Daily Dose Of Jazz…

Paolo Ricca was born on October 2, 1963 in Turin, Italy and began studying classical piano at an early age. After school, he continued his studies and expanded into the realm of jazz performance and composition at CPM Music Institute in Milan, Italy where he graduated, under the tutelage of Franco D’Andrea.

The early 1980’s saw the beginning of his professional career performing for live audiences. A few years later Paolo performed in over 3000 concerts and festivals all over Europe, while simultaneously building a solid reputation as a studio musician. He has collaborated with John Etheridge, Soft Machine, Stèphane Grappelli, John Williams, Lee Brown, La Verne Jackson, Mokhtar Samba ( Joe Zawinul’s Sindycate, Jaco Pastorius, Carlos Santana, M. Orza, Dee D. Jackson, Haddaway and many others.

He ventured into music technology, computers, sequencers, looping, and sampling. Ricca began studio work with engineering, recording, as well as arranging and composing. He has worked for major recording companies, producing music on both a national and an international level.

Pianist Paolo Ricca, whose 2023 release, My Italian Piano Songbook, won First Prize for Best CD at the prestigious Swiss International Music Competition, continues to perform, tour and record as a leading voice in contemporary international piano music.

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Requisites

Organ Grinder Swing ~ Jimmy Smith With Kenny Burrell and Grady Tate | By Eddie Carter

This morning’s selection from the library holds a special significance to me. It was one of my mom’s favorite albums to play while enjoying her morning coffee and preparing our Sunday dinners when we were younger. Organ Grinder Swing (Verve Records V-8628/V6-8628) is a terrific trio album by Jimmy Smith, with Kenny Burrell on guitar and Grady Tate on drums. It was his second most successful album, surpassed only by Back at the Chicken Shack. The soulful character of his organ playing had a profound impact on me from the moment I first heard Houseparty and The Sermon. I quickly became a devoted fan, growing to appreciate even more the rich musicality and infectious grooves he brought to every performance. My copy of this album is the original 1965 U.S. deep groove stereo release.

The title track, The Organ Grinder’s Swing by Will Hudson, Irving Mills, and Mitchell Parish, kicks off the first side with Jimmy’s infectious enthusiasm on a swinging theme. Kenny builds the opening solo with some home-cooking. The organist steps up next with a spirited statement, and Jimmy’s vocal comments as it unfolds. Grady provides a steady beat that propels the group into the climax. Oh, No, Babe by Jimmy Smith gets this soulful blues underway with Smith’s organ and vocals, which are inserted during the introduction and melody. Burrell’s gentle touch shines in a refined, inviting opening solo. Smith brings a Southern flair to the proceedings with a down-home, tasteful delight ahead of the song’s conclusion.

Blues For J by Jimmy Smith is a bluesy mid-tempo original that opens with the trio’s joyously carefree theme in unison. Kenny takes center stage, showcasing his guitar artistry in the opening solo. Jimmy extends the happy mood with a vibrant performance, leading the group back to the ensemble’s reprise and a satisfying finish. The trio delivers a unique take on Greensleeves, the beloved English folk tune. Smith begins the melody with gospel-tinged musical ideas that give the melody a fresh sense of soulfulness. Burrell launches the opening statement with a laid-back, smooth groove. Smith then takes command, delivering an energetic and spirited interpretation that continues until the group’s theme reprise gradually dissolves, like autumn leaves drifting to the ground.

I’ll Close My Eyes by Buddy Kaye and Billy Reid is gently introduced by the trio, segueing into a graceful melody. Kenny’s opening statement radiates a comforting elegance and is one of his most beautiful moments on the album. Jimmy then guides the group toward the song’s reprise, incorporating sensitive ideas and a warm, refined tone, until the ensemble brings back the theme. Satin Doll by Duke Ellington, Johnny Mercer, and Billy Strayhorn is one of the most frequently recorded jazz standards, and picks up the beat one final time for the trio’s light-hearted theme. Burrell looks back nostalgically and sparkles with a soulful touch in the opening solo. Smith responds by gliding efficiently over the keys in a closing statement of happiness while Tate keeps the tempo lively and upbeat ahead of the finish.

Creed Taylor produced Organ Grinder Swing, and Rudy Van Gelder handled the recording. While the album’s sound quality is a strong effort, it falls short of the very best due to a harshness in the microphone placement at the organ, which is especially notable on The Organ Grinder’s Swing, Blues For J, and Greensleeves. This technical flaw, however, does not diminish from the album’s overall excellence. So, don’t let that deter you from adding this record to your library. The album’s greatest strength to me is how impeccably the trio works together. Kenny Burrell and Grady Tate perfectly complement Jimmy Smith throughout every track with a flawless sense of rhythm. If you aren’t looking at the cover, you could easily mistake this for one of the organist’s classic Blue Note recordings.

For fans of the jazz organ or those just discovering the music of Jimmy Smith, I invite you to check out Organ Grinder Swing the next time you’re visiting your favorite record shop. It perfectly captures the dynamic spirit and sophisticated musicianship that emerges when three exceptional performers unite, resulting in a memorable showcase of rhythm, style, and collaboration!

~ Back at the Chicken Shack (Blue Note BLP 4117/BST 84117), Houseparty (Blue Note BLP 4002/BST 84002), The Sermon (Blue Note BLP 4011/BST 84011) – Source: Discogs.com ~ Satin Doll – Source: JazzStandards.com ~ Greensleeves, I’ll Close My Eyes, The Organ Grinder’s Swing – Source: Wikipedia.org © 2025 by Edward Thomas Carter

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Requisites

Bud Powell – A Portrait of Thelonious | By Eddie Carter

Submitted for your approval this morning is an underrated, yet excellent 1965 trio album by pianist Bud Powell. A Portrait of Thelonious (Columbia CL 2292/CS 9092) is a wholehearted tribute to Thelonious Monk, one of the most influential figures in jazz. Pierre Michelot joins him on bass, and Kenny Clarke is on drums. Together, this trio of giants captures the spirit, complexity, and emotional depth of four Monk compositions, one standard and three little- known originals, as seen through Powell’s interpretations. The chemistry between the musicians yields a dynamic exploration of Monk’s repertoire, rendering the album both a reverent homage and a fresh reimagining of the jazz piano tradition. My copy of this album is the 1980 U.S. Columbia Jazz Odyssey Series stereo reissue (PC 36085).

Monk’s Off Minor opens the first side at a medium beat for the friendly melody. Bud is the featured soloist and glides through an enchanting performance with Pierre and Kenny providing a crisp, driving foundation right up to the song’s finish. There Will Never Be Another You by Mack Gordon and Harry Warren is a joyous interpretation that the trio brings to life with a playful spirit during the theme, which is sure to bring a smile to the listener’s face. Again, Powell is the lone soloist and provides a leisurely presentation, possessing a carefree zest that’s consistently rewarding, leading to the theme’s reprise and climax.

Thelonious Monk created some of jazz’s most memorable standards, and Ruby, My Dear is one of his most beautiful compositions, named for his first love, Rubie Richardson. The trio opens with a delicate melody. Bud presents a haunting, poignant performance, marked by gentle sensitivity, layered over the warm, supportive accompaniment of Pierre and Kenny, ahead of a gorgeous conclusion. No Name Blues by Earl Bostic is a catchy tune that begins with the trio’s effective medium-tempo beat for the theme. Powell’s lead solo is an ear-pleaser that swings comfortably into Michelot’s relaxing performance, fueled by Clarke’s brushwork preceding the trio’s bouncy closing chorus.

Thelonious is another of Monk’s inventive melodic ideas from 1947, like Off Minor and Ruby, My Dear. The trio immediately grabs the listener with a catchy hook and a solid medium-tempo groove during the introduction and theme. Powell swings effortlessly in the song’s only solo before the ensemble’s reprise and ending. Monk’s Mood is a pretty ballad by Thelonious Monk that’s luxurious yet straightforward. Powell has the solo spotlight to himself and delivers a gorgeous performance of beauty, elegance, and affectionate warmth, while Michelot and Clarke keep close preceding the song’s peaceful conclusion.

The beat moves upward for I Ain’t Foolin’ by Charles Albertine next. It’s a toe-tapper from the start of the ensemble’s bubbly introduction and melody. Bud navigates the tune’s lively structure in a spirited performance blending bebop lines and Monk-inspired blues inflections until the theme’s restatement and exit. Squatty by Brian Fahey concludes the album, with Clarke setting the tone ahead of the trio’s infectious groove on the melody. Powell establishes a relaxed rhythm, inviting listeners to unwind during the first solo. Michelot steps forward next with a concise reading of lively notes before the trio’s finale.

Julian “Cannonball” Adderley produced A Portrait of Thelonious, and it’s unknown who the original engineer was.Arthur Kendy was behind the dials of the reissue. The album’s sound quality across the highs, midrange, and bass is superb, placing the musicians in your listening room. Each instrument is captured with remarkable clarity, and the balanced mix highlights the interplay between the trio, making every note feel immediate and intimate. If you’re seeking a superb piano trio album for your library, I enthusiastically invite you to check out A Portrait of Thelonious by Bud Powell on your next record shopping trip. It’s an excellent introduction to his music that’s sure to become a welcome addition to any fan’s library who appreciates piano jazz!

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Daily Dose Of Jazz…

Jeff Lofton was born on September 5, 1966 in Badhershfiele, Germany while his father was in the military. Returning to the States briefly in Virginia before moving back to their hometown of Columbia, South Carolina. Getting his first trumpet at eleven he began playing in the middle school band. In high school he was in the concert and jazz bands.

Graduating from the University of South Carolina his interest led to the avant-grade prior to moving to Dallas, Texas and then going on to performing in Austin, Texas. He has performed theater shows, released several recordings and formed an electric fusion group.

Trumpeter Jeff Lofton has been honored with a day in Austin and continues to perform and record.

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Daily Dose Of Jazz…

Peter Andrew Bernstein was born on September 3, 1967 in New York City, He began playing piano when he was eight but switched to guitar when he was thirteen, learning the instrument primarily by ear. He studied jazz at Rutgers University with Ted Dunbar, and Kenny Barron.

While a student at the New School in New York City, he met guitarist Jim Hall, who offered him a job performing at the JVC Jazz Festival in 1990. He then appeared on albums with Jesse Davis, Lou Donaldson, Larry Goldings, Michael Hashim, Geoff Keezer, and Melvin Rhyne. He released his first album as a leader with pianist Brad Mehldau.

He has worked with Jimmy Cobb, Tom Harrell, Diana Krall, Lee Konitz, Eric Alexander, Joshua Redman, Dr. Lonnie Smith, and Walt Weiskopf. In 2008, Bernstein became part of The Blue Note 7, a septet formed that year in honor of the 70th anniversary of Blue Note Records. The group recorded the album Mosaic.

Guitarist Peter Bernstein continues to perform, record and tour.

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