Daily Dose Of Jazz…
Ali Jackson Jr. was born on April 3, 1976 in Detroit, Michigan. His mother, a classical pianist, taught him piano and how to read music at age 4, his father, a professional bass player, taught him music theory and gave him drums lesson from rudiment books.
Attending Detroit’s prestigious Cass Technical High School, he went on to matriculate through The New School For Jazz and Contemporary Music and privately studying with Elvin Jones and Max Roach.
Ali has recorded two albums as a leader and as a sideman has performed and recorded with musicians including with Joshua Redman, Anat Cohen, Kurt Rosenwinkel, Wynton Marsalis, Jacky Terrasson, Craig Handy, James Carter, Dee Dee Bridgewater, Aretha Franklin, George Benson, Harry Connick Jr., KRS-1, Marcus Roberts, Cyrus Chestnut, Joshua Redman, Diana Krall and Eric Reed.
Ali Jackson is currently the drummer with the Lincoln Center Jazz Orchestra, performs with the Wynton Marsalis Quintet, Horns in the Hood, and leads the Ali Jackson Quartet. He is also the voice of “Duck Ellington,” a character in the Penguin book series Baby Loves Jazz and has hosted “Jammin’ with Jackson,” a series for young musicians at Jazz at Lincoln Center’s Dizzy Club Coca-Cola.
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Daily Dose Of Jazz…
Rodrigo Villanueva was born in Mexico City, Mexico on March 26, 1967 and began playing drums at age of 15, studying privately and taking classical percussion and jazz studies at Escuela Superior de Musica, Ollin Yolitztly and Escuela Nacional de Musica. In 1987, he joined the jazz group Atri 5 recording Ice Cream Concerto and Flavors of the Stars, touring Mexico and playing in several international new music festivals.
Over the course of his career Rodrigo has performed in several theater bands, television shows and studio sessions; and in the jazz/classical genre with Carlos Prieto, Roberto Limón, Marisa Canales, Ana Maria Tradatti and Takagoshi Yoshioka to name a few. He has been a member of the Contemporary Jazz Trio, Brass Explosion, Fénix and Jazztlán; and has co-led the group Espiral.
Villanueva has toured the U.S., Mexico, South America, Europe and Asia with several jazz and pop projects, has won the National Final Nescafe-Yamaha Pop Music Award Band Explosion with the group Corazón Latino, and has composed and arranged in the jazz and pop idioms including big band. He has played with his alma mater’s lab bands at the University of North Texas, performed with Charles McPherson, Eddie Gomez, Clark Terry, Wycliffe Gordon, Stefan Karlsson, Jimmy Owens and Fareed Haque amongst his list of many.
As an educator drummer and percussionist Villanueva has taught drum-set and percussion courses and master classes at different institutions in Mexico, the U.S., Perú, Korea, & Japan. He is currently an Associate Professor of Jazz Studies at Northern Illinois University, coaches the NIU Jazz Lab Band and continues to play with several groups.
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Daily Dose Of Jazz…
Terence Oliver Blanchard was born March 13, 1962 in New Orleans, Louisiana and began playing piano at the age of five and then the trumpet at age eight. He played trumpet recreationally alongside childhood friend Wynton Marsalis in summer music camps but showed no real proficiency on the instrument. While in high school, he began studying at the New Orleans Center for Creative Arts and then studied at Rutgers, toured with Lionel Hampton, joined Art Blakey and became the Messenger’s music director.
While playing with Blakey, Blanchard rose to prominence as a key figure in the 1980s Jazz Resurgence as a co-leader of a quintet with saxophonist Donald Harrison and pianist Mulgrew Miller, The Harrison/Blanchard group recorded five albums from 1984-1988 until Blanchard left to pursue a solo career in 1990 and recorded his self-titled debut for Columbia Records.
He scored and performed on every Spike Lee movie soundtracks, including his 4-hour HBO Hurricane Katrina documentary “When The Levees Broke: A Requiem In Four Acts” and the soundtrack for “Red Tails”. Composing for other directors, with over forty scores to his credit Blanchard is the most prolific jazz musician to ever compose for movies.
Terence has recorded eighteen albums, been nominated for twelve times and won five Grammy Awards, has won Soul Train Music Award, an Emmy and Golden Globe among others. On the short list his collaborations include Herbie Hancock, Diana Krall, Gary Bartz, Jane Monheit, Dianne Reeves, Christian McBride, Lewis Nash and McCoy Tyner.
Composer, educator and trumpeter Terence Blanchard is the artistic director of the Thelonious Monk Institute of Jazz at the University of Southern California. All the while, he has remained true to his jazz roots as a trumpeter and bandleader on the performance circuit.
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Requisites
Jackie’s Bag ~ Jackie McLean | By Eddie Carter
Alto saxophonist, Jackie McLean, enters this morning’s spotlight with an excellent 1961 hard bop album, Jackie’s Bag (Blue Note BLP 4051/BST 84051). It comprises two sessions from 1959 and 1960, and two all-star ensembles join him. Donald Byrd (tracks: A1-A3), Blue Mitchell (B1 to B3) on trumpet, Tina Brooks (B1 to B3) on tenor sax, Sonny Clark (A1 to A3), Kenny Drew (B1 to B3) on piano, Paul Chambers on bass, Philly Joe Jones (A1 to A3), and Art Taylor (B1 to B3) on drums. The copy I own is the 2008 Classic Records mono audiophile deep groove reissue, sharing the original catalog number.
Side One opens with Quadrangle, the first of five originals by Jackie McLean. It takes off straight into the stratosphere from the start of the quintet’s brisk melody. Jackie takes a sharp corner into an energetic opening solo, then Donald continues navigating traffic in the next lively statement. Philly Joe tackles the final solo vigorously, leading back into the closing chorus. Blues Inn begins with the ensemble’s relaxed theme. McLean opens with an easygoing solo, then Byrd compels the listener to leave their troubles behind in the following statement. Clark has an enjoyable interpretation next, and Paul’s short walk leads the group back into the theme’s restatement and close.
Fidel gets going with Philly Joe’s introduction to the group’s upbeat melody. Donald has the first solo and makes the most of every note. Jackie takes over and swings so passionately that the listener is sure to be tapping his toes and snapping his fingers. Sonny’s rhythmic agility in the closer flows efficiently into the closing chorus and ending. Appointment in Ghana starts the second side with the front line’s introduction segueing into the sextet’s lively melody. McLean leads off and shows he can cook with the best of them. Mitchell adds some bite to the second solo, then Brooks ignites the next reading with plenty of heat. Drew gets the last word ahead of the group’s tasty finale.
A Ballad For Doll is a heartfelt tribute from Jackie to his wife, Dolly. The sextet gently slows things down for a warm and affectionate opening chorus. Kenny shines in the solo spotlight with a delicately beautiful interpretation that builds into the group’s touching climax. Isle of Java by Tina Brooks brings the album to a close, picking up the tempo one last time for Brooks, setting the spirited melody in motion against the sextet. McLean comes out swinging first with a lively interpretation. Mitchell maintains the groove with an effervescent solo. Brooks responds with a statement full of zest. Drew is on the trail of the front line in the following reading, and Chambers gets a moment to shine, preceding the theme’s reprise and fadeout.
Alfred Lion produced Jackie’s Bag, and Rudy Van Gelder managed the recording console. The album’s sound quality is clean and crisp, leaping from the speakers with stunning fidelity and absolutely no background noise. Bernie Grundman mastered the audiophile reissue, and the record was pressed on 200-gram Quiex SV-P Hand Made Super Vinyl. The record is also silent until the music starts. If you’re in the mood for an excellent hard bop album, Jackie’s Bag, by Jackie McLean, is an outstanding entry point to his artistry and discography. The album also offers a vivid picture of the music landscape in the late 1950s and early 1960s, and should make a welcome addition to any jazz fan’s library!
© 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Nicole Mitchell was born on February 17, 1967 in Syracuse, New York where she was raised until age eight, when her family moved to Anaheim, California. She began with piano and viola in the fourth grade; however, she was classically trained in flute and played in youth orchestras as a teenager. Her initial college major in math was superseded by jazz while in college and took to busking in the streets playing jazz flute. After two years at the University of California, San Diego, in 1987 she transferred to Oberlin College.
In 1990 a move to Chicago saw her playing once again on the streets and working for third World Press and meeting members of the Association for the Advancement of Creative Musicians. Mitchell soon started playing with the all-women ensemble Samana under the AACM umbrella. Over the next several years she moved to New Orleans, became a mother, returned to school earning her BA and Masters, met and extensively began playing with Hamid Drake, then worked with saxophonist David Boykin prior to starting her group the Black Earth Ensemble” and co-hosting the Avant-Garde Jazz Jam Sessions in Chicago.
Releasing her debut album “Vision Quest” in 2001, she has been named “Rising Star” flautist for 2004 -2006 by Down Beat and by Down Beat International Critics Poll in 2010 & 2011. As an educator, Nicole has taught at Northern Illinois, Chicago State, Northeastern Illinois University, Wheaton College and the University of Illinois at Chicago; and has been co-president of the AACM since 2006.
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