Daily Dose Of Jazz…

Bill Charlap was born William Morrison Charlap on October 15, 1966 in New York City. Coming from a musical background and a distant cousin to famed jazz pianist Dick Hyman. His mother, singer Sandy Stewart had the hit “My Coloring Book”, his father, Broadway composer Moose Charlap.

Charlap began playing piano at age three. He later studied classical music but remained most interested in jazz. Over his career he has worked with Gerry Mulligan, Benny Carter, Tony Bennett, Phil Woods, Scott Hamilton, Ron Carter, and others. In the mid-90s, he was the musical director of Midnight in the Garden of Good and Evil, A Celebration of Johnny Mercer, part of New York’s JVC Jazz Festival. In 1995 he joined the Phil Woods Quintet.

Charlap has recorded seven albums as a leader or co-leader for Blue Note, has had two Grammy nominated CDs: “Somewhere” and “The Bill Charlap Trio, Live At The Village Vanguard”. He has recorded two albums as a leader for Venus Records, as well as eight albums as a member of the New York Trio.

Bill appears at least twice a year for lengthy runs at some of the world’s major jazz clubs with his rhythm section, consisting of double bassist Peter Washington and drummer Kenny Washington. He became the Artistic Director of New York’s 92nd Street Y “Jazz in July” six program series in 2004. In 2008, the pianist became part of The Blue Note 7, celebrating the 70th anniversary of the label, recording Mosaic with promotion tour around the world. He continues to compose, record and tour.

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Daily Dose Of Jazz…

Matthew Parrish was born on October 14, 1969 in Fresno, California. Traveling with his parents most of his formative years, the bassist developed a wide appreciation for culture and arts and his family finally settled in New Jersey for his high school years. This led to his tenure at Rutgers Mason Gross School of the Arts. From there he moved to Philadelphia where his music studies really began at Ortliebs Jazz Haus.

At Ortliebs, Parrish played with Mickey Roker and Shirley Scott, backing everyone from Cecil Payne, Johnny Coles and Danny Turner to Sylvia Simms. He was soon partnered with Al Grey and while touring hit with Clark Terry, Marian McPartland, Dr. Lonnie Smith, Lou Donaldson, Joe Cohn, Savion Glover, Bill Charlap and many others.

Considering himself an East Coast player his list of accolades is more than sufficient to fall in the lineage of great Philly players. He has toured all over the world and his beautiful, warm and complex sound has earned him an impressive reputation in the music community. He has toured with Greg Osby, Stefon Harris and Regina Carter among others and continues to tour with the Dave Leonhardt group, Houston Person as well as the Vana Gierig Trio with Paquito D’Rivera. Bassist Matthew Parrish also continues to perfect his arrangements and compositions – a true passion for the music.

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Requisites

Down To Earth ~ Freddie Roach | By Eddie Carter

Submitted for your approval from the library this morning is an underrated, yet wonderful 1962 album by organist Freddie Roach. Down To Earth (Blue Note BLP 4113/BST 84113) was the first of five releases he recorded as a leader for the label, and brings together a hard-swinging quartet featuring Perry France on tenor sax, Kenny Burrell on guitar, and Clarence Johnston on drums. France and Burrell appeared on Jimmy Smith’s Home Cookin’ album, and this hard-bop session by Roach follows in the same vein, with a classic organ-jazz foundation. My copy is the 1994 Toshiba-EMI Japanese stereo reissue, which shares the original catalog number.

The opener, De Bug, is the first of five originals by Freddie Roach, and a catchy original that begins with the quartet’s medium melody. Kenny gets things started with a leisurely opening solo. Perry follows with a marvelously executed reading, and Freddie continues making it fun in the finale, leading to the group’s ending theme and slow dissolve. Ah Miz is Freddie’s play on the phrase “I’m Is,” and the group gets things going with a bluesy midtempo theme. Perry leads off this time with a joyously carefree presentation. Kenny unfolds the second reading as smoothly as velvet, and Freddie extends the happy mood toward the ensemble’s closing chorus and fadeout.

Lujon is a beautiful tune by Henry Mancini that comes to life with Kenny and Clarence’s subtle introduction to the ensemble’s melody. Kenny has the first say and approaches the solo with elegant simplicity. Perry follows with a touching interpretation, and Freddie comes in last, gently, before the quartet restates the ending and the song fades out softly. Freddie Roach’s Althea Soon picks up the pace to begin the second side with the group’s medium melody. Perry leads the way and takes the listener on an eventful ride, then Kenny keeps it going with an easy swing. Freddie has the last word and makes an indelible impression ahead of the theme’s restatement and close.

More Mileage is Freddie Roach’s tribute to Miles Davis and pure, greasy quartet funk, letting the foursome swing easily through the opening chorus. Kenny sets the pace with a relaxed attitude on the opening statement. Perry takes the reins next with a cheerful reading. Freddie turns in another standout turn ahead of the theme’s reprise and fadeout. Lion Down is Freddie’s nod to Blue Note founder Alfred Lion, and the ensemble operates at an effortless shuffle tempo. Perry gets right down to business on the opening statement. Kenny lays out his ideas in the following reading, and Freddie brings considerable enthusiasm before the theme returns and finishes!

Alfred Lion produced Down To Earth with Rudy Van Gelder managing the recording console. The Toshiba reissue sounds good, though not exceptional, as the organ microphone overmodulates and grows increasingly distorted as the album progresses. That said, fans of soul-jazz and jazz organ will find Freddie Roach’s Down To Earth a delight, even though it remains one of Blue Note’s most overlooked albums. It’s a swinging set that rewards repeated listening, and I hope you’ll consider seeking it out on your next record-shopping trip!

~ Home Cookin’ (Blue Note BLP 4050/BST 84050) – Source: Discogs.com

© 2026 by Edward Thomas Carter

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Requisites

The Right Touch ~ Duke Pearson | By Eddie Carter

Submitted for your approval this morning is The Right Touch (Blue Note BLP 4267/BST 84267), an exceptional 1967 album by Duke Pearson. It was the arranger, composer, and pianist’s fifth release for Alfred Lion’s label and his tenth as a leader. Here he’s arranged and composed all the tunes and is leading an all-star ensemble: Freddie Hubbard on trumpet; Garnett Brown on trombone; James Spaulding on alto saxophone; Jerry Dodigon on alto saxophone (tracks: A2, A3, B1 to B3) and flute (A1); Stanley Turrentine on tenor saxophone; Gene Taylor on bass and Grady Tate on drums. I own the 1994 U.S. Stereo reissue (Blue Note B1 7243 8 28269 1 0).

Chili Peppers kicks off the first side with lively energy and a bright, confident ensemble theme. Stanley gets into a cheerful groove on the opening solo. Duke follows with a rousing interpretation, paced beautifully ahead of the octet’s closing chorus and fade-out. Jerry’s flute adds a gentle touch to the opening and closing melodies, making the tune even more inviting. Make It Good begins with a lengthy, relaxed introduction that segues into the octet’s soulful opening melody while Gene and Grady provide a firm foundation. Duke takes the first spot again and lays down a bouncy rhythm. Freddie is up next with a good-natured performance that swings smoothly into the theme’s reprise and slow dissolve.

My Love Waits (O Meu Amor Espera) slows things down as Freddie leads the ensemble’s gorgeous bossa nova theme. Freddie and Duke are the featured performers, and the trumpeter’s opening statement is graceful. Duke speaks next with delicacy and tenderness before the group returns to the sentimental ending theme and a gentle fadeout. Los Malos Hombres picks up the pace to begin the second side, with Grady introduction to the group’s brisk melody. Stanley ignites the first solo and burns brightly. Freddie breathes fire into the second solo, then James keeps things cooking next. Duke follows with a spirited reading, and Grady doesn’t pull any punches, leading to the theme’s restatement and dead stop.

Scrap Iron opens with the ensemble’s mournful, harmonically rich blues melody, reflecting the song’s hard-edged rhythmic character. Stanley begins the opening statement, delivering his signature robust, earthy, gospel-drenched sound. Duke follows, creating an easy, conversational groove that reflects the blues’ lingering, smoky atmosphere before the octet reenters and ends with an evocative climax. Rotary draws the curtain down in a Monkish vein for the group’s theme. Freddie takes the lead, followed by James, Garnett, Stanley, and Duke, who take the listener on a leisurely ride, preceding the theme’s restatement and a satisfying conclusion.

Francis Wolff produced The Right Touch, and Rudy Van Gelder was behind the recording console. Kevin Reeves cut the lacquer, and Capitol Mastering gave the final mastering touch. This reissue's sound quality is excellent, with a superb soundstage that makes you feel as if the musicians are right in your listening room, delivered with remarkable clarity. If you’re a jazz piano enthusiast like me and looking for a wonderful album to relax to after a busy day or week, I invite you to check out The Right Touch by Duke Pearson on your next record-shopping trip. It’s an underrated gem with an incredible lineup of musicians that will surely bring you hours of joy and musical delight!

© 2026 by Edward Thomas Carter

Daily Dose Of Jazz…

Niels Lan Doky was born in Copenhagen, Denmark on October 3, 1963 and first learned to play guitar before switching to piano at age 11. At the age of 15, he began working with Thad Jones, Ernie Wilkins, Kenny Drew, Ed Thigpen and others living and playing around his hometown. Shortly after finishing high school in 1981, following the advice of Thad Jones, he moved to the U.S. and studied at Berklee College of Music in Boston before establishing himself in New York City’s jazz scene.

Bassist Niels-Henning Ørsted Pedersen helped Doky land his first recording contract with Storyville records in 1986 and toured and recorded with him across Europe and in the USA during the rest the decade and well into the 1990s. During that period Pederson became a mentor and played a crucial role in helping him find his own musical voice and develop his own personal style.

Over the course of his career pianist Niels Lan Doky has recorded thirty-three albums, played for Pope Paul II, received an award from Denmark’s royal family, was appointed Member of the Music Committee under the Danish Arts Council, and made his film directing debut with the acclaimed feature film “Between a Smile and a Tear”.

He has performed with Joe Henderson, Gary Peacock,  Jack DeJohnette, Ray Brown, Michael Brecker, David Sanborn, Pat Metheny,  Alvin Queen, John Scofield, John Abercrombie, Woody Shaw, Bob Berg,  Dianne Reeves, Al Jarreau, Charlie Haden, Gino Vannelli, and John McLaughli among numerous others, in addition to leading The Doky Brothers and groups under his own name currently today.

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