Daily Dose Of Jazz…

Jean-Paul Maunick was born February 19, 1957 in Mauritius to poet Edouard Maunick. At the age of nine his family moved to the United Kingdom and learning to play the guitar began his journey in music.

A founding member of the group Light of the World, Maunick formed the British acid jazz band Incognito in 1979 and released his debut album “Jazz Funk” in 1981. Bluey, as he is known to most, has fused funk, R&B, Brazilians rhythms and soul into a sound that has captured and kept the world’s attention. In addition to releasing fourteen studio albums as well as several live albums, remix albums and compilation albums.

His group dynamic has changed over the years as he has brought singers Jocelyn Brown, Carleen Anderson, Tony Momrelle, Imaani, Maysa Leak Kelli Sae of Count Basic and Joy Malcom to take the lead vocal position. His record production credits include artists such as Paul Weller, George Benson, Maxi Priest, and Terry Callier, having also collaborated with Stevie Wonder.

Guitarist, bandleader, composer and record producer Jean Paul Maunick, better known as Bluey, continues to explore new directions in music performing and touring worldwide.

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Tubby Hayes and The Jazz Couriers Featuring Ronnie Scott | By Eddie Carter

This morning’s album from the library is Tubby Hayes and The Jazz Couriers (Tempo TP 15), a 1958 release by a British quintet inspired by Art Blakey and The Jazz Messengers. The group lasted only two years, but in that time, they produced some of the best hard-bop jazz in the United Kingdom. The ensemble on this date consists of Jimmy Deuchar (tracks A1, B3) on trumpet; Tubby Hayes on tenor saxophone and vibraphone (tracks A2 to A4, B3); Ronnie Scott on tenor saxophone; Terry Shannon on piano; Phil Bates on bass; and Bill Eyden on drums. The copy I own is a 1982 U.K. mono reissue (Jasmine JASM 2004).

The album kicks off and wraps up with a quick burst of Sonny Stitt’s The Theme, driven by both saxes and ends as quickly as it starts. The opener is “Through The Night Roared The Overland Express,” by Tubby Hayes. A happy original that opens with a steady beat and splendid work by the ensemble during the melody. Tubby is up first and gives an enthusiastic lead solo, then Jimmy takes a robust turn. Ronnie brings a rush of excitement to the third reading, and Terry swings joyfully before the sextet reunites for the closing chorus. The quintet introduces On A Misty Night, by Tadd Dameron, with a gentle melody. Ronnie embraces the opening solo warmly, then Tubby radiates heartfelt sincerity with his vibes. Terry and Phil share a thoughtful reading of refined elegance that gently leads to a loving finish.

“Plebus, by Tubby Hayes, is dedicated to Tony Hall and shifts the beat to a medium groove, allowing the front line to state the melody. Ronnie takes the lead this time, cruising at a comfortable speed. Tubby’s vibraphone flows effortlessly through the second reading next. Terry keeps the infectious beat going with finesse, followed by Tubby on tenor sax, who has a short say, then both horns engage in a brief exchange ahead of the close. Hank Mobley’s Reunion sets the beat to an uptempo pace for the quintet’s brisk theme, with Hayes on vibes during the opening melody and the out-chorus. Ronnie charges into the lead solo first; next, Tubby delivers a torrent of electrifying notes. Terry follows his colleague with feisty agility, and Bill has a spirited exchange with both horns ahead of the reprise and close.

Oh, My! by Allan Ganley opens Side Two with a lively ensemble theme that conveys the joy and pleasure the horns feel as it unfolds. Tubby launches into the opening solo vigorously. Terry comes right behind him with a spirited performance. Ronnie next takes center stage with a series of fiery verses, then both saxophonists share a vibrant finale, leading to the closing chorus. A Foggy Day, by George and Ira Gershwin, begins with a tender melody led by the front line. Tubby strolls into the opening solo with a beautifully sincere performance, then Ronnie builds the following statement gently. Terry evokes a warm glow of elegant sincerity next, and Phil takes a delicately intimate walk before the alluring theme returns.

Tubby Hayes’ Royal Ascot takes its name from Ascot Racecourse, and brings back Jimmy Deuchar to the group with Hayes, back on vibes. The infectiously charming tune begins with the ensemble’s lively opening chorus. Tubby is up first with an energetic bounce, then Jimmy responds with an invigorating reading that is sadly over before you know it. Ronnie takes the next spot with a brisk statement, and Terry follows with a swift chorus ahead of the theme’s return. Cheek To Cheek by Irving Berlin takes off at breakneck speed from the ensemble’s melody. Tubby leads off with passionate intensity. Ronnie then delivers a dazzling, high-octane solo. Bill wraps up this exhilarating ride with a fiery conversation between both saxophones, leading to a powerful finish with The Theme’s reprise. 

Tony Hall supervised the initial session, and Bert Steffans and Cyril Windobanks are the talented individuals at the recording console. The sound quality is crisp with an impressive soundstage emerging from your speakers with stunning fidelity. The album recaptures the spirit of hard bop at its best by two of Britain’s top saxophonists, Tubby Hayes and Ronnie Scott, alongside the excellent rhythm section. My only issue with this reissue is Jasmine’s choice to apply a pink filter to the original black-and-white photo of Hayes sitting at the bandstand that Tempo used for the original release. That issue aside, “Tubby Hayes and The Jazz Couriers” is an album that still stands up over six decades later and is well worth adding to your jazz library!

~ A Foggy Day, Cheek To Cheek – Source: JazzStandards.com © 2026 by Edward Thomas Carter

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The Jazz Messengers at The Café Bohemia, Volume 2 | By Eddie Carter

Submitted for your approval this morning, we’re returning to the little jazz club at 15 Barrow Street to see The Jazz Messengers at The Café Bohemia, Volume 2 (Blue Note BLP 1508). Returning to the stage are Kenny Dorham on trumpet, Hank Mobley on tenor saxophone, Horace Silver on piano, Doug Watkins on bass, and Art Blakey on drums. The copy I own is the 1978 King Record Company Japanese mono reissue, sharing the original catalog number. Just as he did to start the evening, Art once again greeted the audience, encouraging any latecomers to settle in and enjoy themselves as The Jazz Messengers got things rolling.

The opening selection, Sporting Crowd, is a lively Hank Mobley original that’s off to the races with Blakey and the rhythm section’s rocking introduction, leading into the ensemble’s swinging, cohesive theme. Kenny kicks off his opening statement with a brass bite in a fiery performance that displays his impeccable chops. Hank launches into a scintillating solo that builds intensity before passing the spotlight to Horace, who impresses in an energetic interpretation. Art has the last word and delivers an electrifying display before the ensemble returns to take the song out.

Art introduces the 1944 jazz standard, Like Someone In Love by Jimmy Van Heusen and Johnny Burke. It first appeared in the film “Belle of the Yukon,” and Blakey would re-record it in 1960, but it remained shelved until 1967, when it was released as the title track of The Jazz Messengers album. The ensemble lovingly honors this beloved tune with a relaxing melody. Kenny retakes the lead, delivering a fine example of delicacy and sensitivity. Hank brings the second solo off in charming style, then Horace wraps up with an easygoing reading before the melody’s reprise and warm applause from the audience.

Art turns the microphone over to Kenny Dorham, who gets the spotlight to himself when he introduces Yesterdays, the beautiful 1933 ballad by Jerome Kern and Otto Harbach. It first appeared in the Broadway musical, “Roberta,” that year and was featured again in the 1935 film. Over the past ninety years, it’s become a beloved jazz standard, cherished and reinterpreted by countless artists. The trumpeter’s performance is a model of thoughtful sensitivity as he delivers a melody of serene beauty. As the song’s only soloist, his interpretation shines with gentle sensitivity, each phrase rendered with graceful elegance and culminating in a thoughtful, reflective conclusion. 

Avila and Tequila by Hank Mobley injects renewed energy into the quintet with an uptempo beat, with Art’s Latin-inspired, lively, lengthy percussive introduction leading into the vigorous melody. Hank launches into a searing opening statement that creates a lot of heat. Kenny follows him closely, keeping the fires burning in a robust performance. Horace continues cooking hard with a brisk interpretation, inspiring Doug and Art to propel the beat to a vibrant, swinging peak. The drummer rounds out the solos with a brisk workout, joined by Mobley, Silver, and Watkins, before the ensemble comes together for the swift reprise and enthusiastic ovation.

The album closes with I Waited For You, a 1946 ballad by Dizzy Gillespie and Gil Fuller that hasn’t been over-recorded. Hank opens with a delicately pretty introduction, leading into Kenny’s heartwarming melody. The trumpeter continues embracing a touch of refined artistry in the opening statement. Hank follows, gently navigating the song’s nostalgic beauty in the following interpretation. Horace provides the song’s exclamation point in a beautifully crafted finale, exquisitely conceived and presented, leading into the quintet’s breathtaking climax and a slow fadeout as the group reprises their theme.

Alfred Lion produced The Jazz Messengers at Café Bohemia, Volume 2, along with its companion, while Rudy Van Gelder took care of the recording during the group’s live performance. The King Japanese mono reissue offers fantastic sound quality—clean and lively. It’s truly a delightful listening experience from The Jazz Messengers, showcasing some of the finest in Hard-Bop, just as its companion does. If you’re new to jazz or a longtime fan of the group, I wholeheartedly recommend adding The Jazz Messengers at Café Bohemia, Volume 2 to your library. It’san album that promises a rich and enjoyable musical journey.

~ Like Someone In Love, Yesterdays – Source: JazzStandards.com © 2026 by Edward Thomas Carter

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Daily Dose Of Jazz…

Jeff “Tain” Watts: The Drummer Who Redefined What’s Possible Behind the Kit
Ever wonder how a classical timpanist becomes one of jazz’s most explosive and innovative drummers? Jeff “Tain” Watts’ journey is the answer—and it’s a masterclass in fearless evolution.

From Orchestral Precision to Jazz Freedom
Born January 20, 1960, Watts started his musical life studying classical percussion at Pittsburgh’s Duquesne University, where he focused primarily on orchestral timpani—all precision, discipline, and controlled power. But then came Berklee College of Music, where everything changed.

Suddenly he was immersed in jazz, studying alongside future stars like Branford Marsalis, guitarist Kevin Eubanks, saxophonist Greg Osby, and even rockers-to-be like Aimee Mann and guitarist Steve Vai, plus fellow drummer Marvin “Smitty” Smith. The competitive, creative energy of that environment was electric, and Watts absorbed it all.

The Marsalis Years Launch a Career
In 1981, Watts joined Wynton Marsalis’ quartet, and the results were immediate and spectacular—three Grammy Awards with that ensemble alone. His drumming was different: polyrhythmic complexity, startling dynamics, classical precision married to jazz swing. He wasn’t just keeping time; he was participating in every conversation happening on the bandstand.

When he left Wynton’s group in 1988, the work kept pouring in: sessions and tours with guitarist George Benson and pianist/vocalist Harry Connick Jr., the thunderous pianist McCoy Tyner. Then in 1989, he joined Branford Marsalis’ quartet, beginning a musical partnership that continues to this day—a relationship built on mutual respect, creative trust, and the kind of telepathic communication that only comes from thousands of hours on stage together.

Hollywood Comes Calling
A three-year Los Angeles stint brought Hollywood into the mix. Watts became the Tonight Show drummer under Jay Leno, bringing jazz sensibility to America’s living rooms every weeknight. Then he stepped in front of the camera as the character Rhythm Jones in Spike Lee’s classic film Mo’ Better Blues. Not many musicians can say they’ve conquered both sides of the entertainment industry with equal authority.

Back to New York, Forward in Music
Returning to New York in 1995, Watts joined saxophonist Kenny Garrett’s powerhouse band while maintaining his connection with Branford and constantly expanding his collaborator list to read like a who’s who of modern jazz: pianist Danilo Pérez, saxophonist Michael Brecker, vocalist Betty Carter, pianist Kenny Kirkland, saxophonist Courtney Pine, pianist Geri Allen, harpist Alice Coltrane, saxophonist Steve Coleman, pianist Gonzalo Rubalcaba, saxophonist Ravi Coltrane, pianist George Cables—the list goes on and on.

The Story Behind “Tain”
Oh, and that nickname “Tain”? Pianist Kenny Kirkland gave it to him while they were touring through Florida, passing a Chieftain gas station. Kirkland started calling him “Chief,” which morphed into “Tain,” and it stuck. Sometimes the best stories are the simplest ones.

A Remarkable Distinction
Watts won a Best Instrumental Solo Grammy in 2010 for “Dark Key Music,” but perhaps his most remarkable distinction is this: he’s the only musician to appear on every single Grammy Award-winning jazz record by both Wynton and Branford Marsalis. That’s not luck—that’s being essential.

Composer and Visionary
As a composer, Watts brings the same creativity and innovation to writing that he does to drumming, contributing most of the original compositions on his own albums as a leader. His music is as thoughtful and complex as his playing—proof that the mind driving those hands is always working, always searching.

Never Standing Still
From classical timpani to redefining modern jazz drumming, from network television to intimate club dates, from sideman to bandleader to composer, Jeff “Tain” Watts proves that the best musicians never stop evolving, never stop pushing boundaries, and never, ever play it safe.

The drums chose him. Classical music trained him. Jazz liberated him. And we’re all the richer for it.

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The Jazz Messengers at The Café Bohemia, Volume 1 | By Eddie Carter

The year 1955 was a remarkable one for Art Blakey, following his group’s performance at Birdland the previous year, which resulted in A Night at Birdland, Volumes 1, 2, and 3. All three releases were a triumph for the drummer, allowing him to establish a lasting band, The Jazz Messengers, which he co-led with Horace Silver. The inaugural lineup showcased some of the era’s brightest rising stars. Kenny Dorham on trumpet, Hank Mobley on tenor saxophone, Horace Silver on piano, and Doug Watkins on bass. The Jazz Messengers at The Café Bohemia, Volume 1 (Blue Note BLP 1507) documents the quintet’s performance at the jazz club on November 23, 1955. The copy I own is the 1978 King Record Company Japanese mono reissue, sharing the original catalog number.

Art greets the audience at the opening of the set, letting them know they’re in for a memorable cooking session, then cheerfully introduces The Jazz Messengers to everyone in attendance. The quintet starts the set with Soft Winds by Benny Goodman and Fred Royal. The song opens smoothly, with the ensemble’s melody at a relaxed pace. Hank leads the way, confidently captivating the audience and delivering each note of the opening statement efficiently. Kenny follows with a charming performance of lively agility, then Horace brings the solos to a rousing finish, ahead of the theme’s restatement and conclusion.

Kenny Dorham not only played trumpet on this album, but he also arranged every song the group performed. The Theme ends the first side on a thrilling note, with Blakey launching the song with a dazzling introduction before the ensemble’s brisk opening chorus. Dorham leads the charge first with surgical precision, then Silver enters next, building on the excitement in a performance that swings with a happy lift. Mobley takes the baton and lays down a fiery groove of intense heat. Silver returns for a second spirited reading, then Blakey delivers a powerful closing statement before the group’s return for the reprise and climax.

The second side kicks off with Kenny Dorham’s Minor’s Holiday, maintaining the high-spirited energy set by the previous tune. Blakey’s vigorous introduction sets the stage for the ensemble’s speedy theme. Dorham is again the first soloist and really cooks, cleverly weaving in hints of Sing, Sing, Sing throughout his performance. Mobley steps up enthusiastically with an energetic reading next. Silver follows with an exhilarating interpretation that races through each line with intense drive. Dorham then trades spirited riffs with Blakey’s speedy workout, culminating in the theme’s reprise and an electrifying finish.

Alone Together, by Arthur Schwartz and Howard Dietz, is a showcase for Hank, who introduces the song and leads the rhythm section in the pensively beautiful melody. As the song’s only soloist, he delivers an enchanting performance of gentle sensitivity ahead of the quartet’s reprise and soft summation. Prince Albert by Kenny Dorham and Max Roach closes the album and opens with a relaxed, inviting ensemble melody. Kenny takes the lead and gives a captivating solo. Hank follows with an easygoing groove that’s velvety smooth. Both horns share a brief dialogue with Art before the theme’s return.

Rudy Van Gelder oversaw the recording duties for this album and the companion volume two, ensuring that those who couldn’t be present at The Café Bohemia that evening could still enjoy an extraordinary listening experience. The reissue’s sound quality is superb, with an exceptional soundstage transporting the listener to the club’s cozy, vibrant atmosphere. The Jazz Messengers at The Café Bohemia, Volume 1 stands as a testament to the quintet’s outstanding performance on that special night. Every solo is inspired, and for those eager to expand their musical tastes, I highly recommend this album as an excellent addition to any jazz enthusiast’s library!

~ A Night at Birdland, Volume 1 (Blue Note BLP 5037), A Night at Birdland, Volume 2 (Blue Note BLP 5038), A Night at Birdland, Volume 3 (Blue Note BLP 5039) – Source: Discogs.com ~ Alone Together – Source: JazzStandards.com © 2026 by Edward Thomas Carter

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