Daily Dose Of Jazz…

Mark Egan was born on January 14, 1951 in Brockton, Massachusetts and was influenced by his father, studying trumpet at age 10. Playing the trumpet throughout high school, he began playing the bass when he was fifteen. While attending the University of Miami’s Frost School of Music, initially a trumpet student, he studied with Jerry Coker. He switched from trumpet to bass part way through the program. His teachers included Jaco Pastorius, Dave Holland, and Andy LaVerne. While in Miami he became friends and performed with Ira Sullivan, Pat Metheny, Danny Gottlieb, Clifford Carter.

After graduate school, in 1975 Egan went on tour with Eumir Deodato and the Pointer Sisters and recorded with David Sanborn. Two years later, working as a studio musician in New York City, he met Joe Beck and Steve Khan. He then joined the Pat Metheny Group until 1981, before starting the jazz fusion band Elements with the Group’s drummer, Danny Gottlieb. They were joined by saxophonist Bill Evans and keyboardist Clifford Carter. They recorded and toured through the 1990s. During the 1980s and Nineties, he was a member of the Gil Evans Orchestra.

He founded his own record label, Wavetone Records and has made three music videos: Om Yoga & Meditation, Music on the Edge, and Bass Workshop. He has appeared on the soundtracks of movies including Two Moon Junction, The Object of My Affection, You’ve Got Mail, The Color of Money, Rollover, Quick Change, Blown Away, and A Chorus Line. He recorded an album, Urge, with trumpeter Forrest Buchtel, Jr., featuring, among other things, the theme from CNN Headline News.

Egan has toured and recorded with jazz artists including Stan Getz, Gil Evans, John McLaughlin, Larry Coryell, Pat Martino, Pat Metheny, Michael Franks, Jim Hall, Bill Evans, Lew Soloff,  Paul Shaffer, rock and pop musicians and The Pointer Sisters, Sting, Arcadia, Roger Daltrey, Joan Osborne, Marianne Faithfull, Carly Simon, Art Garfunkel, Judy Collins, Sophie B. Hawkins, Bryan Ferry, Joe Beck, as well as Brazilians Airto Moreira, Flora Purim, and Toninho Horta.

Bassist and trumpeter Mark Egan continues to perform and record.

More Posts: bandleader,bass,history,instrumental,jazz,music,trumpet

The Quarantined Jazz Voyager

It’s a new year and it’s been ten months since the quarantine and social distancing has been instituted. Some of us, unfortunately, are still not fully adapting to life with the virus, desiring their comfort zone to be as it was before the pandemic. For those of us who have taken this life interruption to no longer be an inconvenience, we relax and find new engagements for our senses.

With that in mind, this week I’ve selected the classic studio album Time Out by the Dave Brubeck Quartet. Recorded at Columbia’s 30th Street Studio in New York City on June 25, July 1, and August 18, 1959, it was released on December 14, 1959 on Columbia Records. It is based upon the use of time signatures that were unusual for jazz and is a subtle blend of cool and West Coast jazz.

The producer on the album was Teo Macero, and Fred Plaut engineered the sessions. S. Neil Fujita had the responsibility for creating the cover artwork, and Seth Rothstein was the project director.

The album peaked at No. 2 on the Billboard pop albums chart, and was the first jazz album to sell a million copies. The single Take Five off the album was also the first jazz single to sell one million copies. By 1963, the record had sold 500,000 units, and in 2011 it was certified double platinum by the RIAA, signifying over two million records sold. The album was inducted in the Grammy Hall of Fame in 2009.

Columbia president Goddard Lieberson took a chance to underwrite and release the album. Although it received negative reviews from critics upon its release, it became a popular recording by fans globally. In 2005, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. It was also listed in the book 1001 Albums You Must Hear Before You Die. In 2009 the album was inducted into the Grammy Hall of Fame.

Track List | 38:30

All pieces composed by Dave Brubeck, except Take Five by Paul Desmond.

Side One

1. Blue Rondo à la Turk ~ 6:44
2. Strange Meadow Lark ~ 7:22
3. Take Five ~ 5:24

Side Two

1. Three to Get Ready ~ 5:24
2. Kathy’s Waltz ~ 4:48
3. Everybody’s Jumpin’ ~ 4:23
4. Pick Up Sticks ~ 4:16

Personnel

• Dave Brubeck – piano
• Paul Desmond – alto saxophone
• Eugene Wright – bass
• Joe Morello – drums

As you all know, the moment the world becomes safe and opens back up for Americans to travel, I will be back jet setting around the globe. In the meantime, stay vigilant, wear masks and remain healthy.

More Posts: adventure,club,genius,jazz,museum,music,piano,preserving,restaurant,travel

Daily Dose Of Jazz…

Vinnie Knight was born on January 5, 1958 in Harlem, New York and later moved to the borough of Brooklyn. At an early age, she sang in church choirs and performed in school plays and her father was a singer and guitarist who traveled the world. She studied dance with La Rocque Dance theater and music at the Juilliard School Of Music and Kings Borough Community College.

Knight recorded the songs of composer Duke Ellington, performed in Nairobi, Kenya, and starred with Oliver Jackson and the Harlem Big Band of New York, touring Germany, Switzerland, Holland, and Turkey.  Returning to New York she performed with Clark Terry on the SS Norway cruise line, then played the Rapos Nightclub in Japan.

She has recorded, performed and collaborated with the best jazz musicians. In 1997 Vinnie moved to Virginia Beach, Virginia and began singing at such noted venues as Uncle Louie’s, The Jewish Mother, Bienville Grill, House of Jazz, as well as resorts, museums, concert halls and private events in Hampton Roads.

Her love for music theater had her writing and producing a musical revue called Black Pearls (The Speakeasy) songs from the 1920’s thru the 40’s; followed by the sequel Black Pearls and White Diamonds. In 2002, she performed a tribute to Ruth Brown and Pearl Bailey. Vocalist Vinnie Knight continues to perform, tour and record.

More Posts: bandleader,composer,history,instrumental,jazz,music,vocal

The Quarantined Jazz Voyager

Ella and Louis is a 1956 studio album by Ella Fitzgerald and Louis Armstrong, accompanied by the Oscar Peterson Quartet, This was the first of three albums that they were to record together for Verve Records, later followed by 1957’s Ella and Louis Again and 1959’s Porgy and Bess. All three were released as The Complete Ella Fitzgerald & Louis Armstrong on Verve.

Norman Granz, the founder of the Verve label, selected eleven ballads for the duo, mainly played in a slow or moderate tempo. Recording began August 16, 1956, at the new, and now iconic, Capitol Studios in Hollywood, California. Though Granz produced the album, Armstrong was given final say over songs and keys. Val Valentin was the session engineer and the photography was taken by Phil Stern.

Tracklist

Side One

1. Can’t We Be Friends? (Paul James, Kay Swift) ~ 3:47
2. Isn’t This A Lovely Day? (Irving Berlin) ~ 6:16
3. Moonlight In Vermont (John Blackburn/Karl Suessdorf) ~ 3:42
4. They Can’t Take That Away From Me (George & Ira Gerrshwin) ! 4:39
5. Under A Blanket Of Blue (Jerry Livingston/Al J. Neiburg/Marty Symes) ~ 4:18
6. Tenderly(Walter Gross/Jack Lawrence) ~ 5:10

Side Two

1. A Foggy Day (George & Ira Gershwin) ~ 4:32
2. Stars Fell On Alabama (Mitchelll Parish/Frank Perkins) ~ 3:34
3. Cheek To Cheek (Irving Berlin) ~ 5:53
4. The Nearness Of You (Hoagy Carmichael/Ned Washington) ~ 5:42
5. April In Paris (Vernon Duke/Yip Harburg) ~ 6:33

Personnel

• Ella Fitzgerald – vocals
• Louis Armstrong – vocals, trumpet
• Oscar Peterson – piano
• Herb Ellis – guitar
• Ray Brown – bass
• Buddy Rich – drums

More Posts: adventure,album,club,genius,jazz,museum,music,preserving,restaurant,travel,vocal

Requisites

The Magnificent Thad Jones | By Eddie Carter

My next entry from the library is the second of three albums released in 1956 by trumpeter, Thad Jones. The Magnificent Thad Jones (Blue Note BLP 1527) finds him in the company of Billy Mitchell on tenor sax, Barry Harris on piano, Percy Heath on bass, and Max Roach on drums. He comes from a musical family, his older brother is pianist Hank Jones and his younger brother, the dynamic drummer, Elvin Jones. Jones also taught himself to play the cornet, and French horn, becoming a professional musician at sixteen. Thad was also a member of some great big bands including Count Basie, Gil Evans, Quincy Jones, and Ernie Wilkins. Jones also led small groups as well and co-led The Jazz Orchestra with drummer Mel Lewis for twelve-years. He led The Danish Radio Big Band and the Count Basie Orchestra for a time after Basie’s death in 1984. His status as an accomplished arranger and composer has given the music world some of the most beautiful compositions ever written including what many consider his masterpiece, A Child Is Born. My copy used in this report is the 2016 Music Matters Jazz Mono audiophile reissue (MMBLP-1527).

April In Paris, written in 1932 by Vernon Duke and E.Y. Harburg begins our five-song journey.  It premiered in the Broadway musical Walk a Little Faster that year, later becoming a favorite song among jazz and pop musicians and vocalists.  Percy and Max introduce the tune softly, then the front line and piano enter for the melody with Thad dispensing a mellow tone from his horn.  Billy makes a brief comment during the opening and ending chorus.  Jones opens with a quote from the English nursery rhyme and children’s song, Pop Goes The Weasel.  His ensuing verses flow at a relaxing pace into the reprise and fadeout.

Thad’s Billie-Do is a blues characterized by the quintet’s carefree feeling from the brief introduction of the trio into the opening chorus providing a delightful treat of what’s to come. Everyone kicks back individually except Max who provides pleasant brushwork behind each soloist.  Jones begins the lead solo with a sweet-toned delivery, then Mitchell conveys a bluesy impression of playful relaxation with a down-home flavor. Harris swings easily on the third reading, then Percy illustrates his rhythmic ingenuity on an abbreviated closer before the quintet takes the song out.

If I Love Again, the 1932 ballad written by Ben Oakland and J.P. Murray ends Side One at an upbeat pace with the quintet delivering high-spirited energy on the melody. Barry opens the soloing with a jubilant performance, then Billy takes over for a vigorously brisk workout. Thad follows with a captivating reading, then Max closes with a clear, crisp attack providing some irresistible musical thrills swinging to the ensemble’s finale.

If Someone Had Told Me is a little-known ballad by Peter DeRose and Charles Tobias that I believe was written in 1952 because the two earliest vocals of the song were released that year. The first was by vocalist Dolores Gray, and the second was done by Sarah Vaughan. The version heard here is a quartet presentation and an attractive feature for Thad who is the only soloist with the trio providing an elegantly lush foundation under him. The trumpeter delivers a performance of beguiling warmth reflecting a bittersweet, poignant moment into a delicately tender finale as good as any you’ve ever heard or will hear.

Side Two closes with Thedia, a cheerfully joyful tune written for and named after Thad’s young daughter. The rhythm section makes a brief introduction for both horns to walk comfortably at an easy beat during the main theme. Billy takes the first solo, establishing a nice momentum in a meticulously conceived and well-executed performance. Barry is next in the spotlight, strolling and swinging to an intriguing beat. Perry grabs and holds the listener’s attention on the third interpretation with two brief choruses that’ll make him or her feel right at home. Thad takes a long, lengthy ride, soaring to the heights on the next statement seamlessly. Max shares the final spot with the leader in several exceptional exchanges ahead of the ensemble’s closing chorus and exit.  The sound quality on The Magnificent Thad Jones is positively stunning with an excellent soundstage and tonal balance between the highs, midrange, and bass that transports your sweet spot to the studio hearing the musicians at their best.

The MMJ reissues also include exceptional front and rear covers, high-definition gatefold photos and the pressings by RTI are on 180-gram Virgin Vinyl.  If you’re a fan of Hard-Bop or are just discovering Thad Jones, you’ll be delightfully surprised by The Magnificent Thad Jones. It’s jazz at its best and a title I’m certain you’ll enjoy for a very long time! During the fifties, Blue Note employed a sales strategy of giving distinguishing names to some of the artists on its label to spark the public’s interest in their albums and possibly boost their sales. Other examples of this are The Fabulous Fats Navarro, The Amazing Bud Powell, and The Incredible Jimmy Smith. In the cases of the artists listed above, the strategy succeeded beyond their expectations and the names stuck. Debut Records also used this method for The Fabulous Thad Jones in 1954!

~ April in Paris (Verve Records MG V-8012); The Fabulous Thad Jones (Debut Records DLP-12); If Someone Had Told Me (Decca Records 28051), (Columbia 4-39719, 39719) – Source: Discogs.com

~ April in Paris – Source: JazzStandards.com ~ If I Love Again – Source: MusicNotes.com ~ Thad Jones, Pop Goes The Weasel – Source: Wikipedia.org ©2020 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,trumpet