Daily Dose Of Jazz…
Mathias Rüegg was born on December 8, 1952 in Zurich, Switzerland and began playing jazz in secondary school. Trained as a schoolteacher, he taught for a while in special-needs schools. From 1973 to 1975 he attended the Musikhochschule in Graz, Austria, studying classical composition and jazz piano. While in Vienna, Austria he performed in a nightclub as a solo jazz pianist, joined later by saxophonist Wolfgang Puschnig. The duo formed the core of an ensemble that in 1977 became the Vienna Art Orchestra (VAO).
His distinctive, often humorous compositions have drawn on a range of influences, from traditional folk music to classics. He has also led the VAO to explore the big band repertory of American jazz composers such as Duke Ellington. Besides the traditional big-band complement, his orchestrations have prominently featured such instruments as the tuba, piccolo, bass clarinet, alphorn, exotic percussion, and wordless vocals. Beyond jazz, Mathias has composed for big bands, and classical orchestras, as well as theatre music, film music, soloist and chamber orchestra.
Rüegg has conducted workshops, worked as artistic director for music festivals, and headed multimedia and music-related projects. Rüegg founded the Porgy & Bess music club in Vienna and the Hans Koller Prize for Austrian jazz.
Composer, bandleader and educator Mathias Rüegg continues to compose and direct orchestras.
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Requisites
Music For Prancing ~ Warne Marsh Quartet | By Eddie Carter
Tenor saxophonist Warne Marsh steps into the spotlight for this morning’s discussion with the 1957 album, Music For Prancing (Mode Records MOD-LP 125). Marsh was a student of pianist Lennie Tristano and a graduate of the Cool Jazz school. He possessed a sweet tone that could be captivating and energetic but could also touch someone’s heart and soul when he played a ballad. For his sixth album, Warne’s leading a great quartet with Ronnie Ball on piano, Red Mitchell on bass, and Stan Levey on drums. My copy used in this report is the 1985 V.S.O.P. Records US Stereo reissue (Mode Records VSOP 8 – MOD LP-ST-125).
The quartet launches Side One with a song by Richard Rodgers and Lorenz Hart, You Are Too Beautiful. The group’s rendition is a catchy tune that’s full of good spirits as Warne begins the melody and relaxing opening solo. Red walks with great ease on the second statement, next Ronnie follows with a neatly paced reading. Stan adds the finishing touches in a brief exchange with Marsh and Ball leading to the closing chorus. Autumn In New York by Vernon Duke is the first of three jazz standards the ensemble performs from The Great American Songbook. The pianist introduces the song discreetly, segueing into Marsh’s tender melody and delicate lead solo. Ball and Mitchell continue the mood with two interpretations that are warm and beautiful ahead of the leader’s return to close out the song gently.
The first side closes on an upbeat note with Playa del Ray by Warne Marsh, beginning with a cheerfully buoyant theme in unison. Warne is up first with a lively interpretation; next Ronnie shows off his light and airy touch on the keys. Red takes over for a few soulful grooves and Stan speaks last with some spirited brushwork into the leader’s closing chorus and soft ending. Side Two gets underway with Ad Libido, an original by Ronnie Ball that’s built on the progressions of Long Ago and Far Away by George and Ira Gershwin. The ensemble starts the song at a laid-back pace for the collective melody. Ronnie opens the conversation with a mellow performance. Warne swings casually during the next reading, then Red adds a happy comment to the closing chorus before the leader wraps it up.
Up next is Everything Happens To Me by Matt Dennis and Thomas Adair. Warne is having a two-instrument conversation with Red as the song opens. Ronnie and Stan enter a little later to complete the lovely melody. Warne continues making melodic magic in the first reading, then Red mines a rich vein of sentimentality from his bass. Ronnie offers a deeply emotional statement next, and Warne makes an additional comment leading to the theme’s reprise. It’s All Right With Me by Cole Porter is a swinging affair from the opening chorus. Marsh takes flight first and speeds through the skies. Ronnie moves just as rapidly on the second solo. Red’s fingers flow swiftly on the bass next, then Stan gives his drums a vigorous workout in the finale ahead of the song’s conclusion.
Music For Prancing was produced by Red Clyde, and the recording engineer was Dayton Howe. The sound quality of this reissue is excellent with a superb soundstage that emerges from your speakers vividly. Warne Marsh recorded for many labels during his long career and has an extensive discography. He suffered a heart attack during a performance at Donte’s Jazz Club in Los Angeles and passed away on December 18, 1987. If you’re a Cool Jazz fan or are just discovering his music, I offer for your consideration, Music For Prancing by The Warne Marsh Quartet on your next vinyl shopping trip. It’s an excellent album that’s perfect to enjoy with your favorite beverage, and one I can recommend to any jazzophile’s library!
~ Postscript: Producer, Red Clyde’s name doesn’t appear on the original Mono LP or my Stereo reissue, but the 1992 V.S.O.P. Records CD album (V.S.O.P. #8 CD – Mode 125) – Source: Discogs.com ~ Autumn In New York, Everything Happens To Me, It’s All Right With Me – Source: JazzStandards.com ~ You Are Too Beautiful – Source: Wikipedia.org © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
Lisle Ellis was born Lyle Steve Lansall on November 17, 1951 in Campbell River, British Columbia. and began playing electric bass in his teens and worked professionally from an early age in numerous environments including studios, radio & TV shows, and strip clubs. He studied at the Vancouver Academy of Music with Walter Robertson and attended Douglas College in Vancouver, Canada. He later studied at the Creative Music Studio in New York City from 1975-1979.
He moved to Toronto, Ontario, Canada where he resided from 1982 until 1983 and then went to Montreal, Quebec, Canada for nearly a decade until 1992. Lisle became the inaugural recipient of Canada’s Fred Stone Award in 1986, given annually to a musician for integrity and innovation. The Eighties saw him as a conspicuous activator of musician alliance organizations, performance venues, and concert series presentations in Vancouver and Montreal. One collective in particular, Vancouver’s New Orchestra Workshop, is still active nearly thirty years later.
After moving to the United States in 1992, he settled in San Francisco, California where he worked with Glenn Spearman for nine years. In 1994, he was a member of the Cecil Taylor band for a brief tour of California. He lived in San Diego, California from 2001–2005 and then crossed the country to New York City where he presently lives.
Since the late 1990s, he primarily focused on developing an electro-acoustic interface he calls “bass & circuitry”. By 2008 he turned his attention back to acoustic music projects with an emphasis on jazz based improvisation and to finding a balance between his electronic and acoustic music interests. Bassist and composer Lisle Ellis, who professionally has used both L. S. Ellis and L. S. Lansall-Ellis, and is known for his improvisational style and use of electronics, continues to explore the realm of jazz.
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Daily Dose Of Jazz…
Fred Hersch was born October 21, 1955 in Cincinnati, Ohio to Jewish parents and began playing the piano at the age of four, composing music by eight. By ten he won national piano competitions.
Hersch first became interested in jazz while at Grinnell College in Iowa. He dropped out of school and started playing jazz in Cincinnati, continuing his studies at the New England Conservatory under Jaki Byard and attracting attention from the press in a college recital. Upon graduation, he became a jazz piano instructor at the college.
1977 saw Fred moving to New York City, then gigged with Art Farmer in Los Angeles, California in 1978. He would play with Farmer again three years later, played for singer Chris Connor, then with Joe Henderson. He would go on to perform with Jane Ira Bloom, Jamie Baum, Toots Thielemans, Eddie Daniels, and Janis Siegel. A fortuitous firing of his pianist by Art Pepper gave Hersch the launch of his career when he filled in for the pianist.
In 1986, he taught at Berklee College of Music, performed and recorded sixty-four albums as a leader or co-leader, seventy-nine as a sideman and wrote an autobiography, Good Things Happen Slowly: A Life In and Out of Jazz.
In 1993, Hersch came out as gay and has been treated for HIV since 1984. He fell into a coma in 2008 for two months but when he regained consciousness, he had lost all muscular function as a result of his long inactivity and could not play the piano. After rehabilitation, he was able to play again. He continues to compose, perform and record.
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Requisites
Blue Lights, Volume 2 ~ Kenny Burrell | By Eddie Carter
This morning’s subject offered for your consideration is a recent acquisition to my library. Blue Lights, Volume 2 (Blue Note BLP 1597/BST 81597) by Kenny Burrell was recorded in 1958 but hit the stores in 1961. The guitarist is back to work on this bluesy blowing session with Louis Smith on trumpet, Tina Brooks (tracks: A1, B1), Junior Cook (tracks: A1, B1, B2) on tenor sax, Duke Jordan (tracks: A2, B2), Bobby Timmons (tracks: A1, B1) on piano, Sam Jones on bass, and Art Blakey on drums. My copy used in this report is the Toshiba-EMI Limited Japanese Mono reissue sharing the original catalog number.
Side One opens with Kenny’s Rock Salt, a soothing blues that the septet opens with a relaxing melody. Louis takes the lead solo like a breath of fresh air, then Junior comes in with a solid, irresistible swing. Kenny keeps it going with a few easy-going licks ahead of Tina’s tasty statement next. Bobby’s fingers run smoothly over the keys on the following reading. Sam brings us back to the closing chorus with a brief solo matched by Art’s perfect timekeeping. The Man I Love by George and Ira Gershwin begins as a conversation between Jones and Blakey. Sam states the theme accented by Kenny’s comments, then the bassist gives a fine opening statement. Louis follows with a jubilant solo and Duke turns in a refreshing reading leading to Sam and Art’s closing chorus.
Side Two starts with Chuckin’ by Sam Jones, a lively little tune allowing everyone a solo opportunity. Kenny and the rhythm section establish the dialogue for the melody. Bobby takes the lead this time and moves into a swinging groove. Kenny follows in his footsteps with a fulfilling solo, and Tina also provides a pleasant improvisation. Louis comes in next with a well-constructed statement. Junior and Sam speak effectively in the next two readings, and Art has a conversation with Bobby and the front line into the climax. Burrell’s Phinupi takes off at a fast clip on the ensemble’s theme. Cook and Smith kick off the solos with some spirited blowing. Burrell comes straight to the point on the next reading, then Jordan takes an enthusiastic turn. Blakey gets the last word preceding the ending theme.
Like its companion, Blue Lights, Volume 2 was produced by Alfred Lion and Rudy Van Gelder was again at the controls for the recording. Toshiba-EMI Limited has done another superb job with the remastering of this reissue. The album has an excellent soundstage with all the instruments emerging vividly from your speakers. The vinyl is also silent until the music starts. Kenny’s playing throughout the album is easy on the ears and his bandmates swing along perfectly when soloing. If you’re a fan of straight-ahead jazz guitar, I hope you’ll consider Blue Lights, Volume 2 by Kenny Burrell on your next vinyl treasure hunt. It’s a splendid example of his work and a perfect companion to Volume 1 that’s sure to be a welcome addition to any library!
~ Blue Lights, Volume 1 (Blue Note BLP 1596/BST 81596) – Source: Discogs.com ~ The Man I Love – Source: JazzStandards.com © 2022 by Edward Thomas Carter
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