Daily Dose Of Jazz…
Ronaldo Folegatti was born on April 30, 1958 in Rio de Janeiro, Brazil and started playing the guitar at age 10. He studied mathematics and received a master’s degree in science.
When he was twenty-two, he moved to Germany and started a career in music. He released his debut album, Sound of Watercolors, in Germany in 1990. He recorded his sophomore album, Lust, Comics & Some Other Dreams, with Till Brönner and Ronnie Stevenson. The album crossed several genres including jazz, big band, free jazz, and Brazilian.
In 1995 he returned to Brazil and five years later recorded two more albums, Mazy Tales and Anjos & Estrellas. In 2005 he released Jamming! with guest appearances by Randy Brecker, Will Lee, Joel Rosenblatt, Zé Canuto, Teo Lima, Marcelo Martins, and Ada Rovatti. Composer, guitarist, and record producer Ronaldo Folegatti, who had been treated for cancer for two years, transitioned on August 1, 2007, Teresópolis, Brazil.
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Daily Dose Of Jazz…
Simon Spang-Hanssen was born on April 13, 1955 in Copenhagen, Denmark andstarted playing alto saxophone but later added tenor and soprano. Receiving the annual Ben Webster Prize he created his own quartet Spacetrain with Ben Besiakov, Jesper Lundgaard and Alex Riel in 1979. He played in several groups before joining the sextet of Brazilian drummer and composer Nenê, and touring Denmark and France with Hermeto Pascoal e Grupo.
A move to Paris, France saw him playing with among others Denis Badault, Andy Emler, Nguyên Lê, Quintet Moutin, Ramuntcho Matta, Edouard Ferlet and with his own projects including musicians such as Richard Bona, Billy Hart, Niels Lan Doky, J.F. Jenny-Clarke, Bojan Z., and others. Returning to Copenhagen he created the tentet Central Earth and recorded Wondering with Maaneklar for Dacapo. Concerts and recording followed with a new quartet and quintet into the new millennium. He has had several iterations
Simon started the record label Alisio and released Rainbow Spirit and Coexistence with a quintet. These were followed with several other releases including The Riddle with Ear Witness, a live-recording in Copenhagen Jazzhouse with Maneklar XL, and two nominations for Danish Jazz Awards: Composer of the Year, Album of the year.
He has played and toured with the Aliso Ensemble South America, Scandinavia, and Zanzibar with Ear Witness. He released a new recording with the Epistrophy Septet with trombonist Peter Dahlgren. Saxophonist Simon Spang-Hanssen continues to perform and tour with a variety of musicians.
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Daily Dose Of Jazz…
Marty Krystall was born on April 12, 1951 in Los Angeles, California. He beame fluent on tenor saxophone and clarinet and his sound was somewhat influenced by Ben Webster but is open to adventurous improvisations.
Marty has appeared in several of Buell Neidlinger’s groups through the years. Since the late 1970s he has worked as a Los Angeles studio musician and helped run the K2B2 record label. He has recorded with Neidlinger in Krystall Klear and the Buells, Buellgrass which was later renamed String Jazz, the group Thelonious, and a tribute album to Herbie Nichols.
He has recorded with Leon Kottke, Aretha Franklin, Peter Erskine, Hugh Schick, Yasushi Yoneki, and his marty krystall spatial quartet. Saxophonist and clarinetist Marty Krystall, who is a member of the Hollywood Bowl Orchestra, continues to explore the genres of jazz.
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Daily Dose Of Jazz…
John Bishop was born on April 5, 1959 in Seattle, Washington and raised in Germany, Washington, D.C., San Antonio, Texas, and Eugene, Oregon. He started playing drums at the age of seven with the Patriots drum corp. Through high school and college he performed regularly and studied with Mel Brown and Charles Dowd at the University of Oregon prior to transferring to North Texas State University. A move back to Seattle in 1981 he played an extended engagement with Glider and never left.
The early Eighties saw Bishop as a member of the fusion group Blue Sky and for 20 years was a member of New Stories with pianist Marc Seales and bassist Doug Miller. They had four CDs of their own, six with the late be-bop saxophonist Don Lanphere, and a Grammy nominated recording with Mark Murphy, among others. They were a house trio for 17 years at Bud Shank’s Pt. Townsend Jazz Festival.
In 1997 John started the jazz label Origin Records, which was later named Jazzweek’s 2009 Label Of The Year, and OriginArts, a graphic design & CD production company, to help further the exposure of creative artists and their music. In partnership with his ex-drum student, Matt Jorgensen, and released over 750 recordings by 370 artists from around the world. 2003 saw them begin Seattle’s annual 4-day Ballard Jazz FestivalIn 2002 they added another jazz label, OA2 Records, a classical imprint, Origin Classical in 2008. Bishop has designed over eight hundred recording packages and multiple book covers, banners, posters, and other graphics for clients around the globe.
He has taught drums privately for 40 years, was on the faculty at the University of Washington from 2005-2009, and is presently adjunct at the Cornish College of the Arts. He regularly does drum and jazz workshops throughout the country, often with Hal Galper, including at the University of North Texas, University of Indiana, Dartmouth, Cal Arts, The New School, Purchase Conservatory-NYC, William Paterson University, University of Louisville, San Jose State University, The Jazz School- Berkeley, and Kent State University, to name a few.
He’s appeared on more than a hundred albums, and was inducted into the Seattle Jazz Hall of Fame in 2008, and named a Jazz Hero by the Jazz Journalists Association in 2019. Drummer and record producer John Bishop continues to pursue his endeavors in the industry.
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Requisites
Barry Harris At The Jazz Workshop | By Eddie Carter
This morning’s subject is one of my favorite albums from the library. Barry Harris at The Jazz Workshop (Riverside RLP 326/RLP 1177) is a 1960 live date capturing the pianist in performance with two-thirds of Cannonball Adderley Quintet’s rhythm section, Sam Jones on bass, and Louis Hayes on drums. It was his debut on the label and his second release as a leader. My copy is the 1976 Riverside Original Recording Series Japanese Stereo reissue (SMJ-6123) by Victor Musical Industries. The album opener, Is You Is or Is You Ain’t My Baby by Louis Jordan and Billy Austin, begins with the trio cruising comfortably in the melody. Barry swings easily into the opening solo; then Sam enhances the appeal of the song’s lyrics in a splendid performance before Barry reappears to end the song softly.
Up next is Curtain Call, the first of three tunes by Barry Harris. After the trio states the theme, the pianist takes off for a speedy ride in the opening statement. Louis comes in next to have a short conversation with Harris leading to the closing chorus. The ensemble infuses Star Eyes by Gene de Paul and Don Raye with an infectious Latin-flavored melody and ending theme. In between them, Barry illustrates his melodic ideas efficiently while Sam and Louis collaborate tastefully in support. Charlie Parker’s Moose The Mooche begins with the trio’s easy-going theme. Harris sets the mood with a cheerful opening solo. Jones takes over for some leisurely walking, and Hayes puts his best foot forward in an exchange with Harris preceding the song’s climax.
Side Two gets underway with Lolita, a pretty song by Barry Harris with a toe-tapping tempo that gives the pianist the spotlight for the song’s only solo. Barry offers a smartly paced performance with exquisite accompaniment by Sam and Louis preceding a gorgeous finale. Morning Coffee, the leader’s third original, is what many of us drink to begin our day. Hayes introduces this tune, segueing into the ensemble’s lively melody. Harris kicks off the solos with an enjoyable romp; Sam contributes to the fun in the second reading. Louis sparkles in an exchange with Harris ahead of the exit. Don’t Blame Me by Jimmy McHugh and Dorothy Fields is a ballad highlight for Barry, who gives a sensuously beautiful performance supplemented by the gentle accompaniment of Sam and Louis, leading to a gorgeous ending.
Woody ‘n’ You by Dizzy Gillespie takes off briskly from the trio’s melody. Harris gets busy immediately on the opening statement; next, Jones takes an enthusiastic walk with the bass. Hayes gets the last word and heightens the group’s energy in a vigorous exchange with Harris before the conclusion and appreciative applause from the club crowd.
Orrin Keepnews produced Barry Harris at The Jazz Workshop, and Wally Heider was the recording engineer. Victor Musical Industries has done an excellent job remastering this reissue. The sound quality is gorgeous, transporting the listener to the club among the audience. If you’re a fan of Barry Harris or enjoy a good jazz trio, I highly recommend checking out Barry Harris at The Jazz Workshop the next time you’re out vinyl shopping. It’s a superb concert recording by one of the best pianists in jazz and is worthy of a spot in your library!
~ Don’t Blame Me, Star Eyes, Woody ‘n’ You – Source: Discogs.com ~ Is You Is or Is You Ain’t My Baby, Moose The Mooche – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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