Daily Dose Of Jazz…
David Bryan Benoit was born in Bakersfield, California on August 18, 1953. He studied piano at age 13 with Marya Cressy Wright and continued his training with Abraham Fraser, who was the pianist for Arturo Toscanini. He attended Mira Costa High School and went on to focus on theory and composition at El Camino College, studying orchestration and later took film scoring classes at UCLA. He went on to study music conducting and worked with Jeffrey Schindler, Music Director for the UC Santa Barbara symphony orchestra.
He began his career as a musical director and conductor for Lainie Kazan in 1976, before moving on to similar roles with singer/actresses Ann-Margret and Connie Stevens. His GRP Records debut album, Freedom at Midnight in 1987, led his roster of top ten albums he has released. He has recorded tribute albums to pianist Bill Evans, Peanuts creator Charles Schulz and Leonard Bernstein’s West Side Story. Collaborators included the chorus group Take 6, guitarist Marc Antoine and trumpeter Chris Botti.
Benoit has arranged, conducted, and performed music for Russ Freeman and the Rippingtons, Kenny Loggins, Michael Franks, Patti Austin, Dave Koz, Kenny Rankin, Faith Hill, David Lanz, Cece Winans, David Pack, David Sanborn, The Walt Disney Company and Brian McKnight.
Pianist David Benoit, who has three Grammy nominations, has performed three times at the White House, and has a morning program on jazz radio station KKJZ in Long Beach, California, continues to perform and record..
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Daily Dose Of Jazz…
Ian Davis was born on August 1, 1953 in South Carolina and started drumming at fifteen as an R&B drummer with The Barons, playing gigs on the South Carolina chittlin’ circuit with Earl Davis, George McCauley, Craig Washington, Phil Griffin, and Cool John Ferguson. He played folk and fusion in the Seventies, alt-pop, improvisational, and big band music in the 80’s, and played with Blue Chair, Mind Sirens, Bicentennial Quarters, Trailer Bride, and Chris Stamey/Kirk Ross in the 90’s. He went on to become the host drummer for six years at the Carrboro Arts Center monthly jazz jam.
Moving to the Bay area of San Francisco, California in 1995 Davis played with the Mills College based large improvising ensemble Micro Collective Orchestra along with Scott Rosenberg, Matt Ingalls, Morgan Guberman, Brian Pearson, Brian Kane, and many others. Following his 1997 return to North Carolina he organized the structured improvisational orchestra Micro-East Collective, similar in design to Micro.
He and composer, performer, producer and engineer Chris Stamey have recorded and produced three compact discs for Micro-East. Ian also manages Umbrella Records. He currently plays in improvisational duos with guitarist Jason Bivins, soprano and tenor saxophonist Mahlon Hoard, Onomata, a pulse-based improvising quartet, Unstable Ensemble, a Bloomington based improvisation ensemble, and The Dave Fox Quartet out of Greensboro, North Carolina.
Davis has been invited to play gigs with Eugene Chadbourne, he toured with Andrew Voigt, Morgan Guberman, and Toshi Makihara as part of the music and dance group Corpus Ludens. Drummer Ian Davis continues to record improvisational performers during house concerts sponsored by the Triangle’s Alliance for Improvised Music.
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Daily Dose Of Jazz…
Gordon “Gordy” Johnson was born July 31, 1952 in Minneapolis, Minnesota, and was quickly immersed in the world of music as his father Clifford was in the bass section of the Minnesota Orchestra for 47 years and his mother Thelma taught piano. His main instrument growing up was the flute, however, he also played bass, keyboards and guitar, and sang rock and roll.
Graduating in 1974 from Eastman School of Music at the University of Rochester in New York, Gordy played flute in the Eastman Wind Ensemble and bass in the Eastman Jazz Ensemble, Studio Orchestra and Arrangers Workshop Orchestra.
Johnson spent a year breaking into the New York City music scene often playing with pianist and college classmate Phil Markowitz. In 1975, Gordy hit the road for a three-year stint with the Maynard Ferguson Orchestra, alongside drummer Peter Erskine. World tours followed with Gene Bertoncini, Roy Buchanan, the Paul Winter Consort and Chuck Mangione. He was also busy with studio recordings.
Moving back to the Twin Cities in 1989 where he became one of the most in-demand bass players in town ever since. He has performed, toured and/or recorded with Joanne Brackeen, Herb Ellis, Rosemary Clooney, Scott Hamilton, Michael Johnson, Jay McShann, Dewey Redman, Jim Rotondi, Diane Schuur, Marlena Shaw, Stacey Kent and Toots Thielemans, among others.
Double bassist and bass guitarist Gordy Johnson, who has recorded five albums as a leader and fourteen as a sideman, continues to play an average of 250 gigs a year, which keeps quite busy.
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Daily Dose Of Jazz…
David Silliman was born on July 28, 1960 and raised in the San Francisco, California bay area where he was exposed to a wide variety of music. His first studies were in the classical field, studying snare drum, xylophone and timpani. He was later exposed to Jazz, Latin Jazz, Brazilian and Funk music. His current setup varies from the standard American drum set augmented with a South American cajon, drums from the Middle East, Africa and the Caribbean along with various other percussion instruments.
He hass performed on the stages of European and American jazz festivals, and spent years playing with Blossom Dearie as a member of her trio. He has toured with Al DiMeola, Cassandra Wilson, Leslie Uggams, Mariah Carey, Edmar Castaneda, and performed with Aretha Franklin. He is no stranger to the Broadway pit or the New Jersey Symphony, having sat in the chairs of both.
Drummer and percussionist David Silliman, who has yet to record as a leader, continues to perform.
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Requisites
Patented By Edison ~ The Harry “Sweets” Edison Quintet | By Eddie Carter
Harry “Sweets” Edison was one of the most sought-after musicians in jazz. This morning’s album from the library is a little-known 1960 release titled Patented By Edison (Roulette R-52041/SR-52041) by The Harry “Sweets” Edison Quintet. He was one of the most talented trumpeters of the Swing and hard bop eras, performing with some of the great jazz orchestras. “Sweets” got his nickname from Lester Young and eventually settled on the West Coast to become a successful arranger, composer and musician. On his eleventh date, he assembled a stellar group: Jimmy Forrest (tracks: A1 to A3, A6, B5, B6) on tenor sax, Tommy Flanagan on piano, Tommy Potter on bass, and Elvin Jones on drums. My copy is the 1967 U.S. Stereo reissue.
The album opens with Witchcraft by Cy Coleman and Carolyn Leigh. The rhythm section introduces the tune before the ensemble starts the easy-flowing melody. “Sweets” is on muted trumpet and glides through the song’s only solo with meticulous execution ahead of the reprise and soft ending. Blues Skies by Irving Berlin begins with Jimmy’s brief introduction, setting the tone for the leader taking charge of the beautifully articulated muted theme and a fine solo spot ahead of the saxophonist leading the ensemble out. Confessin’ That I Love You by Doc Daugherty, Ellis Reynolds and Al Nieburg begins with a pleasant presentation by the quintet. “Sweets” shows off his sentimental side in a performance of innocence and loveliness before the close.
Ain’t Misbehavin’ by Harry Brooks, “Fats” Waller, and Andy Razaf was introduced in the 1929 all-black musical revue Hot Chocolates. It became a huge hit among musicians and vocalists. It is a quartet showcase for “Sweets” doing the honors using the mute for the song’s opening chorus and a delightful solo that concludes softly. The first of three creations from Edison’s pen is up next. Candied Sweets is the album’s second quartet presentation beginning with Flanagan’s introduction. “Sweets” unfolds an attractive muted melody anchored by the trio’s gentle groundwork into his opening statement. The pianist complements the leader in a short, relaxing interpretation, leading to his return for the theme’s restatement and a slow dissolve.
The first side closes with They Can’t Take That Away From Me by George, and Ira Gershwin opens with the mute removed for “Sweets” to lead the quintet through the theme. “Sweets” ignites the first solo with an impeccable display of his playing. Flanagan follows him with a short, sparkling statement leading back to the closing chorus and climax. Side Two starts with the mute back on for the album’s third quartet performance, Tea For Two by Vincent Youmans and Irving Caesar. A catchy tune, with the foursome laying down a gorgeous mid-tempo beat for the theme. “Sweets” blends comfortably with the rhythm section’s accompaniment in the song’s only spotlight displaying a marvelous tone into the theme’s reprise and fadeout.
Up next is There Is No Greater Love by Isham Jones and Marty Symes. This gorgeous standard receives a gorgeous treatment beginning with Flanagan’s introduction to a thoughtfully tender melody by “Sweets.” The leader continues with a soft touch of elegance in the first interpretation. Flanagan also adds a dreamlike softness in a short solo preceding the theme’s restatement and climax. Harry Edison’s Twenty–Forty picks up the pace in a swinging quartet showcase. “Sweets” gets things off to a good start during the muted melody and then makes quick work in the opening statement. Potter gets his first opportunity to solo, and he moves sprightly along off the drive of the rhythm section into the ending theme and close.
It’s Easy To Remember (So Hart To Forget) comes from the pen of Richard Rodgers and Lorenz Hart. The rhythm section’s gentle introduction sets the mood for “Sweets,” who handles the muted melody and song’s only solo with so much emotion and sensitivity that it’ll bring tears to your eyes. We’re invited to join the quintet for some Sweetcakes by Harry Edison next. Jimmy is featured in the opening and closing choruses but does not solo. The melody begins with a bluesy beat that might get some fingers popping and toes tapping along. “Sweets” starts the solos with a delightful interpretation that flows with smooth efficiency. Flanagan comes in next to make a concise comment, which wraps everything up nicely ahead of the reprise of the theme.
The album’s final track is Angel Eyes by Matt Dennis and Earl K. Brent. Jimmy introduces the standard alongside the rhythm section before “Sweets” removes the mute to deliver the intimately personal melody. He has the showcase to himself in a beautiful and deeply moving statement that’s romantic and touching into a gorgeous ending. Teddy Reig produced Patented By Edison, and the recording engineer is unknown. However, the album’s sound quality is very good, possessing an excellent soundstage that brings the musicians to the sweet spot in your listening room with stunning fidelity. If you’re a fan of the trumpet, Harry “Sweets” Edison, or enjoy the sound of swing, I offer for your consideration and highly recommend Patented By Edison by The Harry “Sweets” Edison Quintet. It’s an underrated, excellent album by one of jazz’s best trumpet players and shouldn’t be missed on your next record hunt!
~ Ain’t Misbehavin’, Angel Eyes, Blue Skies, Confessin’ That I Love You, It’s Easy To Remember (So Hard To Forget), Tea For Two, There Is No Greater Love, They Can’t Take That Away From Me – Source: JazzStandards.com ~ Witchcraft – Source: Wikipedia.org © 2024 by Edward Thomas Carter
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