On The Bookshelf…
The Story Of Jazz | Marshall W. Stearns
Beginning with the African musical heritage and its fusion with European forms in America, Marshall Stearns’s history of jazz guides the reader through work songs, spirituls, ragtime, and the blues, to the birth of jazz in New Orleans, Louisiana and its adoption through the Great Migration by St Louis, Chicago, Kansas City, and New York.
The effect of jazz upon American culture and the American character has been all pervasive. This superlative history is the first and the most renowned systematic outline of the evolution of this Black American musical phenomenon. The book follows its course through the era of swing and bop to the beginnings of rock in the 50s, vividly depicting the great innovators, and covering such technical elements as the music’s form and structure.
The Story Of Jazz: 1956 | Marshall W. Stearns Oxford University Press
Daily Dose Of Jazz…
Lucy Galliher was born in Washington, D.C. on November 11, 1954. He graduated from Maret High School, received her BA in Music from Oberlin College and received a National Endowment for the Arts grant to study jazz piano with Joanne Brackeen. She went on to study at BMI Jazz Composer’s Workshop with Manny Albam, Roger Kellaway, Jim McNeely and also studied piano with Art Lande, Mark Levine, Barry Harris, and Hansi Alt.
She is on the faculty of Brooklyn-Queens Conservatory of Music and the Greenwich House Music School. She has held the position of East Coast Editor of Jazz Now Magazine, has performed on Broadway, cruise ships, recorded albums, and performed live in a variety of settings.
Pianist Lucy Galliher, who currently is an online Jazz Reviewer, continues to perform and record.
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Daily Dose Of Jazz…
Gerry Brown was born on November 9, 1951 in Philadelphia, Pennsylvania. He began playing the drums at the age of five and played with soul groups and played in high school with bassist John Lee, with whom he attended music academy in 1970.
In 1971, he moved to New York City where he played with Lionel Hampton. In 1972 he moved to the Netherlands with Lee to join Chris Hinze’s rock jazz group. They recorded a series of albums in the 1970s. Alongside Lee, he also worked for Jasper van ‘t Hof, Toto Blanke, Charlie Mariano, Eef Albers and Gary Bartz mid-decade. Subsequently, they were members of Larry Coryell’s The Eleventh House for two years; Brown also played for Stanley Clarke and Chick Corea. In 1979, he accompanied Didier Lockwood at the Montreux Jazz Festival.
Settling in Berlin, Germany for some time in 1982 and worked with George Gruntz, with Joachim Kühn, and with Chris Beckers, Herb Geller, Anne Haigis and Kraan until he returned to the United States. As a sideman Gerry has worked with including ones with George Benson, Michał Urbaniak, Urszula Dudziak, Marcus Miller, Lionel Richie, Sonny Fortune, Alphonso Johnson, Roberta Flack, Joe Sample, Tom Harrell, Dave Samuels, and Chuck Loeb, among others.
Drummer Gerry Brown continues to perform and record.
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Daily Dose OF Jazz…
Quinten H. “Rocky” White Jr. was born in 1952 in Hays, Texas near San Marcos. When he was a child, the family moved to Houston. Graduating from San Jacinto High School, where he began playing drums, he attended Texas Southern University and played in the school jazz band. In 1970 he married his high school sweetheart, Erma Green.
While at TSU he met Barrie Hall, who in 1973 joined the Ellington orchestra. It was about a month later that Ellington told Hall he needed another drummer and asked if he knew of one and he recommended Rocky. Joining the orchestra in the summer of 1973, he was one of the last musicians that Ellington hired before he died in 1974.
Drummer Quinten “Rocky” White Jr., whose last appearance with the orchestra was a performance of sacred music in 2007 at Williams Trace Baptist Church, died from cancer on June 4, 2008 in Houston. He was 56.
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Requisites
Quartet ~ Russ Freeman and Chet Baker | By Eddie Carter
It had been some time since I last enjoyed Russ Freeman’s piano work, so this morning I chose an excellent collaboration featuring him and trumpeter Chet Baker from my library. Quartet (World Pacific Records, PJ-1232) hit the stores in 1957 and was the eleventh album Freeman and Baker recorded together. The album showcases six original tunes alongside two standards, and they are supported by the outstanding rhythm section of Leroy Vinnegar on bass and Shelly Manne on drums. The copy of this album that I own is a King Record Company Japanese mono reissue (Pacific Jazz GFX-3104).
The first side opener, Love Nest by Otto Harbach and Louis A. Hirsch begins at a brisk pace, with Chet on muted trumpet during the lively melody, which continues into a spirited opening statement. Russ gets the next nod and delivers an energetic reading. Leroy follows up with a swinging interpretation, then Chet and Shelly engage in a brief exchange before the closing chorus returns. Fan Tan, the first of six originals by Russ Freeman, slows the pace to midtempo for the quartet’s theme. Freeman is afforded plenty of room to shape his phrases in the opening statement. Baker is back on the open horn and maintains a laid-back vibe as he effortlessly swings to the closing chorus and ending.
Summer Sketch begins with a gentle piano introduction. Chet Baker’s trumpet playing throughout the track is both poetic and tender, with each note radiating romantic beauty, softly guiding the group to a smooth, unified finish. An Afternoon At Home ends the first side with the rhythm section’s inviting introduction, allowing Baker to glide through the opening chorus at a leisurely, relaxed pace. Freeman’s lead solo is as enjoyable as spending a leisurely afternoon with friends. Then, Vinnegar takes the spotlight next for a captivating solo. Baker has the last word with a charming presentation, before the quartet brings the tune to a satisfying close.
Say When starts Side Two with the quartet’s spirited melody. Chet leads the way with an exciting opening statement. Russ soars into the following presentation, then Shelly swings with great force in a brief, exhilarating closing reading before the theme’s reappearance and the group’s exit. Lush Life by Billy Strayhorn is one of the enduring favorites among jazz standards. The song begins with Freeman’s sensitive introduction, gently segueing to Baker’s rich tone as he introduces the tender theme. The pianist’s solo possesses a sad, reflective beauty, culminating in the trumpeter’s tender and thoughtful finale.
Amblin is a slow blues, introduced by the trio’s soulful introduction, segueing to the leader’s down-home melody. Chet opens with a solo that’s thoughtfully crafted and effortlessly delivered. Russ continues letting each verse glide effortlessly next. Leroy wraps it up with plenty of heart, ahead of the quartet’s theme reprise and climax. Hugo Hurwhey takes off with a short introduction, preceding the ensemble’s upbeat theme. Baker hits an ideal groove in the opening statement. Freeman takes the reins next with a robust reading, then Vinnegar, Manne, and Freeman culminate the solos in a vigorous exchange with Baker, leading to the melody’s restatement and conclusion.
Richard Bock produced Quartet, but the identity of the recording engineer is unidentified. However, this King Record Company reissue possesses outstanding audio quality, with an excellent soundstage that brings the foursome into your listening room with impressive clarity and presence. Whether you’re a Russ Freeman or Chet Baker fan, or are just discovering the discography of either musician, I emphatically recommend and invite you to pick up Quartet on your next trip to the record store. The album is a stellar showcase for both musicians and would make a welcome addition to any jazz library!
~ Lush Life – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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