Daily Dose Of Jazz…

Søren Reiff born October 22, 1962, in Holbæk, Denmark to painter Tove Reiff and potter Erik Reiff. When he was ten years old he went to an Eric Clapton concert which sealed his fate to become a guitarist. A few years later he was invited to a recording session and that cemented his career choice.

In the mid-Eighties was the guitarist in house bands and as musical director on Danish National television, which led him to play with Toots Thielemans, Randy Crawford, Robert Palmer, Bonnie Tyler and others. The Nineties saw Reiff working as musical director for Chaka Khan, David Sanborn, Mark King, and many others on these television shows.

As an author Søren has published five books, released three albums as a recording artist. He has played on several American television shows, Studiojams and co-hosted the show The Color of Jazz. He was the founder of Den Rytmiske Højskole’s course for Songwriters and Producers.

Guitarist, producer, composer and author Søren Reiff, who was included in the International Who’s Who in Music, Volume Two, Popular Music, continues to perform and record.

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Daily Dose Of Jazz…

John Funkhouser was born on October 16, 1966 in Boston, Massachusetts and studied classical piano from the age of seven, and classical bass starting at nine. He earned a B.A. in Musicology at Cornell University and returned to Boston to earn a Master’s degree from New England Conservatory in jazz piano, bass and composition in 1995. After a year performing in Singapore and four years performing and teaching in New York City, he again returned to Boston in 2000. This move was to raise a family, perform, and accept a job at Berklee College of Music, where he taught ear training, piano, bass, harmony, and ensembles until 2021.

Performing a wide spectrum of music, including all types of jazz, funk, rock, hiphop, Indian classical music, reggae, other world music and Western classical music, John is in equal demand as a jazz bassist and pianist. He has performed and/or recorded with Grammy winners Joe Lovano, Charles Neville, Steve Gadd, Abe Laboriel Sr., Luciana Souza, Mark Walker, Max Weinberg and Grammy nominees Bobby Watson, Francisco Mela, and Tierney Sutton.

In addition he has performed with among others Geri Allen, Bill Pierce, Joe Hunt, Herb Pomeroy, Francisco Mela, and Rebecca Cline. He leads Piandia, a duo specializing in Indian classical music, with tabla player Jerry Leake and the John Funkhouser Group, and has toured the U.S., Europe, Africa and Asia several times with both bands.

Pianist, bassist, arranger, and producer John Funkhouser, whose discography catalogue includes over 80 compact discs, currently resides, performs and teaches in Albuquerque, New Mexico.

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Requisites

A Night In Tunisia ~ Art Blakey and The Jazz Messengers | By Eddie Carter

This morning’s record from the library is an exceptional jazz album where the musicians complement each other behind the iconic drummer Art Blakey. A Night In Tunisia (Blue Note BLP 4049/BST 84049) is a 1961 release that is not just one of the best LPs in The Jazz Messengers discography but a historical treasure that is better experienced than described. In the spotlight with Art on this date are Lee Morgan on trumpet, Wayne Shorter on tenor sax, Bobby Timmons on piano, and Jymie Merritt on bass. The 1978 King Record Company Japanese Stereo reissue is my copy (Blue Note BST 84049 – GXK 8041).

A Night In Tunisia by Dizzy Gillespie and Frank Paparelli starts swinging with Art’s lively introduction to the quintet’s brisk melody. Wayne launches into a hard-driving interpretation, showcasing his technical prowess and emotional depth. Lee continues cooking with energetic exuberance, his trumpet work adding a vibrant layer to the tune. Jymie demonstrates his skillful command of the bass, walking with authority in a short solo. Art fuels the finale with intense emotion ahead of the theme’s vigorous restatement.

The ensemble eases to a medium melody for Sincerely Diana by Wayne Shorter, stepping aside for the saxophonist’s bluesy opening statement. Morgan carries himself well in the following reading, his trumpet work adding a soulful touch. Then, Timmons delivers a delightfully relaxed performance, his piano playing adding a smooth, jazzy feel. Blakey provides a memorable exclamation point ahead of the closing chorus, his drumming adding a dynamic energy to the piece.

So Tired by Bobby Timmons starts Side Two at a medium tempo, with a boogaloo flavor for the ensemble’s theme. Wayne gives the opening solo an unmistakable melodic charm. Lee next illustrates a splendid study in soulful improvisation; then Bobby hits an ideal groove, leading to the theme’s restatement and graceful fadeout. Yama is the first of two originals by Lee Morgan, and the quintet’s melody is a model of uncomplicated beauty. Timmons is up first and shows his soloist capabilities to fine advantage here in a gentle performance. Morgan responds with a tender, tasteful presentation next. Shorter culminates the solos with an affectionately intimate reading over the trio’s lush foundation into the song’s soothing ending.

Art’s drums kick off the album closer, Kozo’s Waltz by Lee Morgan. The complete ensemble joins in for the medium-fast theme. Wayne gets things underway with a passionate opening statement. Lee responds with an exciting interpretation; Timmons follows with a few intriguing choruses. Art puts his stamp on the closing solo with a sizzling beat before the return to the theme. Alfred Lion produced the initial session, and Rudy Van Gelder was the recording engineer, both of whom were instrumental in capturing the quintet’s energy and chemistry. This King Record Company reissue has a spectacular soundstage that transports the musicians to the sweet spot in your listening room with stunning fidelity. If you’re a hard bop fan, I happily recommend A Night In Tunisia for a place in your jazz library. It’s a gem by Art Blakey and The Jazz Messengers that no jazz enthusiast should miss on their next shopping trip!

~ A Night In Tunisia – Source: JazzStandards.com

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Requisites

In Action ~ J.R. Monterose and The Joe Abodeely Trio | By Eddie Carter

My next record from the library up for discussion is a little-known but highly sought-after 1964 studio album by tenor saxophonist J.R. Monterose and The Joe Abodeely Trio. In Action (Studio 4 SS 100) was recorded during a ten-month engagement at Iowa’s only jazz club at the time, The Tender Trap, which Abodeely owned. This album, with its historical significance in Monterose’s discography, is a unique release. There were only two hundred fifty original LPs made; fans could only purchase them at the cloakroom of the Cedar Rapids Jazz Club, and an original Mint pressing would cost a collector four figures or more. He was born Frank Anthony Peter Vincent Monterose, Jr. and the initials J.R. come from Jr.

Monterose began playing the clarinet at age thirteen, then took up the tenor sax two years later after hearing tenor man Tex Beneke, who was a member of the Glenn Miller Orchestra. The trio consists of Dale Oehler on the piano, Gary Allen on bass, and Joe Abodeely on drums. My copy is the 1983 U.S. Mono reissue (V.S.O.P. Records V.S.O.P. #1), a small record label known for its high-quality reissues of jazz LPs from the fifties and sixties. Waltz For Claire is a very pretty tune by J.R., starting with a cheerful theme. He continues with a blissful opening statement by the saxophonist, who communicates his feelings about the young lady with a charming performance. Dale takes the listener on a relaxing joyride in the closing solo ahead of the theme’s restatement and close.

I Should Care by Alex Stordahl, Paul Weston and Sammy Cahn premiered in the 1945 film Thrill of a Romance. The quartet begins with Monterose’s sensual sound of his tenor sax, delivering a delicate melody and then handling each note of the opening statement with tender, loving care. Oehler follows with a passionate performance packed with plenty of feeling before J.R. repeats the theme. That You Are, Monterose’s next tune, is a creative reimagining of All The Things You Are, a popular jazz standard. Monterose builds on the changes of the original with an upbeat, bright, bouncy theme. J.R. puts his thoughts into expressive verses first. Dave provides the exclamation point in an energetic solo, leading to the ending theme and fadeout.

The tempo moves upward to kick off the second side with Red Devil by Monterose, beginning at a brisk beat for the quartet’s theme. The saxophonist leads off with a flawless opening solo, and then Oehler dazzles on the finale with an imaginative flair. Lover Man by Jimmy Davis, Roger Ramirez, and James Sherman begins with a pensive melody by the foursome, segueing to J.R.s intimately warm interpretation. Dave responds with a delicately elegant and beautiful presentation. Monterose closes with a few final comments of exquisite softness anchored by Gary and Joe’s subtle supplement ahead of the tender close.

The final track is Monterose’s Herky Hawks, an uptempo tune that deceptively starts with a two-instrument conversation between the saxophonist and pianist at a slow tempo. This musical dialogue sets the stage for the rest of the piece. The discussion gradually builds in intensity, leading to a swift-moving speedy theme. This tune is a scorcher from the start, and the saxophonist turns the heat way up in the first of two solos. Dave attacks the next reading with aggressive fierceness, and then J.R. ends the album with a blistering final performance preceding the climax.

The recording engineers on this reissue are Dimitri Sotirakis and Myron Schiebel. Although there’s no information on either engineer, their work speaks volumes. They’ve done an excellent job with the sound quality of this album, bringing out the richness and depth of the music. The excellent sonics throughout the treble, midrange and bass complement the inspired performances by J.R. Monterose and The Joe Abodeely Trio, making In Action an underrated release deserving a spot in your jazz library!

~ Lover Man – Source: JazzStandards.com

~ I Should Care – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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Daily Dose Of Jazz…

Deborah Winters was born on September 15, 1966 in San Francisco, California and her childhood was immersed in music and dance with first influences from her drummer father, and a ballet dancer mother with the Oakland Metropolitan Ballet Company. Developing a passion for music, dance and theatre at a very early age, big band sounds rang through the house.

Moving around the country with her family as an adolescent, Deborah studied voice and guitar. She became influenced by singer/songwriters James Taylor, Joni Mitchell and Rickie Lee Jones. Her desire to sing and play the guitar led her to playing clubs and into the studio to record a few of her own compositions before graduating.

Her musical palate expanded to include jazz standards and contemporary musical forms. Performing around San Francisco she would go on to work with Tony Williams, Bobby McFerrin and his Voicestra group, Frank Martin, and Jose Neto. She released her debut recording, live “in session” on her Pure Passion Productions label. Her sophomore release Inspired, exhibits her introspective side. Her third release centers on big bands, traversing the expanse of jazz history.

Vocalist Deborah Winters continues to search for new ways to express her music in her evolution as a singer, guitarist and songwriter.

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