Daily Dose Of Jazz…
Mamadouh Bahri was born July 31, 1957 in Sfax, Tunisia and grew up there until the age of 25 when he moved to Montpellier, France where he later taught music at Jazz Action Montpellier (JAM) until 1991.
From 1989 to 1993, he played in a quartet with pianist Horace Parlan, Italian bassist Riccardo Del Fra and New Orleans drummer Idris Muhammad. In 1991, they recorded From Tunisia with Love, live in Carthage, Tunisia. The same year, Bahri moved to New York City, where he joined the collective Spirit of Life Ensemble with saxophonist T.K. Blue, trumpeter Ted Curson and drummer Winard Harper among others. He recorded seven albums with the group between 1993 and 2002.
He has played many concerts throughout France and performed in northern Europe, the Middle East, China and the United States. Mamadouh has appeared on broadcast television in Tunis and Abu Dhabi. His recordings have gotten radio airplay in France, New York City and Tunisia. Guitarist Mamadouh Bahri continues to combine Afro-Mediterranean music with a jazz tradition.
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Daily Dose Of Jazz…
Walt Weiskopf was born in Augusta, Georgia on July 30, 1959 and grew up outside of Syracuse, New York. His father, a physician by profession, was also a serious classical pianist. Classically trained, it wasn’t the albums of Al Hirt or Herb Alpert his mother brought home but Miles Ahead that turned his attention. Already filled with Charlie Parker, Stan Getz, Dexter Gordon and John Coltrane at 14 he set his sight in earnest on jazz. At 16, he began playing alto saxophone in a local big band alongside the great tenorist J.R. Monterose, who became his first mentor.
Heading to the Eastman School of Music in Rochester, New York, Walt acquired a B.A. and after a move to New York City at twenty in 1980 he made a name for himself in jam sessions and was drafted into the Buddy Rich Big Band, adding tenor to his arsenal. By 1983, he began a 14-year association with Toshiko Akiyoshi, touring and recording with her jazz orchestra and small group.
The late ’80s, saw him playing with and writing for his first quartet that included his brother Joel, bassist Jay Anderson, and drummer Jeff Hirshfield. In 1989, he released his debut album as a leader, Exact Science, with that band. A sextet album followed as his sophomore project with Conrad Herwig, Andy Fusco, Joel Weiskopf, Peter Washington, and Billy Drummond. This began a long association with Criss Cros,s Jazz in which eleven albums were recorded and released.
His latest project, the debut of the European Quartet takes him further into his composing, arranging and thematic compositions. The group has released a number of albums, such as Worldwide, Introspection and Introspection 2.0, and a three song ep A Little Christmas Music.
As outstanding as this output is and all of his efforts as a sideman are (he is especially great on Billy Drummond’s Dubai), Weiskopf is best known to many fans for his work with Steely Dan over the past 20 years—before and after the untimely passing of its genius co-founder Walter Becker in 2017.
As an educator he has taught at numerous schools including the Eastman School of Music, Temple University, New Jersey City University and the New School. He published numerous books, Intervalic Improvisation, Around the Horn, and Understanding the Diminished Scale. Moving to Virginia, he retired from teaching and working commercially and is concentrating on practicing and composing.
Tenor saxophonist, composer, arranger and educator Walt Weiskopf, who was a 20 year staple of the studio-only jazz rock fusion band Steely Dan, continues to push the realm of his music.
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Requisites
The Cannonball Adderley Quintet at The Lighthouse | By Eddie Carter
One of the things I’ve always loved about alto saxophonist Cannonball Adderley was his uncanny rapport with an audience during the group’s live performances. Those who were in attendance could feel they were about to hear something special. This morning’s choice from the library is a 1960 album, The Cannonball Adderley Quintet at The Lighthouse (Riverside RLP 344/RLP 9344). It’s the ensemble’s second live album following their successful date in San Francisco a year earlier. Cannonball’s joined on stage by Nat Adderley on cornet, Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums. My copy used in this report is the original US deep groove Mono release.
Side One opens with Cannonball’s Sack O’ Woe, a catchy little number that starts this jazz party on the quintet’s infectious theme. The leader takes the first bite of this juicy tune. Nat comes in next, clicking on all cylinders. Victor serves up a solidly swinging solo, then Sam gets into a soulful groove leading to the reprise and fadeout. Big P by Jimmy Heath is dedicated to his big brother, Percy. After Cannon’s introduction, the quintet gets busy with the front line leading the charge on the melody. Cannonball lights a fuse of creative inspiration on the lead solo, then Nat works his magic on the second statement. Victor follows with a reading that’s just plain fun, then the front line speaks in succession ahead of the ensemble’s exit.
The first side finale is Blue Daniel, a pretty waltz by trombonist Frank Rosolino that comes to life with the group’s beautiful theme in unison. Cannonball begins with a charming interpretation of graceful elegance. Nat responds with a wonderful feeling of peaceful serenity. Victor delivers a delicately gentle finale before the ensemble reappears for the ending. Side Two begins on an upbeat note with a tune from the pen of Victor Feldman, Azule Serape. The rhythm section provides a brisk foundation for the front line to state the melody. Cannonball takes flight first with a happy opening statement. Nat’s cornet is right on the money on the following solo. Victor cooks on the climax leading to the closing chorus.
Exodus is credited to Vic Stanley, but it’s Victor Feldman’s tune. It turns the temperature upward a few notches with the ensemble’s spirited theme. Cannonball starts with an enthusiastic opening interpretation. Nat takes the next solo aggressively, and Victor is equal to the task on the closer preceding the quintet’s exit. The set closes on one of Cole Porter’s most recorded songs, What Is This Thing Called Love? The song gets underway with the ensemble’s quick melody. Cannonball kicks off the solos with a rapid reading. Nat shifts into high gear on the second solo. Victor has his say next with an exciting statement of concentrated heat, and Louis shares a lively exchange with Cannonball leading to the climax.
The Cannonball Adderley Quintet at The Lighthouse was produced by Orrin Keepnews. Wally Heider was the recording engineer, and the album was mastered by Jack Matthews. The sound quality is exquisite with an impressive soundstage placing the listener in the club audience as the quintet performs. During his time at Riverside, the quintet and later sextet released three other live albums. All are excellent in my opinion, and if you’re a fan of Cannonball or Nat Adderley, they’re well worth the effort for a spot in your library. If you’re in the mood for a great live album, and only know of their work on Mercy, Mercy, Mercy, I invite you to check out The Cannonball Adderley Quintet at The Lighthouse. It’s a wonderful performance where the band’s on fire and the audience is enjoying every moment!
~ Jazz Workshop Revisited (Riverside RM 444/RS 9444), Mercy, Mercy, Mercy (Capitol Records T 2663/ST 2663), The Cannonball Adderley Sextet In New York (Riverside RLP 404/RLP 9404), The Cannonball Adderley Quintet In San Francisco (Riverside RLP 311/RLP 1157) – Source: Discogs.com ~ What Is This Thing Called Love? – Source: JazzStandards.com © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
Bobby Previte was born July 16, 1951 in Niagara Falls, New York. He started playing early but went on to earn a degree in economics from the University at Buffalo, New York where he also studied percussion.
Moving to New York City in 1979 he began professional relationships with John Zorn, Wayne Horvitz, and Elliott Sharp. While Previte is a talented drummer he has also received critical acclaim for his exceptional abilities as a composer and orchestrator. His compositions are often tightly arranged, although they leave room for significant amounts of improvisation. Additionally, Previte often uses unusual instrumentation and also draws on many non-jazz musics for his compositions.
As a performer much of his work is also improvisational. He has recorded three dozen albums as a leader or co-leader and as a sideman played on 85 recording sessions across numerous genres of music. Drummer, composer and orchestrator Bobby Previte, who has delved into the jazz, avant~garde and rock genres as a leader, continues to expand his career.
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The Quarantined Jazz Voyager
This Jazz Voyager is still being very cautious about masking indoors and social distancing as the new B variants are cropping up around the world and are now hitting the shores of America. In light of these occurrences, today we are going to listen to the 1955 Ethel Ennis album recorded titled Lullabies For Losers that was released the same year on the Jubilee record label.
The cover was designed by Si Leichman, the liner notes were written by Mort Goode, and the photography by Charles Varon.
Track List | 37:32
- Love For Sale (Cole Porter) ~ 3:19
- Dreamer~Dreamer (Irving Caesar, Oskar Strauss) ~ 4:30
- Blue Prelude (Gordon Jenkins, Joe Bishop) ~ 3:00
- Off Shore (Leo Diamond, Michael H. Goldsen) ~ 3:55
- Casually (Alan McCarthy, Richard Freitas) ~ 3:57
- Hey Jacques (Eden Ahnez, Wayne Shanklin) ~ 3:03
- Lullaby For Losers (Robert Stringer) ~ 3:00
- Say It Ain’t So, Joe (Al Frisch, Kathleen G. Twomey, Fred Wise) ~ 2:58
- You Better Go Now (Bickley Reichner / Robert Graham) ~ 3:29
- Blue Willow (Vic Harrington) ~ 3:23
- Bon Voyage (DeSylva-Brown-Henderson) ~ 4:18
- Ethel Ennis ~ Vocal
- Hank Jones ~ Piano
- Eddie Biggs ~ Guitar
- Abie Baker ~ Double Bass
- Kenny Clarke ~ Drums
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