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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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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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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Mercy, Mercy, Mercy! ~ The Cannonball Adderley Quintet | By Eddie Carter

Have you ever heard a record so good it literally got into your head and stayed there forever? This morning’s album is one of those for me. Mercy, Mercy, Mercy! (Capitol Records T 2663/ST 2663) is a live album by the Cannonball Adderley Quintet. It was initially said to have been recorded in 1966 at The Club in Chicago. But it was actually recorded at the Capitol Records Tower with an invited audience and an open bar. The discrepancy arose because Adderley and the clUB’s new manager were friends, and the saxophonist offered the club free publicity. That aside, it’s a terrific album that’s worth the money if you enjoy live jazz. 

The quintet consists of Nat Adderley on cornet, Cannonball Adderley on alto saxophone, Joe Zawinul on piano (tracks: A2, A3, B1 to B3) and electric piano (A4), Vic Gatsky on bass, and Roy McCurdy on drums. I own the 1967 U.S. Mono release. The announcer’s introduction sets the stage for Fun, the first of two tunes by Nat Adderley that immediately energizes the audience with the quintet’s lively melody. Cannonball’s brisk lines soar effortlessly in the opening statement, Nat’s spirited response adds warmth, and Joe’s vigorous interpretation ties it all together, showcasing their tight musical chemistry and improvisational skill that truly captures the audience’s excitement.

Cannonball announces the song title to the audience, then notes that their next tune is titled Games, which kicks off with the quintet’s upbeat introduction and theme. Cannonball opens with one of his most inventive solos, then Nat settles into an effervescent groove perfect for finger-popping and toe-tapping. Joe responds with a marvelous interpretation that builds to a satisfying finale. Joe switches to the electric piano as the rhythm section provides a warm backdrop for Cannonball’s intro to the album’s defining moment, Joe Zawinul’s Mercy, Mercy, Mercy. The quintet’s memorable theme and Joe’s soulful solo make this track a highlight, inviting listeners to experience the album’s emotional depth firsthand.

Sticks by Julian Adderley shifts the album into a finger-snapping tempo, opening the second side with the quintet’s danceable melody. Nat takes the lead with an energetic reading, leaving room for his brother to soar next. Joe comes in last and adds an indelible contribution before the ensemble’s theme restates and ends firmly. Hipadelphia by JosefZawinul begins with the ensemble’s relaxed melody. Cannonball has the first say and moves comfortably through the rhythm section with an easy-flowing stream of ideas. Nat rocks the second reading with a light, airy sound. Joe wraps up everything smoothly in the closer before the horns return to take the song out.

The set wraps up with Cannonball’s warm introduction to his tune, Sack O’ Woe. The rhythm section softly sets the mood for the quintet’s lively melody, a heartfelt blend of blues and church influences. Cannonball takes the spotlight first with a soulful sermon. Nat brings everyone to their feet with his finger-snapping, toe-tapping performance. Joe adds emotional intensity in his turn, and Vic finishes off ahead of the ensemble, bringing it all together in the closing chorus. David Alexrod produced Mercy, Mercy, Mercy, while the recording engineer remains a mystery. The album’s sound quality is excellent, making you feel like you're right there in the studio audience, sharing in the joy of the music as it happens.

Mercy, Mercy, Mercy truly shines as a jazz album that is both beautifully crafted and immediately captivating. The quintet’s arrangements and performances flow together smoothly, letting each musician shine and filling the album with warmth and vibrant energy. The title track really highlights what makes this album so special, while the other songs show that Cannonball Adderley and his band could groove in many different ways. I’m sure those in attendance walked away feeling like they had experienced something truly memorable. If you’re already a fan of the Cannonball Adderley Quintet or discovering their music for the first time, I encourage you to pick up Mercy, Mercy, Mercy on your next record shopping trip. It’s a lively and cohesive album that’s perfect for focused listening and relaxing enjoyment!

© 2026 by Edward Thomas Carter

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