saxophone and music theory at North Texas State University and was a member of their big band, winning first prize at the 1965 Kansas Jazz Festival.
The Coltrane-influenced tenor moved to New York the next year and attracted the attention of more than a few jazz greats playing with Art Blakey for two years, then Elvin Jones, Thad Jones/Mel Lewis Orchestra, Max Roach, Randy Weston and Gil Evans into the Seventies. During this period he toured Africa, Europe, Japan and the U.S. with these groups as well as his own quintet.
His distinctive sound can be heard on an impressive list of recordings such as the 1973 seminal black consciousness album “Capra Black” that fused the avant-garde with gospel and his 1976 “Black Saint” that not only launched the Italian label of the same name but exploded Harper onto the international jazz scene. He has recorded more than twenty albums and has also worked with Bobbi Humphrey, Lee Morgan and McCoy Tyner and most of his later sessions have been on the Steeplechase and Evidence labels.
As an educator and lecturer he has taught at Livingston College, Rutgers University and The New School of Jazz and Contemporary Music, has received numerous grants and awards and currently tours around the world.
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Daily Dose Of Jazz…
Baikida Carroll was born on January 15, 1947 in St. Louis, Missouri, the son of tenor saxophonist Jimmy Harris. He spent his teens playing trumpet in the high school band with fellow band member Donny Hathaway and studying theory with mentor Vernon Nashville. As a member of the All-City Jazz Band, he first met and played with Lester Bowie, J.D. Parran and James Jabbo Ware.
Carroll went on to study at Southern Illinois University and the Armed Forces School of Music early in his career. Following this he became a member of the Black Artists Group in St. Louis, where he directed their free jazz ensemble. This group recorded in Europe in the 1970s.
During the Seventies the group would record in Europe, he would play with Albert King, Little Milton, Fontella bass and Tina Turner, and take master classes with Oliver Nelson, Thad Jones, Ron Carter, Mel Lewis, Phil Woods and Roland Hanna.
Carroll recorded four albums as a leader and over thirty as a sideman working with the likes as Sam Rivers, Steve Weisberg, Carla Bley, Steve Lacy, Anthony Braxton, Graham Parker, Oliver Lake, Nana Vasconcelos, Jack Dejohnette, Hamiett Bluiett, Howard Johnson, Jay McShann, Muhal Richard Abrams, Julius Hemphill and the Human Arts Ensemble among others.
Baikida also has an impressive list of credits in theatre working with the Mighty Gents, Cat On A Hot Tin Roof, The House of Bernarda Alba, Coontown Bicentennial Memorial Services and Have Our Say. He has been the recipient of several fellowships and awards and has sat on numerous boards pertaining to music and the arts.
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Daily Dose Of Jazz…
Chris Laurence: A Master Bassist Bridging Classical and Jazz Worlds
Born in the heart of London on January 6, 1949, Chris Laurence grew up in a city where musical boundaries have always been meant to be crossed. As a double bassist, he drew inspiration from an eclectic mix of visionaries—Keith Jarrett’s lyrical piano explorations, Miroslav Vitous’s revolutionary bass work, Tony Coe’s clarinet mastery, and Chick Corea’s fusion innovations. These diverse influences would shape Laurence into one of Britain’s most versatile and sought-after bassists.
A Career of Creative Collaborations
Laurence first gained significant recognition during the 1980s through his work in various innovative trios with the adventurous drummer Tony Oxley. In 1984, he expanded his musical palette further by joining the prestigious London Bach Orchestra—a move that showcased his ability to move fluidly between the worlds of jazz improvisation and classical precision.
His collaborative spirit has led him to work with a remarkable roster of British jazz luminaries: the atmospheric saxophonist John Surman, the powerful tenor voice of Alan Skidmore, the poetic pianist John Taylor, the lyrical trumpeter Kenny Wheeler, and the versatile percussionist Frank Ricotti. Each partnership revealed a different facet of Laurence’s musical personality.
An Extraordinary Session Legacy
As a sideman, Laurence’s discography reads like a who’s who of contemporary music. He has appeared on some twenty-one albums alongside artists as varied as Pink Floyd’s David Gilmour, minimalist composer Michael Nyman, pianist Gordon Beck, saxophonist Elton Dean, and classical guitarist John Williams. His bass lines have graced recordings on virtually every major label—EMI, CBS, Turtle, ECM, Vinyl, MN, Virgin Venture, Ogun, Sony Classical, and Columbia—testament to his universal appeal and adaptability.
Stepping into the Spotlight
After decades of enriching others’ music, Laurence recently stepped forward as a leader, forming the Chris Laurence Quartet and releasing his debut album “New View.” The title itself seems to acknowledge a career spent supporting others’ visions—now, finally, it’s time for his own perspective to take center stage.
For those who know jazz and classical music in Britain, Chris Laurence’s name represents reliability, creativity, and that rare ability to make every note count—whether behind a bandleader or leading his own ensemble.
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