Daily Dose Of Jazz…
Mika Mimura was born in Osaka, Japan on April 18, 1978. She began to play marimba when she was 6 years old. She studied classical music at Osaka College of Music and finished her Master’s degree at the college. Inspired by pianist Makoto Ozone, she began her study of jazz vibraphone after graduation. She entered Berklee College of Music in 2004 and studied with Dave Samuels, Ed Saindon, Tiger Okoshi, and Ed Tomassi , among others.
Mika became a regular member of Phil Wilson’s Rainbow Big Band and Rainbow All Stars. In 2007 she performed with Greg Osby in 2007. She joined The BandA ecLectics, whose leader, Petros Sakelliou, had won the first prize at Thelonious Monk Institute Composition Competition. Together they played the Kodak Theatre in Los Angeles, California. She has performed many times in concert throughout the Boston, Massachusetts and New York City areas.
Vibraphonist Mika Mimura, who is currently a part of the New York City jazz scene, continues to energetically perform, compose and arrange in jazz or classical.
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Daily Dose Of Jazz…
Susanne Alt was born April 15, 1978 in Würzburg, Germany to Hans-Joachim and Maria Alt. Her father is a composer, poet and piano teacher, and mother a guitar teacher. After studying classical piano and guitar with her parents, she began playing the saxophone at thirteen and successfully participated in several saxophone competitions.
While still in high-school she started taking lessons in classical saxophone at the Meistersingerkonservatorium Nuremberg between 1993 and 1995, becoming a full-time student there in the 1995–96 academic year. During this period Susanne began practicing jazz and after winning the Siemens-Jazz-Förderpreis, she moved to the Netherlands to continue her studies at the Hilversums Conservatorium. Returning to Germany for postgraduate studies, she enrolled in the Berlin University of the Arts in 2000.
Forming the Susanne Alt Quartet in 2003, in the following year she released her debut album, Nocturne at Bimhuis, Amsterdam, Netherlands. Five jazz albums later, she released the funk album Saxify in 2016, preceded by the 7-inch single Saxify. The album features 36 musicians, amongst them are Fred Wesley, Michael “Clip” Payne, Michael Hampton, Rodney “Skeet” Curtis, and Roger Smith of Tower Of Power.
Alt has collaborated with a number of notable musicians and ensembles and has also toured worldwide. Saxophonist and composer Susanne Alt is based in Amsterdam, and continues to pursue her desire for new musical experiences.
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Requisites
Blues For Harvey ~ Johnny Griffin | By Eddie Carter
It’s been a while since I listened to one of my favorite tenor saxophonists, Johnny Griffin, so I chose an album that became the inspiration for this morning’s discussion. Blues For Harvey (SteepleChase Records SCS-1004) is an excellent 1973 live date, and Johnny’s working with a stellar supporting cast: Kenny Drew on piano, Mads Vinding on bass, and Ed Thigpen on drums. My copy is the 1976 U.S. Stereo reissue (Inner City IC 2004). Johnny began his career in the forties playing the alto sax. He changed to tenor after joining Lionel Hampton’s Orchestra, and he’s played with Art Blakey, Eddie “Lockjaw” Davis, Kenny Clarke-Francy Boland Big Band and Thelonious Monk, to name a few.
The quartet begins the set with a trip to That Party Upstairs, the first of four by Johnny Griffin. The ensemble’s melody begins at an easy swing before stepping aside for Johnny’s lengthy opening statement. Kenny takes an interesting turn next; then Mads finishes with a carefree stroll ahead of the foursome’s theme restatement and close. Alone Again is a pretty ballad that Kenny introduces gently segueing into Johnny’s delicately tasteful theme and opening chorus. The pianist follows with an elegantly stylish interpretation; then, Mads makes a few intimate remarks preceding Griff’s return for a touching theme reprise and finale.
Side Two starts with Soft and Furry. Griff and Mads open with a dialogue over Ed’s soft supplement into the quartet’s haunting theme. Johnny opens the solos with an exceptionally rich tone. Kenny takes an exquisite performance next, and then Mads gives a tender interpretation before the tenor and bass reappear to lead the foursome to a beautiful climax. Blues For Harvey is dedicated to the Montmartre bartender, Harvey Sand. Griff sets the tone in the introduction and the quartet’s melody. Johnny takes the lead in an incredibly fleet interpretation. Kenny adds a bit of fire and drive in the second reading, and Ed has a vigorous exchange with the leader, leading to the ensemble’s brisk conclusion.
Rhythm-A-Ning by Thelonious Monk starts with the foursome’s quirky theme before Johnny takes flight with a speedy interpretation that seamlessly switches to The Theme before the song ends with Griff’s introduction of the quartet. Johnny Griffin and Nils Winther produced Blues For Harvey, and Nils also did double duty behind the dials of the recording. The album’s sound quality is good for a seventies live date, placing the listener in the Montmartre audience, and the quartet’s performance is enjoyable throughout. If you’re a fan of Griff’s playing or in the mood for hard bop, I offer for your consideration, Blues For Harvey by Johnny Griffin. It’s a little-known release in his extensive discography deserving of greater recognition and worthy of checking out for a spot in your library!
© 2024 by Edward Thomas Carter
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Requisites
Night Work ~ Sonny Stitt And The Giants | By Eddie Carter
As a teenager growing up in the late sixties and early seventies, I was exposed to and enjoyed many different jazz saxophonists, thanks to my Mom and my uncles Ben, Bob, Emmanuel, and Mr. Leo Mintz. Sonny Stitt has always been one of my favorites. He enters this morning’s spotlight with Night Work (Black Lion Records BLP 30154) by Sonny Stitt and The Giants. It was initially recorded in 1967 but not released until 1974. Sonny Stitt is featured on alto sax (A1, A2, B1, B4), and the other giants are Howard McGhee (tracks: A1, A2, B3, B4) on trumpet, Walter Bishop Jr. on piano, Tommy Potter on bass, and Kenny Clarke on drums. My copy is the U.S. Stereo release (Black Lion BL-307).
The opener, Night Work by Howard McGhee, is an upbeat invitation to sit back, relax and ride the rhythm of the ensemble’s swift melody into Sonny’s opening solo. Howard has the next spot and delivers the goods with considerable agility, followed by Walter’s impeccably delivered reading. Howard and Sonny join forces to exchange a few ideas together before Kenny joins their conversation, leading to the reprise and ending. Matter Horns by the team of Eiger and Jungfrau slows the pace to mid-tempo for Stitt’s easygoing theme and relaxing opening statement. Howard comes in next with a pleasantly flowing solo. Walter continues the bluesy groove in the third reading. Tommy and Kenny add a great deal of pleasure to the next two interpretations ahead of the quintet, trading a few riffs together before the climax.
The second side starts with a gorgeous quartet rendition of Loverman by Jimmy Davis, Roger Ramirez, and Jimmy Sherman. It is a beautiful jazz standard that Sonny and the rhythm section begin with their exquisite melody. Sonny captures the standard’s delicacy and tenderness in the song’s lone interpretation preceding the foursome’s elegant conclusion. Both horns take a break for the rhythm section’s lovely version of Satin Doll by Duke Ellington, Billy Strayhorn, and Johnny Mercer. Walter shows a great deal of respect to Duke as he leads the trio through the introduction and melody. He continues making a personal impression on the song’s solo while Tommy and Kenny provide the support ahead of the theme’s restatement and close.
Howard steps into the spotlight with the rhythm section for Don’t Blame Me by Jimmy McHugh and Dorothy Fields. The trumpeter’s piercing tone penetrates the introduction before settling down for a pretty melody. Howard has an exceptionally fine spot as the song’s only soloist, complemented by the trio’s accompaniment culminating in a tender finale. Hello by Howard McGhee brings the album to a close and this song will remind listeners of Milt Jackson’s Bags’ Groove. McGhee’s muted trumpet shares the duties with Stitt during the melody. McGhee steps up first with an excellent muted solo. Bishop gets something cooking in the second statement, and then Stitt takes the spotlight next. Clarke gets the last word in an exchange with both horns ahead of the theme’s reprise and ending.
Alan Bates produced Night Work, and Helmuth Kolbe was behind the dials of the recording. The album’s sound quality is quite good with a solid soundstage that transports the listener to the studio as the musicians are playing. Sonny Stitt was one of the best jazz saxophonists, with a career lasting nearly four decades and a recorded discography of over one hundred albums. He was also proficient on the tenor sax and baritone sax. This is one of his best records, in my opinion, and if you are in the mood for a great sax album, I invite you to check out Night Work by Sonny Stitt and The Giants on your next record-shopping trip. If you’re looking to start a collection of his music, it’s worth seeking out for your library and a title I’m sure you’ll enjoy!
~ Don’t Blame Me, Loverman, Satin Doll – Source: JazzStandards.com
© 2024 by Edward Thomas Carter
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Daily Dose Of Jazz…
Anne Mette Iversen was born March 15, 1972 in Aarhus, Denmark. She studied classical piano at the Royal Academy of Music in her hometown and bass at the Rhythmic Conservatory of Music in Copenhagen, Denmark and The New School University in New York City.
Living in New York City from 1998 to 2012 Iversen co-founded the Brooklyn Jazz Underground in 2006 and is co-owner of the related record label Brooklyn Jazz Underground Records, which was formed in 2008. She works as a sideperson in various settings and as a freelance composer.
Currently based in Berlin, Germany. Iversen was Composer in Residence for Sweden’s Norrbotten Big Band in 2016. Anne’s composing is recognized for her ability to integrate classical music with jazz ensembles. She is influenced by major classical composers as well as jazz and Brazilian artists and composers.
Bassist Anne Mette Iversen has recorded ten albums between 1998 and 2020 and continues to perform, record and compose.
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