Daily Dose Of Jazz…

Gerry Hemingway was born March 23, 1955 in New Haven, Connecticut. He graduated from Foote School in New Haven and studied under Alan Dawson. In 2000 he received a Guggenheim Fellowship for his work in music composition.

He was a member of the Anthony Braxton quartet from 1983 to 1994. He has also performed with Ernst Reijseger, Anthony Davis, Earl Howard, Leo Smith, George E. Lewis, Ray Anderson, Mark Helias, Reggie Workman, Michael Moore, Oliver Lake, Marilyn Crispell, Christy Doran, John Wolf Brennan, Don Byron, Cecil Taylor, and Cuong Vu.

He has recorded on over one hundred albums for the labels Clean Feed, Enja, hatArt, Palmetto, Random Acoustics, and Tzadik. Avant~garde drummer and composer Gerry Hemingway, who  owns his own record label Auricle,continues to pursue his musical endeavors.

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Daily Dose Of Jazz…

Christopher Brubeck was born on March 19, 1952 in Los Angeles, California to pianist and composer Dave Brubeck. By the age of twenty he was joining his father and brothers Darius and Daniel in The New Brubeck Quartet.

Having toured for about 30 years in a group called Triple Play, he joined with guitarist Joel Brown and singer and harmonica virtuoso Peter Madcat Ruth, and swung jazz Louisiana style. He was a member of New Heavenly Blue, Chris also participated and recorded as a keyboardist/trombonist/guitarist in 1970’s Educated Homegrown.

In 1999, Chris and his brother Daniel joined with other musicians to form The Brubeck Brothers Quartet, having previously partnered with Andy LaVerne and released a 1972 album, The Brubeck-LaVerne Trio. He has performed with Mike DeMicco and Chuck Lamb.

In 2003, Chris played his first Concerto for Bass Trombone and Orchestra with the Czech national Symphony Orchestra in Prague, Czech Republic. A year later, he composed his own concerto titled, The Prague Concerto for Bass Trombone and Orchestra. Many of his classical compositions still contain strong hints of the jazz influence of his father.

Grammy nominated electric bassist, bass trombonist and pianist Chris Brubeck continues to pursue his musical explorations.

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Requisites

The Happy Blues ~ Gene Ammons | By Eddie Carter

A few nights ago, I was in the mood to hear something bluesy while reading and that’s what prompted this morning’s discussion. I looked through the library and came across one of my favorite albums by tenor saxophonist Gene Ammons. It was originally released as Hi-Fidelity Jam Session (1956) but was reissued a few years later as The Happy Blues (Prestige PR 7039). Ammons is supported on this date by an all-star sextet, Art Farmer on trumpet, Jackie McLean on alto sax, Duke Jordan on piano, Addison Farmer (Art’s twin brother) on bass, Arthur Taylor on drums, and Candido on conga. My copy used in this report is the 1982 US Original Jazz Classics Mono reissue (Prestige OJC-013 – P-7039).

Side One starts with a perfect song for the weekend, The Happy Blues by Art Farmer. Duke opens with a friendly introduction preceding the ensemble’s strut through the melody collectively. Jackie sets the stage with a carefree walk on the opening solo. Art continues making some beautiful music on the second statement, followed by Gene’s stellar contribution aided by Farmer and McLean. Duke provides a good deal of inspiration next, then all three horns engage in a three-way conversation ahead of the ending. The Great Lie by Cab Calloway and Andy Gibson takes the beat to a lively pace on the septet’s swinging melody. Art takes the lead this time and delivers a brisk performance. Jackie and Gene set off some fireworks on the next two solos, then Jordan swings into view on a short statement and Candido takes an impressive reading before the close.

Side Two opens with a show tune from the musical revue, The Little Show (1929) by Paul James and Kay Swift, Can’t We Be Friends? Duke and the rhythm section begin the introduction, then Gene takes the first of two relaxing strolls on the opening chorus and first solo. Art delivers an impeccable laid-back muted performance next. Jackie comes in next with a cleverly executed statement. Duke drives the next interpretation with considerable warmth, then Gene returns for some tuneful blowing. Addison adds a concise comment during the out-chorus. The septet closes with a ferocious trip to Jackie McLean’s Madhouse, flying out of the gate on the fiery theme. The front line chases each other at breathtaking speed on the first of two exchanges. Jackie, Art, Gene, and Duke take one chorus each, then the horns end this vigorous exercise in quick succession ahead of a robust climax.

The Happy Blues was supervised by Bob Weinstock, and Rudy Van Gelder was the man behind the dials. This Prestige Original Jazz Classics reissue has quiet vinyl without any clicks or pops, and an excellent soundstage placing your sweet spot with the musicians surrounding you in your listening room. The Happy Blues is one of the superb albums in Gene Ammons’ extensive discography. If you’re a fan of Hard-Bop, I hope you’ll seek it out on your next vinyl hunt. It’s forty minutes of great music and performances that I not only recommend but is sure to be a welcome addition in your library and on your turntable!

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Daily Dose Of Jazz…

Ricky Ford was born in Boston, Massachusetts on March 4, 1954 and studied at the New England Conservatory. At the age of twenty he recorded with Gunther Schuller and then played in the Duke Ellington Orchestra under Mercer Ellington from 1974 to 1976.

Moving on to play with Charles Mingus from 1976 to 197777, the Dannie Richmond from ‘78 to ‘81, followed by Lionel Hampton for two years beginning in 1980 and ending up in the Mingus Dynasty. By 1983 Ricky was also played with Abdullah Ibrahim, a relationship that lasted for seven years. By the end of the decade he was also playing with Mal Waldron until 1994.

Ford has recorded twenty~two albums as a leader for Muse, Candid, and other labels. As a sideman he has recorded with but not limited to Yusef Lateef, Sonny Stitt, McCoy Tyner, Freddie Hubbard, Amina Claudine Myers, Sathima Bea Benjamin, Ran Blake, Steve Lacy, Jaki Byard, Red Rodney, Jack Walrath and others.

Tenor saxophonist Ricky Ford settled in Paris, France in the 1990s, has taught at Istanbul Bilgi University from 2001 to 2006, and in 2009 he founded the Toucy Jazz Festival in Yonne, France. He continues his pursuit of his music.

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Requisites

This morning’s choice from the library is a recent acquisition I’ve been hunting for since it was reissued as part of The Prestige Mono Series. It’s a swinging Fifties jam session that was originally released in 1957 by The Prestige All-Stars. All Night Long (Prestige PRLP 7073/PRST 7289) brings together a first-class ensemble, Donald Byrd on trumpet, Hank Mobley on tenor sax, Jerome Richardson (tracks: A1, B1 to B3) on flute, and (track: A1) on tenor sax, Mal Waldron on piano, Kenny Burrell on guitar, Doug Watkins on bass, and Art Taylor on drums. My copy used in this report is the 2012 Analogue Productions Mono audiophile reissue (APRJ 7073 – PRLP 7073).

Side One opens with Kenny Burrell’s All Night Long occupying the entire side. Art kicks off the song with an infectious beat. Kenny starts the opening solo with exquisite execution. Jerome’s flute flows with a happy feeling on the first of two statements. Hank takes us on a carefree joyride in the next reading, then Donald speaks his peace with a stellar presentation. Jerome resurfaces on tenor for a sparkling performance, and Mal gives a soulful effort on the next interpretation. Art follows with a brief exchange with the principal soloists before the group takes the song out. Side Two starts with the first of two tunes by Hank Mobley, Boo-Lu. Richardson sets the mood of this happy groove on the melody and opening chorus. Burrell, Byrd, Mobley, and Waldron follow with four short solos ahead of the reprise and close.

Flickers by Mal Waldron suggests a homage to the movies. It begins with the ensemble’s collective mid~tempo theme. Jerome is up first and shines with a light-hearted warmth. Donald and Hank follow with one easygoing reading each, then trade a few feisty riffs. Kenny turns in a tasty performance next and Mal applies blues-rooted energy to the finale leading to the closing chorus and Doug’s slow fade into oblivion. Mobley’s Li’l Hankie comes at you at medium speed with the ensemble in unison on the melody. Hank leads off the solos with a marvelous interpretation. Donald delves into the second reading on muted trumpet mining a vein of musical riches. Kenny tells a short story that makes every note count on the third statement. Jerome lights a fuse of creative inspiration on the next performance, followed by a stimulating conversation between the front line, Waldron, and Richardson ahead of the ending theme.

Bob Weinstock supervised the original album and the man behind the dials was Rudy Van Gelder. Kevin Gray did the remastering from the analog tapes. The record has a flat-edge and deep groove on the label like the original release, and the album cover has a high gloss. This reissue was pressed on 200-gram audiophile vinyl by Quality Record Pressings. The soundstage is outstanding, transporting the musicians to your listening room and the record is silent until the music starts. Burrell, Byrd, Watkins, and Taylor also appear on the companion album, All Day Long, recorded just a few days after this date. If you’re a Hard-Bop fan and are looking for an album with superb musicianship, I can’t think of a better choice to introduce you to The Prestige All-Stars than All Night Long! It’s a gorgeous recording that’s highly recommended and well worth adding to your library!

~ All Day Long (Prestige PRLP 7081/PRST 7277) – Source: Discogs.com © 2022 by Edward Thomas Carter

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