Daily Dose Of Jazz…

Django Bates was born Leon Bates on October 2, 1960 in Beckenham, Kent, England where he attended Sedgehill School. While at this school, for six years he also attended the Centre for Young Musicians in London, England, where he learned trumpet, piano, and violin. In 1977 he studied at Morley College. The following year he enrolled at the Royal College of Music to study composition but left after two weeks.

He founded Human Chain in 1979 and, in the 1980s, he rose to prominence in a jazz orchestra called Loose Tubes. In 1991, Django started the 19-piece jazz orchestra Delightful Precipice. He also assembled the Powder Room Collapse Orchestra and created Circus Umbilicus, a musical circus show. As a sideman he was a member of Dudu Pukwana’s Zila, Tim Whitehead’s Borderline, Ken Stubbs’s First House, Bill Bruford’s Earthworks, Sidsel Endresen, and in the bands of George Russell and George Gruntz.

As an educator, he has tutored at the Banff Centre jazz program, and was appointed Professor of Rhythmic Music at the Rhythmic Music Conservatory in Copenhagen. Bates was appointed visiting professor of jazz in 2010 at the Royal Academy of Music in London, and the next year was appointed Professor of Jazz at HKB Bern Switzerland.

He has performed with Michael Brecker, Tim Berne, Christian Jarvi, Vince Mendoza, David Sanborn, Kate Rusby, and Don Alias. Pianist, keyboardist, tenor hornist Django Bates continues to perform and record.

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The Quarantined Jazz Voyager

To maintain my health during this variant period of the pandemic I am continuing to listen to great music as I remain socially distant. This week I am pulling out from my shelves the album Easy Like, Volume 1 by guitarist Barney Kessel.

The album was released by Contemporary Records in 1956. Eight songs were released on the 10-inch album Barney Kessel which were recorded on November 14, and December 19, 1953, while other songs were recorded on February 23, 1956. It was recorded at Contemporary Records Studio in Los Angeles, California. The album was produced by Lester Koenig.

All tracks are written by Barney Kessel except where noted.

1. Easy Like ~ 4:04
2. Tenderly (Walter Gross/Jack Lawrence) ~ 4:06
3. Lullaby of Birdland (George Shearing/George David Weiss) ~ 3:16
4. What Is There to Say? (Vernon Duke/Yip Harburg) ~ 3:10
5. Bernardo ~ 3:34
6. Vicky’s Dream ~ 2:37
7. Salute to Charlie Christian ~ 2:52
8. That’s All (Alan Brandt/Bob Haymes) ~ 3:18
9. I Let a Song Go Out of My Heart (Duke Ellington/Irving Mills/Henry Nemo/John Redmond) ~ 4:12
10. Just Squeeze Me (But Please Don’t Tease Me) (Ellington/Lee Gaines) ~ 3:41
11. April in Paris (Duke/Harburg) ~ 3:00
12. North of the Border ~ 2:46

• Barney Kessel ~ guitar
• Buddy Collette ~ alto saxophone, flute
• Bud Shank ~ alto saxophone, flute
• Arnold Ross ~ piano
• Claude Williamson ~ piano
• Harry Babasin ~ double bass
• Red Mitchell ~ double bass
• Shelly Manne ~ drums

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Requisites

Lee Konitz With Warne Marsh ~ Lee Konitz & Warne Marsh | By Eddie Carter

This morning’s choice from the library is an album bringing together two of the best musicians from the Cool Jazz school, Lee Konitz on alto sax and Warne Marsh on tenor sax. Lee Konitz With Warne Marsh (Atlantic 1217) was recorded and released in 1955. Ronnie Ball (track: B3), Sal Mosca (tracks: A2, A4 to B2, B4) on piano, Billy Bauer on guitar, Oscar Pettiford on bass, and Kenny Clarke on drums round out the stellar supporting cast. My copy used for this report is the 2018 Speakers Corner Mono audiophile reissue sharing the original catalog number.

Side One begins with Topsy by Edgar Battle and Eddie Durham. Oscar starts an elegant bass introduction segueing into a collective subtle theme minus both pianists. Lee opens with a relaxing informality on a lyrical, soft-spoken statement.  Oscar delivers the next reading with exquisite skill and Warne excels on the final solo before both saxes take the closing chorus into a soft climax. The sextet turns the beat upward on There Will Never Be Another You by Harry Warren and Mack Gordon. It opens with a quick collective theme led by Konitz who also cooks briskly on the opening statement. Marsh follows with a passionately assertive solo, then Pettiford delivers something special on the next vigorous reading.  Both horns return to share the final solo ahead of the close.

I Can’t Get Started by Vernon Duke and Ira Gershwin tells the story of a man who’s achieved great success in everything, except the affection and love of the woman he desires. Both pianists lay out on this tune also. Lee takes the lead this time with a dreamy melody and reading that’s delicately crafted. Warne approaches the next solo with tender sincerity. Oscar walks a short distance on the closer leading to a gentle exit. Donna Lee by Miles Davis is named for the daughter of bassist Curly Russell and begins with an expedient theme that’s breathtaking. Konitz opens with a very impressive reading, then Mosca takes over for an energetic interpretation. Marsh charges into the next searing statement and Clarke shares a fiery conversation with both saxes into the reprise and abrupt ending.

Side Two opens with Two Not One by Lennie Tristano that gets underway a vibrant opening chorus. Lee takes off first like a jolt of electricity traveling through the body. Warne adds some additional power on an inspired solo as steady as the rock of Gibraltar. Sal responds with an exhilarating reading shadowed closely by both saxes in the background. Kenny shares a brief statement with the principal soloists into the climax. Don’t Squawk is by Oscar Pettiford, a blues he makes his presence felt on the introduction and the melody with the rhythm section. Konitz takes the first solo for a slow stroll, then Mosca swings softly and smoothly into the next interpretation. Marsh also makes his point in a relaxed manner, followed by Pettiford who gives a slow, easy groove gently sailing over the rhythm section.

Ronnie Ball takes over the piano chair on his uptempo original, Ronnie’s Line.  Lee begins with an upbeat, energetic theme, then adds exuberant vitality to the opening solo. Ronnie takes the next spot for a swiftly paced statement. Marsh swings into the next performance vigorously, and the front line energizes the closing chorus with a spirited ride ending with an attractive exit. The album ends with a little Background Music by Warne Marsh opening with a collective theme.  Lee applies some serious blowing to the opening statement. Sal gives an exhilarating reading next, followed by Warne who executes the third solo with high-voltage precision. Oscar and Kenny exchange their ideas on the finale into a soft summation. Lee Konitz With Warne Marsh was produced by Nesuhi Ertegun and engineered by Tom Dowd.

Speakers Corner reissues are remastered using pure analog components only, from the master tapes through to the cutting head. The soundstage on this album is immense and absolutely stunning, drawing you in completely the moment your stylus touches the lead groove. You don’t just hear the musicians and their instruments; you almost feel their presence in your listening room. In my opinion, the album’s not only remarkable for its musicianship, but an underrated jewel of fiery and relaxed tempos by both saxophonists. If you’re a fan of Cool Jazz and in the mood for some great sax, I invite you to check out, Lee Konitz With Warne Marsh for your library.  It’s a terrific album of pure bliss that’s perfect in every way!

~ Tom Dowd – Source: Discogs.com ~ Donna Lee, I Can’t Get Started, There Will Never Be Another You, Topsy – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Daily Dose Of Jazz…

Rabih Abou-Khalil ربيع أبو خليل‎, was born August 17, 1957 in Beirut, Lebanon and studied the oud at the Beirut Conservatory with oudist Georges Farah. After moving to Munich, Germany at 21, he studied classical flute at the Academy of Music under Walther Theurer.

Combining elements of Arabic music with jazz, rock, or classical music, he has earned praise as a world musician years before the phrase became a label. Along with Tunisian oud virtuosos Anouar Brahem and Dhafer Youssef, he has helped establish the oud as an important instrument of Ethno jazz and world fusion.

Among other musicians, Abou-Khalil has worked with ARTE Quartett, Alexander Bălănescu, Luciano Biondini, Milton Cardona, Sonny Fortune, Michel Godard, Joachim Kühn, Howard Levy, Charlie Mariano, Ricardo Ribeiro, Steve Swallow, Kenny Wheeler. He has recorded for ECM, Enja, MMP, Granit, and World Village record labels.

Rabih has hosted the 13 part documentary television series Visions of Music, that explores the blending of jazz with different music styles of the world. The music of the TV-series was released on the album Visions of Music – World Jazz by Enja Records.

Oudist Rabih Abou~Khalil continues to be active in music, composing, recording and performing worldwide.

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The Quarantined Jazz Voyager

Taking the high road and staying safe, socially distanced and listening to great music. This week I am choosing A Flower Is a Lovesome Thing is the second studio album by pianist Vince Guaraldi, credited to the Vince Guaraldi Trio. It was recorded at Fantasy Recording Studios in San Francisco, California on April 16, 1957 and released in the U.S. the following year on the Fantasy Records label. Ralph J. Gleason wrote the liner notes and in 1994, Phil De Lancie produced the digital remastering.

1. A Flower Is A Lovesome Thing (Billy Strayhorn) ~ 5:37
2. Softly, As In A Morning Sunrise (Oscar Hammerstein II, Sigmund Romberg) ~ 3:28
3. Yesterdays (Jerome Kern) ~ 4:00
4. Like A Mighty Rose aka Room At The Bottom (Vince Guaraldi) ~ 4:30

1. Looking For The Boy (George & Ira Gershwin) ~ 4:06
2. Autumn Leaves (Joseph Kosma) ~ 4:21
3. Lonely Girl (Bobby Troup) 3:23
4. Willow Weep For Me (Ann Ronell) ~ 5:14

• Vince Guaraldi – piano
• Eddie Duran – guitar
• Dean Reilly – double bass

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