Daily Dose Of Jazz…

Trilok Gurtu was born October 30, 1951 to Hindu Brahmin parents in Mumbai, India. His mother was a famous classical vocalist who encouraged him to learn to play the tabla. He attended Don Bosco High School in Mumbai and he received formal training in percussion from Shah Abdul Karim.

Gurtu began playing a western drum kit in the 1970s, and developed an interest in jazz. Not understanding overdubbing he learned multiple parts which most musicians would have never attempted. In the 1970s, he played with Charlie Mariano, John Tchicai, Terje Rypdal, and Don Cherry.

In 1977 he recorded Apo-Calypso, an album by the German ethnic fusion band Embryo. His mother also sang on that record, and later joined him on his first solo CD, Usfret. The 1980s saw Trilok playing with Swiss drummer Charly Antolini and with John McLaughlin in McLaughlin’s trio. He joined Oregon and played on three of their records. In the early 1990s, he resumed his career as a solo artist and a bandleader.

By the end of the decade he was a member of Tabla Beat Science, collaborated with the Arkè String Quartet in 2007, and in 2012 with the electronic folk duo Hari & Sukhmani. He has worked with Terje Rypdal, Gary Moore, John McLaughlin, Jan Garbarek, Joe Zawinul, Michel Bisceglia, Bill Laswell, Maria João & Mário Laginha, Stefano Bollani and Robert Miles.

Drummer, percussionist, tabla player and composer Trilok Gurtu continues to compose, perform and record.

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Requisites

Introducing Carl Perkins ~ Carl Perkins | By Eddie Carter

One of my favorite things to do after a long day is listening to a piano trio album when reading. I first heard Carl Perkins on Harold In The Land of Jazz and You Get More Bounce With Curtis Counce. Introducing Carl Perkins (Dootone Records DL-211) is a 1956 release and his only album as a leader. He began playing professionally with Tiny Bradshaw and Big Jay McNeely in the late forties, then became a unique talent in the fifties. Despite polio afflicting his left arm, he developed a piano technique that was all his own. Leroy Vinnegar joins him on bass, and Lawrence Marable on drums completes the trio. My copy is the 1984 U.K. Mono reissue (Boplicity Records BOP-8).

Side One opens with Way Cross Town, the first of five Carl Perkins originals. The melody’s opening notes give the song a lively bounce. Carl is up first and delivers the lead solo with great spirit. Leroy takes a nice leisurely walk next, and then Lawrence has a short conversation with the pianist ahead of the closing chorus and abrupt stop. You Don’t Know What Love Is by Gene de Paul and Don Raye begins with a lovely solo introduction by Perkins, segueing into the trio’s pretty melody. Carl performs beautifully and sincerely as the song’s only soloist, culminating with a gentle theme reprise and climax.

The Lady Is a Tramp by Richard Rodgers and Lorenz Hart moves the beat to mid-tempo for the trio’s opening chorus. The mood is joyous from the start of the threesome’s theme. Carl delivers the song’s only interpretation with a carefree zest, leading to the theme’s restatement and close. Marblehead by Carl Perkins begins with the trio taking it easy on the opening ensemble. The pianist steps into the spotlight first to dispense a little home cooking. Vinnegar takes his bass for a short walk next, then Perkins returns to make a final comment preceding the ensemble’s theme restatement and ending.

Woody ‘n’ You by Dizzy Gillespie is among his most ageless compositions. The trio begins the jazz standard with a relaxing Latin-flavored melody. Carl has the solo showcase alone and keeps close to the bluesy spirit as his interpretation unfolds, while the rhythm section perfectly complements him into the ending theme and fade-out. Westside by Carl Perkins is a happy little tune that gets underway with the trio’s cheerful theme. The pianist is up first with an attractive reading, and then Vinnegar comes in for a buoyant walk. Marable applies a marvelous touch to the closer before the trio’s out-chorus.

Side Two starts with Just Friends by John Klemmer and Sam M. Lewis. Lawrence introduces the song with a short introduction that segues into the trio’s joyful melody. Carl leads the way and works his magic in the opening solo, then engages in a brief conversation with the drummer, leading to the closing ensemble. It Could Happen To You by Jimmy Van Heusen, and Johnny Burke is a beautiful song from the forties. Perkins’s lovely introduction sets the mood for the trio, showing its sentimental side in a tender melody. The pianist delivers the only solo with great sensitivity and delicacy ahead of the group’s gorgeous finale.

Why Do I Care by Carl Perkins is a much happier song than its title suggests, as exhibited in the trio’s medium groove on the theme. Carl takes the lead and constructs the opening solo effectively. Leroy comes in next to take a short walk, and Leroy returns for the theme’s reprise and close. Lilies In The Rain by Peter DeRose and Mitchell Parish is a lovely ballad that begins with an unaccompanied piano introduction to the trio’s gorgeous melody. In the song’s only solo, Perkins presents a thoughtfully tender presentation matched by the rhythm section’s elegant support until the trio’s return for a gentle ending.

It’s finger-popping time for the album’s final track, Carl’s Blues by Carl Perkins. The trio sets the scene with their easygoing opening chorus. The pianist approaches the first statement more relaxed, and then Leroy briefly walks in a splendid performance. The ensemble reassembles for the closing chorus and a final thought by the leader and bassist into the climax. Dootsie Williams supervised the original session, but it’s unknown who the recording engineer was for the date. The album’s sound quality is quite good, with a solid soundstage that transports the trio to your listening room with stunning fidelity.

Carl Perkins played with some of the elite jazz musicians in a short career but left the jazz world with a void when he died tragically from a drug overdose on March 17, 1958, at age twenty-nine. His untimely death was a loss to the jazz community, a reminder of the fragility of life and the enduring power of his music. If you’re a piano trio fan like me and in the mood for a terrific jazz album, I invite you to consider Introducing Carl Perkins on your next trip to your favorite record store. It’s a feast for the ears and a fascinating album that glimpses a talented pianist who was beginning to make a name for himself but left us far too soon!

~ Harold In The Land of Jazz (Contemporary Records C3550/S7550), You Get More Bounce With Curtis Counce (Contemporary Records C3539/S7539) – Source: Discogs.com

~It Could Happen To You, Just Friends, Woody ‘n’ You, You Don’t Know What Love Is – Source: JazzStandards.com

~Carl Perkins, The Lady Is a Tramp – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Daily Dose Of Jazz…

Mark Wagnon was born on October 26, 1956 in Lausanne, Switzerland and his talent as a percussionist was immediately evident. His early musical tastes focused on progressive rock bands like King Crimson, Led Zeppelin, Yes and Genesis. He was impressed with the fusion sounds of Miles Davis and the Mahavishnu Orchestra. However, it was a Gary Burton concert, which helped him focus his desire to become a musician.

He entered the Geneva Conservatory to study classical percussion, including the vibraphone, which would become his instrument of choice. The five years that Wagnon spent at the Geneva Conservatory he also spent a year at the Berklee School of Music in Boston, Massachusetts. While there he met Dave Douglas, and Dave Kikowski, who would become his consistent collaborator.

After his stint at Berklee, Mark moved to New York City where he began a series of projects and really began to develop his own unique style. He formed Dr. Nerve with Kikowski, a band described as Schoenberg meets the Sex Pistols. As a member of Tunnels with bassist Percy Jones and drummer Frank Katz, their album featured a more straight-ahead jazz fusion sound showing his skill on the vibes.

With Dr. Nerve, they released seven albums, and with No No Diet Bang, a collection of Swiss musicans, one cd titled Profan, and kicked off his new music service company, Buckyball, by releasing a collaboration with vocalist and Buckyball co-founder Sarah Pillow titled Paper Cuts, which was a collection of jazz standards. They would go on to release several other Wagnon releases, including a reissue of a late ’80s project, Shadowlines.

Vibraphonist Mark Wagnon has since delved into experimental jazz territory, and is consistently showing off his ever evolving technical mastery.

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Jazz Poems

CHARLIE PARKER BIRTHDAY CELEBRATION, TOMPKINS SQUARE PARK

from Wall Street who OD’ed last week

on Explosion 2000 on that street corner

right over there when KABOOM! You kissed me

smack on the lips just as “Confirmation” kicked in.

Just as Venusin two-toned dreadlocks and a skin-tight

smock danced from the band shell with her pet python,

Bodyguard, to “All the Things You Are.”

Just as punk rockers rocked, in-flowered on sheets,

sipped smoothies and smoked,

Their hair spirited to pastel auras, rosehip,

Island lime, a shade of blue just washed by rain.

Just as Ukraine checkmated, as twins seesawed,

As bikers cracked smiles in the Hari-Hari, the slap-

tongue of sax. At the mommies and the poppies. Just as.

And they were doing the brothers in descending order.

The three brothers Heath: Percy, Jimmy, call him “Little Bird,”

And Albert “Tootie” Heath. With Milt Jackson on vibes,

three score and twelve, and still working. Two boys in love

Grooved, one in white pants and sailor hat,

the other in a buffalo nickel belt that bedazzled.

They sat on the park bench eating falafel.

A man with one leg sold charms for a dollar. For luck.

For the music that day and the light, you could say it

was all bell-bottomed and swaybacked. Young-like.

And your kiss. All at once I was riding a sparkling gold Schwinn bike.

Something in my head went from full torpor to starburst:

as if whetted by some wild vibranto, your kiss,

the vibes’ licks cleared my vision of fizz for an instant.

What had been all Midnight Dragon was now

a Tropicana-Pure-Premium-sharpened C

delivered as of this morning to the Santa Barbara Deli

and Superetti down the street. Just like that.

In your arms and the music and the light, I thought I might

>go plumb or Penteostal, lay down on the grass, recite

Kahlil, take up knitting, eat pickles and marry you–

Tell that priest to stop playing Frisbee with the lab

so we can say our vows right here and now before “Tenor Madness”

ends! Opps! I forget we’re already married! Just as.

CATHERINE BOWMAN

from Jazz Poems ~ Selected and Edited by Kevin Young

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Requisites

Mulligan Meets Monk ~ Thelonious Monk and Gerry Mulligan | By Eddie Carter

This morning’s record from the library, Mulligan Meets Monk (Riverside RLP 12-247/RLP 1106), is an excellent quartet date that brings together two giants, Gerry Mulligan and Thelonious Monk, for their only collaborative album. Their influence on bop and cool jazz is immeasurable. It hit the stores in 1957, and the personnel are Gerry Mulligan on baritone sax, Thelonious Monk on piano, Wilbur Ware on bass and Shadow Wilson on drums. My copy is the 1975 Victor Musical Industries Japanese Stereo reissue (Riverside SMJ-6107).

‘Round Midnight by Thelonious Monk, Cootie Williams, and Bennie Hanighen is one of The Great American Songbook’s most beautiful and recorded jazz tunes. It opens the first side with the quartet’s elegantly tender theme. Gerry delivers a mesmerizing first solo. Thelonious is next and gives a beautifully constructed reading ahead of the theme’s reprise and climax. Thelonious Monk’s Rhythm-a-ning picks up the pace with a lively introduction by Wilson segueing into the foursome’s spirited melody. Mulligan is up first with a statement of dynamic energy; then Monk speaks assertively in the second reading. Gerry returns with an excellent improvisation ahead of the theme’s restatement.

The group’s unique and refreshing approach to Sweet and Lovely by Gus Arnheim, Jules LeMare, and Harry Tobias starts with Gerry and Thelonious’ delicately graceful theme. Monk shows a considerable amount of respect in the opening solo. Mulligan’s exquisite softness in the closer precedes a gorgeous conclusion. Decidedly by Gerry Mulligan begins Side Two with a two-instrument dialogue between Gerry and Shadow, extending into the quartet’s brisk theme. Mulligan functions most effectively in the opening statement. Monk unwraps a pleasant surprise next. Wilbur takes a short, impressive walk, Gerry takes over briefly, and Shadow wraps things up before the close.

Straight, No Chaser is one of Thelonious Monk’s perfectly structured originals. The foursome’s bluesy theme sets up Gerry’s inspired opening statement. Wilbur’s bass goes to work next in a short reading, and then the pianist sums everything up nicely before the closing chorus and finale. I Mean You by Thelonious Monk and Coleman Hawkins begins with the pianist’s introduction, leading to the ensemble’s opening chorus. Monk steps into the spotlight first, cruising comfortably, and then Mulligan puts together a few good ideas in the second solo. Ware rounds out things with a breezy walk before the group reassembles to take the song out.

Mulligan Meets Monk was produced by Orrin Keepnews and recorded by Jack Higgins. The album’s sound quality is top-notch, with a superb soundstage that makes it feel like the quartet is performing right before you. Whether you’re a bop or cool jazz fan or new to the music of Gerry Mulligan and Thelonious Monk, Mulligan Meets Monk is a must-listen on your next record-shopping trip. It’s a delightful addition to both musicians’ discographies, showcasing their talents in a way that might make it a favorite in your library!

~ ‘Round Midnight, Straight, No Chaser, Sweet and Lovely – Source: JazzStandards.com

© 2024 by Edward Thomas Carter

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