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.
More Posts: bandleader,history,instrumental,jazz,music,trumpet
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.
More Posts: bandleader,guitar,history,instrumental,jazz,music
Daily Dose Of Jazz…
Joe Quintana was born in Aguadilla, Puerto Rico on August 21, 1969 and raised in a bicultural environment as a military brat. It was a blessing for a young musician to absorb so many influences that come with international travel. His parents, being appreciative of all musical genres and styles, made sure that he and his brothers were exposed to music at home.
After his formative early years, by 1995 Joe had set up his own band and began playing in Rincon, Puerto Rico as the house band at the Calypso Café. This led to other gigs and many mutations of his bands over the years. He is still very active in the area.
Joe’s guitar styling is very much in synchronization with just the right nuance in relation to the mood he wants to portray. Adept on the acoustic as an accompanist, and is at home unplugged as he is in the electric blues setting or showcased on Latin jazz/rock numbers.
He is either a sideman for live performances or studio recordings, but usually as the leader of his own outfit. His association and collaborations with his brothers has been the catalyst for his own forays into exploring his individual direction as well.
Guitarist Joe Quintana, who is the quintessential journeyman, continues to play every weekend and many week nights and plays a full repertoire for the locals.
More Posts: bandleader,guitar,history,instrumental,jazz,music
Requisites
Indestructible! ~ Art Blakey and The Jazz Messengers | By Eddie Carter
For over three decades, Art Blakey made an indelible mark on jazz, both as a dynamic drummer and a visionary band leader. His creative drive propelled The Jazz Messengers to the forefront of the jazz world, earning them international acclaim as one of the genre’s premier ensembles. By 1964, the group was facing a turning point: Wayne Shorter was preparing to leave for the Miles Davis Quintet, and both Cedar Walton and Reggie Workman were set to embark on solo careers. This week’s featured album from the library is Indestructible (Blue Note BLP 4193/BST84193), Blakey’s final session for Blue Note. Intriguingly, the album wasn’t released until 1966, making its debut with a powerful, unforgettable presence.
Art is accompanied by Lee Morgan on trumpet, Curtis Fuller on trombone, Wayne Shorter on tenor sax, Cedar Walton on piano, and Reggie Workman on bass. My copy of the album is the 1985 Toshiba-EMI Limited Japanese stereo reissue utilizing the original catalog number. The Egyptian, by Curtis Fuller, which opens the first side, sets the tone with a relaxed, mid-tempo beat. The trio’s lengthy conversation leads to the front line’s irresistibly catchy melody. Curtis goes to work first, establishing a laid-back mood, then Wayne provides the song’s most dventurous solo, which nearly steals the spotlight. Lee injects a burst of energy into a swinging improvisation next. Finally, Cedar wraps up things with a superb statement, leading to the ensemble’s ending theme and fadeout.
Curtis Fuller’s Sortie opens with a blues-inspired introduction, drawing the ensemble into a smooth, medium-tempo melody. Lee begins the opening solo impressively, then Wayne executes a soulful, down-home statement. Curtis steps in with a lively, toe-tapping reading next, after which Cedar presents his ideas on the final performance perfectly until the group comes to a graceful closing chorus and gentle fade. On the second side, Calling Miss Khadija by Lee Morgan starts with Reggie, Cedar, and Art, setting the lively mood for the track’s vivacious theme. Lee ignites the opening statement with his energetic playing. Wayne continues the momentum with swinging, expressive lines. Curtis then delivers a solo rooted in blues, leading into Cedar’s scintillating reading, followed by Art’s brief but memorable presentation, before the ensemble’s closing chorus softly dissolves.
When Love Is New by Cedar Walton is a gorgeous ballad that begins with the ensemble’s unified introduction, then gives way for Wayne to shape the beautiful melody and a sprightly, breezy lead solo. Lee follows with an easy swing in his tone and a steady sureness until the saxophonist returns to pilot the group back to the closing chorus and a soft summation. Mr. Jin by Wayne Shorter showcases his knack for weaving an intricate, adventurous melody with an
Oriental flavor. Art sets the tone for the ensemble’s precise interplay, then Wayne steps up first with ample room to stretch out on the opening statement. Lee responds to the saxophonist with bright, lively phrases, leading back to the sextet’s theme reprise and the trio’s slow fadeout.
The chemistry among the musicians on Indestructible is truly remarkable. Art Blakey created a space where creativity flourishes and daring improvisation thrives. This approach yields performances with vibrant energy, yet remains disciplined and refined. Every member of the ensemble is given room to shine individually without ever losing their unmistakable coherence. Lee Morgan’s trumpet stands out with vibrant flair, while Curtis Fuller’s trombone adds a rich, soulful layer. Wayne Shorter’s tenor saxophone brings an alluring, mysterious edge. At the heart of the ensemble, Cedar Walton and Reggie Workman provide a steadfast and fluid foundation of rhythms and harmonies, completing what stands as one of the finest incarnations of the Jazz Messengers under Art’s leadership.
Alfred Lion produced the album, and Rudy Van Gelder was behind the recording console. The sound quality of this Toshiba-EMI reissue is absolutely stunning, with a superb soundstage that transports the listener to the studio as the musicians play. If you’re already a fan of Art Blakey and The Jazz Messengers, or simply in the mood for some hard bop to unwind after a long day, I highly recommend checking out Indestructible on your next record-shopping trip. It’s an outstanding album that promises countless hours of rewarding listening. Additionally, as Art Blakey’s swan song for the label and the three departing members, it is sure to be cherished by both newcomers and seasoned fans alike!
© 2025 by Edward Thomas Carter
More Posts: choice,classic,collectible,collector,drums,history,instrumental,jazz,music
Daily Dose Of Jazz…
Victor Louis Goines, born August 6, 1961 in New Orleans, Louisiana. He graduated from St. Augustine High School in New Orleans and has been a member of Jazz at Lincoln Center Orchestra and the Wynton Marsalis Septet since 1993.
Goines has collaborated with Terence Blanchard, Dee Dee Bridgewater, Ruth Brown, Ray Charles, Bo Diddley, Bob Dylan, Dizzy Gillespie, Freddie Green, Lionel Hampton, Freddie Hubbard, B.B. King, Lenny Kravitz, Branford Marsalis, Ellis Marsalis, James Moody, Dianne Reeves, Marcus Roberts, Diana Ross, Eric Clapton, Wycliffe Gordon, and Stevie Wonder.
He has performed on more than 20 recordings, including the soundtracks for three Ken Burns documentaries and the 1990s films Undercover Blues, Night Falls on Manhattan, and Rosewood. He has composed more than 200 original works, including Jazz at Lincoln Center and ASCAP commissions.
He has also served on the faculties of Florida A&M University, University of New Orleans, Loyola University of New Orleans, and Xavier University of Louisiana. Goines is an artist for Buffet Crampon and Vandoren.
Saxophonist and clarinetist Victor Goines, who was director of the jazz program at Juilliard from 2000 to 2007, has served as president and chief executive officer of Jazz St. Louis since September 2022.
More Posts: bandleader,clarinet,history,instrumental,jazz,music,saxophone