Daily Dose Of Jazz…

Joëlle Léandre was born September 12, 1951 in Aix-en-Provence, France on Opera Street across from a theatre. She studied the standard double-bass repertoire intensively in her hometown conservatory and at the Conservatoire National Superieur de Musique de Paris. By her late teens she was subbing in the bass sections of large classical ensembles. Drawn to Paris jazz clubs, she wasn’t involved in the scene because her pizzicato playing off-putting the jazz field’s standard.

Her appreciation of improvisation came from her chance discovery of Bowin’ Swingin’ Slam, by swing bassist Slam Stewart. Around the same time Joëlle received a one-year scholarship to study at the Center for Creative and Performing Arts in Buffalo, New York. Not only was she exposed daily to serious music from composers and travelled to New York to listen to improvisers.

She began her career in the early 1970s when she was still a student at the Conservatoire National Supérieur de Musique in Paris, France. She studied with renowned bassist Jean-Louis Rassinfosse and developed a unique style that fused avant-garde jazz with classical music. In 1974, she formed the ensemble Musica Elettronica Viva with Italian composer and electronic musician Luciano Berio.

Collaborating with many on the avant-garde jazz scene including John Cage, Anthony Braxton, Derek Bailey, Anthony Braxton, George E. Lewis, India Cooke, Steve Lacy, Sylvie Courvoisier, John Zorn and Cecil Taylor, among others. She is also a founding member of the improvising trio Fish Music with saxophonist Evan Parker and drummer Barry Guy. Aside from performing as a soloist, her bands have been trio, quartet configurations.

In 1983 she became a member of the European Women Improvising Group (EWIG), which evolved from the Feminist Improvising Group. In the early 1990s she co-founded the feminist improvising trio Les Diaboliques, with Irène Schweizer and Maggie Nicols.

Double bassist, vocalist, and composer Joëlle Léandre remains active in new music, avant~garde and free improvisation.

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Daily Dose Of Jazz…

Vinnie Cutro was born in New Jersey on September 9, 1953 and received his formal musical training throughout his formative years. He continued his education at New Jersey University, receiving his B.A in Music Education, then got his Masters in Jazz Performance from New York University. He furthered his studies in jazz composition, classical studies, jazz arranging and counterpoint with Dr. Tom Boras and Jim McNeely.

His working education began as a freelance musician in the New York City area. During the past 30 years Vinnie has performed with Horace Silver, Buddy Rich and Lionel Hampton. During his tenure with the latter he performed guest appearances with various American symphonic orchestras.

He has traveled extensively throughout the world appearing at jazz festivals and concerts in Europe, Japan, Africa, Canada, South America and the U.S.A. Cutro’s debut release as a leader, Blues for the Optimist, came in 1995 and featured Bob Mintzer, Jim McNeely, Victor Jones, and Mike Richmond. His sophomore release, Aberration, features guitarist Mike Stern, trombonist Bob Farrel, bassist Martin Wind, Sarah Jane Cion on piano, Victor Jones on drums and pianist Mitch Schechter.

Trumpeter Vinnie Cutro continues to compose, record and perform in the New York City area with his new ensemble New York City Soundscape.

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Requisites

The Final Tour: Copenhagen, March 24, 1960 ~ Miles Davis and John Coltrane | By Eddie Carter

In this morning’s discussion, I’m presenting an album by Miles Davis and John Coltrane from the library for your consideration. The Miles Davis Quintet performed at the distinguished Denmark venue, Tivolis Koncertsal, for the first time as part of The Spring 1960 Jazz at The Philharmonic European Tour. However, changes were on the way, as the album’s title suggests, The Final Tour: Copenhagen, March 24, 1960 (Columbia Legacy 88985498741). It would mark the end of an era as tenor saxophonist John Coltrane was looking to leave and start his group. The rhythm section, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums, would also leave to become The Wynton Kelly Trio.

Despite the underlying questions facing the trumpeter, the quintet’s three performances for the capacity audience that evening were brilliant and a highlight of the tour. To kick things off, Norman Granz, the master of ceremonies, introduced each man individually, with the crowd’s largest ovations reserved for Paul, John, and Miles. My copy is the 2018 European Mono Limited Edition reissue. With a few snaps of the leader’s fingers, the trio kicks off So What by Miles Davis with a short introduction segueing into Miles’ and John’s infectious melody, a captivating tune that immediately draws you in. Davis ignites the first solo with intense heat. John comes in next to dispense a bit of rhythmic fury, and then Wynton infuses the finale with jubilant enthusiasm ahead of the closing chorus and climax.

The pace slows to mid-tempo as the ensemble begins On Green Dolphin Street by Bronislaw Kaper and Ned Washington from the 1947 film Green Dolphin Street. The first part of this standard opens with the theme unfolding at a leisurely pace and Miles, on the muted horn, leading the way into a delightful opening statement. John soars cheerfully into a captivating, well-behaved performance. Part Two of On Green Dolphin Street starts on the second side, with Wynton cruising at a comfortable speed behind both horns in the following interpretation, as smooth as silk. Paul takes his first opportunity to solo with a brisk footnote on the closing statement that swings masterfully into the theme’s return and finale.

All Blues by Miles Davis affords the leader, John, and Wynton ample solo space. Paul gets things off to a good start with a concise introduction, leading to Miles’s carefree theme back on the muted horn. He removes it to begin the opening statement. John follows him with a relaxing interpretation that is as enjoyable as a day at the beach. Wynton sustains the easygoing pace with a gorgeous performance into the ending theme and soft summation. The closer is an incomplete take of Miles’ The Theme, a deliberate choice that signals the end of the set and album, lasting only thirty seconds until it fades to nothingness. The mastering of The Final Tour: Copenhagen, March 24, 1960, by Mark Wilder is a demonstration class and a great way to show off a mid-level or high-end audio system.

The vinyl is exceptionally quiet until the music starts, and the instruments have outstanding detail. This reveals an incredible soundstage with superbly presented music, thanks to jazz producer George Wein, Danish Radio and the Danish Programming Company, who originally recorded the shows for broadcast. This is my first LP from the We Are Vinyl series from Columbia-Legacy, and judging by its superb sound quality, it won’t be the last. If you’re a fan of either of these giants and are looking for a live jazz album where each musician is at the peak of their creativity. In that case, I enthusiastically invite you to check out The Final Tour: Copenhagen, March 24, 1960, by Miles Davis and John Coltrane. It’s an LP that merits serious consideration for any jazz fan’s library, and I am sure you’ll enjoy it!

~ On Green Dolphin Street – Source: JazzStandards.com

© 2024 by Edward Thomas Carter

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Daily Dose Of Jazz…

Wolter Wierbos was born on September 1, 1957 in Holten, Overijssel, Netherlands. Self-taught, he started on a wind instrument in a drum band. He created a unique sound on his trombone and beginning in 1979 he became active in the Dutch creative jazz music scene.

He plays contemporary and improvised music, making excursions to post-punk and toured with various formations throughout Europe, Canada, the US and Asia. Wolter has played with Cumulus, JC Tans & Rockets, Theo Loevendie Quintet, Guus Janssen Septet, Loos, Maarten Altena Ensemble and Podiumtrio. He’s led his own band, Celebration of Difference, and has been involved in theater, dance, television and film projects. He has also played with Henry Threadgill, The Berlin Contemporary Jazz Orchestra, the European Big Band led by Cecil Taylor, the John Carter Project, Mingus Big Band.

Maintaining a solo career he has a running project under the name Wollo’s World, and has recorded on more than 100 compact discs and LPs, has released two solo cds, and a round-trip tour of his horn. The highlight in his career was the Boy Edgar award in 1995 and the Podiumprijs for Jazz and Improvised Music.

Trombonist Wolter Wierbos, who is best known as a member of the ICP Orchestra and is currently performing with Misha Mengelberg’s ICP, the Gerry Hemingway Quintet, Franky Douglas Sunchild and Bik Bent Braam, continues to perform, compose and record.

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Requisites

Funky ~ Gene Ammons All-Stars | By Eddie Carter

Next from the library is a significant 1957 jam session led by tenor saxophonist Gene Ammons with a first-class supporting cast titled Funky (Prestige PRLP 7083). His bandmates on this date are Art Farmer on trumpet, Jackie McLean on alto sax, Mal Waldron on piano, Kenny Burrell on guitar, Doug Watkins on bass, and Art Taylor on drums. My copy is the 1986 U.S. Original Jazz Classics Mono reissue (Prestige OJC-244).

Kenny Burrell’s Funky starts Side One with Doug’s bass intro, developing into the ensemble’s relaxing opening chorus. Gene solos first, making effective use of his mellow tone in a flawless opening statement. Kenny eases into a delightful reading next, complementing the rhythm section perfectly. Jackie cruises methodically into a casually carefree performance by Art, bristling with good feelings. Mal comes in next with a swinging presentation, and then Doug closes with a laid-back comment ahead of the ensemble’s closing chorus.

Pint Size, the first of two tunes by tenor saxophonist Jimmy Mundy, concludes the first side leisurely with the septet’s tight harmony in unison with the melody. Ammons lays down a compelling opening solo, emitting an infectious excitement as it unfolds. Farmer sustains the contagious rhythm next by inviting us to snap our fingers, tap our toes or get up and dance. McLean provides equal amounts of passion and flair in the third reading. Burrell does a masterful job executing a series of skillful phrases, and Waldron approaches the finish line with a sparkling performance culminating in the climax.

Stella By Starlight by Victor Young and Ned Washington first appeared in the 1944 supernatural horror film The Uninvited and opens Side Two. The ensemble opens deceptively at a slow ballad tempo with a warm, sinuous intro by Wal and Gene’s gentle theme. The pace picks up dramatically for each solo, beginning with the leader delivering his message confidently. Art takes center stage next for some enthusiastic solo work, and then Jackie swings with a happy approach, showing remarkable skill. Kenny echoes the merriment of his colleagues with an enthusiastic performance. Mal ends with a quaint interpretation prior to the leader’s return to the slow tempo for the close.

Jimmy Mundy’s King Size sets up things with a solo introduction by Ammons that segues into the group’s lively melody. Gene swings with immense energy in an exquisite opening solo, with Farmer shadowing him for one chorus. The trumpeter answers him with some down-home cooking for an incredibly flavorful dish. McLean soars skyward with avid enthusiasm in the next reading. Burrell’s guitar surges with scintillating radiance; then, Waldron takes the spotlight last for an adrenaline-fueled solo powered by the rhythm section’s dazzling groundwork. The principal soloists share a few final observations in the front line’s closing chorus, featuring a brief solo by Watkins into the song’s finale.

Bob Weinstock supervised the original session of Funky, and the remastering of Rudy Van Gelder’s original mono tapes by Fantasy is superb, with an excellent soundstage of all the instruments emerging through the speakers vividly! Gene Ammons played and recorded with some of the greatest names in jazz. He got his nickname “Jug” from Billy Eckstine, whose band he was a member of in 1944, and he later played in Woody Herman’s Second Herd. Gene Ammons’s jazz career was interrupted twice because of two prison sentences (1958-1960) and (1962-1969) for narcotics possession.

He lost his battle against cancer on August 6, 1974, at the age of forty-nine. Gene Ammons and his bandmates are in breathtaking form and tone throughout this album, and the music heard flows as naturally as water downhill into a stream. If you are a fan of his or are just discovering his music, I hope you will consider Funky by Gene Ammons for a spot in your library on your next record-shopping trip. It is a well-rounded program of bop and soul jazz from Prestige, the label known for outstanding jam session LPs during the fifties and sixties!