Daily Dose Of Jazz…

Howard Riley was born on John Howard Riley on February 16, 1943  in Huddersfield, Yorkshire, England. He began learning the piano at the age of six and started playing jazz as early as the age of 13. He studied at the University of Wales from 1961 to 1966, then Indiana University, and finishing up at York University in 1970). While studying he played jazz professionally, with Evan Parker (1966) and then with his own trio (1967–76), with Barry Guy on bass and Alan Jackson, Jon Hiseman, and Tony Oxley for periods on drums.

He worked with John McLaughlin in the late Sixties, the London Jazz Composers Orchestra and Oxley’s ensemble through the Seventies to 1981. He and Guy worked in a trio with Phil Wachsmann from 1976 well into the 1980s and played solo piano throughout North America and Europe. He played in a quartet, with Guy, Trevor Watts, and John Stevens, did duo work with Keith Tippett, with Jaki Byard, and with Elton Dean. From 1985 he worked in a trio with Jeff Clyne and Tony Levin.

Pianist and composer Howard Riley who worked in jazz and experimental music idioms continues to teach at the Guildhall School of Music and Drama and Goldsmiths, University of London, where he has taught since the 1970s.

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Requisites

Monday Night at Birdland is a live album that was recorded on April 21, 1958 at Birdland in New York City and released by the Roulette label.

Track Listing | 46:00

1. Introduction by Symphony Sid – 0:09
2. Walkin’ (Richard Carpenter) – 12:26
3. All the Things You Are (Jerome Kern, Oscar Hammerstein II) – 11:27
4. Bag’s Groove (Milt Jackson) – 12:29
5. There Will Never Be Another You (Harry Warren, Mack Gordon) – 9:29

• Hank Mobley, Billy Root – tenor saxophone
• Lee Morgan – trumpet
• Curtis Fuller – trombone
• Ray Bryant – piano
• Tommy Bryant – bass
• Specs Wright – drums

Monday Night at Birdland | by Eddie Carter

This morning’s subject of discussion takes us to the legendary jazz club Birdland where Monday nights were always special, especially during the fifties and sixties.  Musicians and vocalists who were performing would be off that night and the stage would be given to up and coming jazz artists. Thankfully, Roulette Records was available to record the performance on April 21^st to give jazz fans, Monday Night at Birdland (Roulette R–52015/SR–52015) to enjoy for all who couldn’t be there in person.  The Master of Ceremonies for these weekly jam sessions is the legendary jazz disc jockey, “Symphony Syd” Torin of WBNX in the Bronx, New York; WHOM in Jersey City, New Jersey, and WWRL, WMCA and WJZ in New York City.  Syd announces all the tunes on the album and has a brief comment after three of them conclude. The stars of this set are Lee Morgan on trumpet; Curtis Fuller on trombone; Hank Mobley, Billy Root on tenor sax; Ray Bryant on piano; Tommy Bryant on bass and “Specs” Wright on drums.  My copy used in this report is the 1988 Spanish Mono reissue (FSR-631) by Fresh Sound Records.

Symphony Syd starts the first side with the song’s introduction; the septet then launches Walkin’ by Richard Carpenter.  The trio opens the song evolving into the ensemble’s collective melody. Hank takes the spotlight first wailing enthusiastically followed by Lee who picks up the pace with a bright tone and feisty phrasing.  Curtis takes the reins next with a considerable zest for a rousing performance, Ray solos with evident delight in the next reading. “Specs” takes the final scintillating statement in exchange with the front line for a robust finish into the closing chorus and climax.  The septet eases the throttle back for the 1939 standard, All The Things You Are by Jerome Kern and Oscar Hammerstein II. Fuller cooks at an easy groove on the opening melody, then infuses the lead solo with a lively simplicity and splendor. Mobley makes his presence felt on a brisk interpretation next, then Morgan illustrates his assured mastery on the trumpet with an engaging performance.  Root takes his first solo next, giving an exquisite statement that fits the ensemble’s artistic temperament with a superb reading. Bryant ends with a short solo that’s profoundly moving before the collective reprise and coda.

Side Two opens with Milt Jackson’s contemporary classic, Bags’ Groove; it was written in 1952 and made its debut on Wizard of The Vibes (Blue Note LP 5011), released that year.  After a collective theme treatment, Lee is up first, combining lyricism and emotion for a charming lead solo. Curtis soars joyously on the next statement, then comes Hank who takes the next reading with a solid rock-steady rhythm from beginning to end.  Billy steps up next for a captivating performance unleashing red-hot notes from his horn and Ray glows brilliantly on the final spot ahead of the out-chorus and ovation. The set ends with an invigorating finale, There Will Never Be Another You by Harry Warren and Mack Gordon, originally written in 1942 and appearing in the musical film, Iceland.  The propulsive power of Wright’s drums brings the song to life leading to the speedy melody. Mobley accelerates to race car speed on the opening statement and never decelerates. Root’s tenor sax is an adrenaline rush on the next scintillating solo, followed by Morgan who also gives a spectacular exhibition. Fuller pulls no punches with a buoyant, effervescent interpretation next and Bryant shows he’s a fierce and fervid performer on the closer before the closing chorus and appreciative applause from the crowd.

Monday Night at Birdland was produced by Rudy Traylor, who’s also an arranger, jazz drummer, pianist, and vibraphonist.  The sound quality of the album is quite good throughout, and Hank Mobley, Billy Root, Lee Morgan, Curtis Fuller, Ray Bryant, Tommy Bryant, and “Specs” Wright offer the listener the very essence of live jazz.  In fact, there’s only one noticeable defect, on Symphony Syd’s introduction of Walkin’, his microphone has a little harshness. I don’t know if this appears on the original album or is exclusive to this LP. I’ll admit, I’m not that familiar with Fresh Sound Records, and don’t know if they’re in that group of European labels like DOL, Doxy, Jazz Wax, Jazz Workshop, Wax Time, etc.  However, I’m pretty impressed with what I’ve heard on this particular reissue and the performances are worth the price of admission for me to invite you to seek a copy of Monday Night at Birdland to check out for yourselves and form your own opinion!

~ All The Things You Are, There Will Never Be Another You – Source: JazzStandards.com ~ Bags’ Groove – Source: Wikipedia.org ~ © 2020 by Edward Thomas Carter

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Daily Dose Of Jazz…

On February 8, 1947 Kerrie Agnes Biddell was born in the inner-city community of Kings Cross in Sydney, New South Wales, Australia. An only child two pianist parents, her mother an accomplished jazz pianist and her father a part-time pianist, she attended St. Vincent’s Convent at the age of six, soon after her father left her mother. In 1962, she suffered a collapsed lung and rheumatoid arthritis, the latter of which affected her piano playing, so she decided to become a singer.

At twenty, Kerrie sang background vocals for Dusty Springfield and impressed, Springfield suggested she become a lead singer. She joined a local band, The Echoes, then in 1968, The Affair. With her added voice the group was able to cover various musical styles, such as soul, funk, and pop compositions. In 1969, they competed and won the national competition Hoadley’s Battle of the Sounds in the vocal-group category. The prize was a trip to London, England, the group relocated in mid-1970, only to disband months later. Before disbanding, they recorded Sly and the Family Stone’s Sing a Simple Song, which would become one of Biddell’s signature songs.

Returning to Australia she toured with the Daly-Wilson Big Band, performing swing music. In between her stint with Wilson, she toured with Dudley Moore, Cilla Black, and Buddy Rich. In 1972, married to former alto saxophonist for Sounds Incorporated David Glyde, they moved to Canada and her career as a session singer began soon after. She and her husband toured in the United States, including clubs in Las Vegas. Offered a three-year six-figure contract with the MGM Grand Hotel and Casino, but declined and moved back to Australia, enrolling in the Sydney Conservatorium of Music.

Moving on to a solo career, her first album won two ARIA awards, she sang on hundreds of jingles, television shows and film scores, and joined the faculty of the Jazz Diploma course at the Conservatorium. She wrote a one-woman show, Legends, which later included June Bronhill, Lorrae Desmond, Toni Lamond, and Jeanne Little. In 2001, due to poor health, she retired from performing but continued her teaching career. On 4 September 2014, jazz and session singer and vocal teacher Kerrie Biddell passed away from a stroke on September 5, 2014. She was 67.

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Daily Dose Of Jazz…

Chris Biscoe was born on February 5, 1947, in Pensford, Somerset, England and in 1963 taught himself to play alto saxophone and then started playing tenor, soprano, baritone, and also comparatively rare alto clarinet. Before he became a notable presence on the UK Jazz scene, he was a computer programmer.

From 1970 to 1973 Biscoe played with National Youth Jazz Orchestra in London, doing gigs with various other London-based bands of that period, including Redbrass. He worked with several notable jazz musicians during the Seventies such as Harry Beckett, Ken Hyder, Didier Levallet, Chris McGregor, Andy Sheppard, Graham Collier, Danilo Terenzi, Pete Hurt, Tommy Chase, Pete Saberton, Barry Guy, Dave Holdsworth, and Pete Jacobsen.

In 1979, Chris had a long-term association with Mike Westbrook touring throughout Europe and playing international festivals in Australia, Singapore, Hong Kong, Canada and the USA. In the same year, he also formed a quartet featuring Peter Jacobsen, expanded to a quintet in 1980, a sextet in 1986, and reformed as a quartet in 1987. During the Eighties he also recorded two albums.

During the late 1980s and 1990s, Biscoe toured and recorded with George Russell, Andy Sheppard, Liam Noble, Gail Thompson’s Jazz Africa, Harry Beckett, and also played in France with Didier Levallet’s groups and the collective band called Zhivaro. In 1991, he released a second cassette, Modern Alarms, and also recorded in the Dedication Orchestra in the Spirits Rejoice project.

Between 1997 and 2000, he became the first English musician to join the Orchestre National de Jazz. Multi-instrumentalist Chris Biscoe plays the alto, soprano, tenor and baritone saxophone, the alto clarinet, piccolo, and flute and continues to play and record.

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Requisites

You Get More Bounce with Curtis Counce! is a studio album by bassist Curtis Counce recorded on October 8 & 15, 1956, April 27, May 13 and September 3, 1957, at Contemporary Studios in Los Angeles, California and subsequently released on the Contemporary Records label. The music falls somewhere between hard bop and cool jazz and Counce contributed two original compositions to the recording, Complete and Counceltation. The producer for the sessions was Lester Koenig.

Track Listing | 44:39 All compositions by Curtis Counce except as indicated

1. Complete ~ 5:51
2. How Deep Is the Ocean? (Irving Berlin) ~ 6:35
3. Too Close for Comfort (Jerry Bock, Larry Holofcener, George David Weiss) ~ 5:36
4. Mean to Me (Fred E. Ahlert, Roy Turk) ~ 4:31
5. Stranger in Paradise (Alexander Borodin, George Forrest, Robert Wright) ~ 7:03
6. Counceltation ~ 6:01
7. Big Foot (Charlie Parker) ~ 9:02

• Curtis Counce ~ bass
• Jack Sheldon ~ trumpet
• Harold Land ~ tenor saxophone
• Carl Perkins ~ piano
• Frank Butler ~ drums

You Get More Bounce With Curtis Counce | by Eddie Carter

Simply stated, this is a superb album by bassist Curtis Counce and his quintet. Counce’s group was one of the better and more resilient bands on the West Coast during the late fifties. As a cohesive unit, the quintet’s interaction throughout the album delivers handsomely on the seven selections that make up this enjoyable set. The album opener is Counce’s Complete which begins with an impressive discussion between the rhythm section ahead of the melody. How Deep Is The Ocean? Is the ageless 1932 standard by Irving Berlin is a perfect vehicle for an affectionate performance by Land who adapts the song as easily as if it was originally created for jazz with a breathtakingly beautiful tenor sax reading of the melody and lead solo, anchored by Sheldon’s imaginative lyricism in support. Too Close For Comfort, the 1956 popular song by Jerry Bock, Larry Holofcener and George Weiss began life on Broadway in the musical production of Mr. Wonderful that year and has been recorded by an A-list of musicians and vocalists too numerous to mention. The 1929 popular song, Mean To Me by Fred Ahlert and Roy Turk has long been praised by critics as a “head of the class” standard for jazz musicians and vocalists to improvise.

Side Two opens with a bop-flavored midtempo rendition of Stranger In Paradise, the popular song from the 1953 musical, Kismet, written by Alexander Borodin, George Forrest, and Robert Wright. Counceltation, the second original by Counce and the title of the 1972 reissue of this album, due in part to the “original cheesecake cover” which enough people found offensive enough for Contemporary Records to replace it with a photo of the artist and his bass in an outdoor setting. The quintet returns to hard-bop on the album’s closer, Big Foot by Charlie Parker which gives everyone a chance to speak their piece on a lively joyride.

If you already own this album you know what to do. If you’re adding it to your collection, place the record on the turntable, drop the stylus, or slide the cd in the drive, crack open your favorite beverage, sit back and settle in to enjoy seven of the best sounding jazz cuts by The Curtis Counce Group that are spontaneous, soulful swinging at its best!

Source: Jazztracks by Eddie Carter | Excerpt: 1/2019 | atlantaaudioclub.org

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