Daily Dose Of Jazz…
Petra Van Nuis was born in Cincinnati, Ohio on August 1, 1975. Her initial exposure to music came from her father who was a classical pianist. She made her professional debut at the age of eleven with the Cincinnati Opera Company and the following year her first national tour was underway.
Middle and high school saw her attending Cincinnati’s School for the Creative and Performing Arts and continued summer studies at New York City Ballet’s School of American Ballet and San Francisco Ballet School. Van Nuis went on to get her BFA in Musical Theater from the University of Cincinnati’s College~Conservatory of Music. She then performed in regional theaters and national tours until 1999 when she hung up her dancing shoes to sing.
Entering the world of jazz singing she spent nights in her hometown listening to vocalists Ann Chamberlain and Mary Ellen Tanner who supported her early efforts. By 2001 she and husband, guitarist Andy Brown, moved to New York City where she met Marion Cowings and Barbara Lea. Two years later she’s in Chicago, Illinois under the wings of Jeannie Lambert, Judy Roberts and Marc Pompe who mentored her. Forming her own band she sings at all the major venues and festivals around the city.
Vocalist Petra van Nuis, who has five Japanese released CDs, continues to perform, record and tour nationally and internationally.
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Catalonian Nights, Vol. 1 ~ Tete Montoliu Trio | By Eddie Carter
The Tete Montoliu Trio enters the spotlight with a 1980 live trio date, Catalonian Nights, Vol. 1 (SteepleChase Records SCS-1148). It came out a year later and is the first of three releases by the group from the Zeleste Club. Tete was born blind in Barcelona and learned braille music at age seven. His father was a professional musician, and his mother loved jazz, inspiring him to learn the piano. Montoliu attended the Barcelona Conservatori Superior de Música del Liceu at age thirteen. Tete met a few jazz musicians and learned about jam sessions while studying at the music college. He’s joined here by John Heard on bass and Albert Tootie Heath on drums. My copy is the original U.S. Stereo album.
D & E is from the pen of Milt Jackson and gets the set underway with the trio’s medium melody. Everyone has a lengthy canvas to work on, and Tete lets his fingers do the talking on the lead interpretation. John follows, walking his bass as if on a Sunday stroll, then Albert converses with Tete ahead of the close. Montoliu showcases his swinging style on Lady Bird by Tadd Dameron next, beginning with a solo introduction that grows into the ensemble’s spirited melody. Tete’s opening solo is off to an adventurous start; then Heath joins the pianist for a vigorous exchange leading to the theme’s reprise and robust ending.
Autumn In New York by Vernon Duke begins with a beautiful piano introduction that blossoms into a gorgeous ensemble theme. Tete begins the opening statement quietly, then picks up the pace to improvise freely into a satisfying summation. John delivers the following solo with exquisite sensitivity, preceding the closing chorus and tender climax. Kenny Dorham’s Blue Bossa takes off with the trio’s bossa-nova melody. Montoliu makes his entrance with an intriguing interpretation that delivers the goods. Heard speaks his piece next, then Tete and Heath share the finale leading to the melody’s reprise and exit. The trio wraps everything up in short order with The Theme.
Freddy Hansson and Josep Maria Rodon recorded this live performance, and Nils Winther produced it. Catalonian Nights, Vol. 1, is an excellent recording with a superb soundstage that makes listeners feel like they are in the club audience as the trio performs. I first heard The Tete Montoliu Trio on Gentle Ben with Ben Webster and was immediately impressed by his playing. Now that I’ve discovered this album, I’ll be on the lookout for Catalonian Nights, Vol. 2 and Vol. 3. If you’re in the mood for an excellent live album, I offer for your consideration Catalonian Nights, Vol. 1 by The Tete Montoliu Trio. It’s a great release that I highly recommend and a welcome addition to any library!
~ Catalonian Nights, Vol 2 (SteepleChase Records SCS 1241), Catalonian Nights, Vol. 3 (SteepleChase SCCD 31433), Gentle Ben (Ensayo ENY-301) – Source: Discogs.com ~ Autumn In New York – Source: JazzStandards.com ~ Blue Bossa, Lady Bird – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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Homecoming – Live at The Village Vanguard ~ Dexter Gordon | By Eddie Carter
I’ve been a Dexter Gordon fan since childhood and saw him perform in an all-star jam session at The 1972 Newport Jazz Festival. In 1976, he returned to the US for an engagement at The Village Vanguard. Dexter received a warm welcome upon his arrival and played to sold-out crowds each night. This morning’s album from the library, Homecoming (Columbia PG 34650), finds Dexter effectively demonstrating he was still a master on the tenor sax. His bandmates on this live date are Woody Shaw on flugelhorn (tracks: A2, D1) and trumpet (A1, B1, B2, C1, C2, D2), Ronnie Matthews on acoustic piano, Stafford James on acoustic bass, and Louis Hayes on drums. My copy is the 1977 US Stereo release.
The album opens with Gingerbread Boy by Jimmy Heath. The front line leads the ensemble in a lively melody. Dexter is off to an adventurous start on the opening solo. Woody and Louis share the spotlight in the following reading; first, in a vigorous exchange; next, Woody takes the reins. Ronnie follows with an exciting closing statement ahead of the reprise. Gordon introduces Woody Shaw’s Little Red Fantasy, a dedication to his wife and manager, Maxine Gregg opens with the ensemble’s attractive melody. Gordon begins the opening solo affectionately, then gradually increases the intensity as it unfolds. Shaw comes behind him with a beautiful performance, then Matthews moves into the third reading elegantly. James walks the bass confidently until the ensemble’s delicate ending.
Fenja, Dexter Gordon’s touching tribute to his wife, begins Side Two with the quintet’s medium theme. Dexter takes the first solo at an easy swing, then builds to a happy groove. Woody adds a bit of home cooking in the following interpretation. Ronnie emerges next for a relaxing reading one can almost dance to, and Stafford eases into a delightfully personal statement preceding the ensemble’s closing chorus. In Case You Haven’t Heard by Woody Shaw picks up the pace for the rhythm section’s introduction and quintet’s melody. Gordon is up first with a lively interpretation; then Shaw engages in a vigorous conversation with Hayes. Matthews has the last spot and dispenses vibrant notes into the melody reprise and ending.
Side Three starts with It’s You Or No One by Sammy Cahn and Jule Styne. The saxophonist opens with an energetic introduction, succeeded by the quintet’s spirited melody. Dexter swings hard on the first solo. Woody comes in next for an enthusiastic romp, then Ronnie responds with a passionate improvisation. Louis provides a memorable exclamation point preceding a vibrant closing chorus. Let’s Get Down by Ronnie Matthews begins with his introduction segueing into the group’s peppy theme. Gordon kicks off the solos with an inspired improvisation; Shaw has much to say in the following statement. Matthews settles in for some straight-ahead swinging next, then James’ bass walks smoothly. Both horns share the finale with Louis before the quintet takes the song out.
‘Round Midnight is Thelonious Monk’s best-known and most recorded composition. It opens Side Four with Ronnie’s gentle introduction; then Dexter comes in for the tender theme, accented by Woody’s comments. Dexter continues with a delicately pretty opening solo. Woody delights with velvet smoothness in the following reading. Ronnie shows expressive artistry in the next statement. Dexter provides a final comment ahead of the ensemble’s summation. The rhythm section opens Dexter’s Backstairs with a brisk introduction to the quintet’s quick melody. Gordon gives the opening solo an energetic workout; then Shaw delivers a passionate intensity in the second statement. Matthews raises the temperature in a quick finale leading to the quintet’s climax, and Dex thanking the audience.
Michael Cuscuna produced Homecoming, and Malcolm Addey recorded it. The album has a splendid soundstage that transports the listener to the Village Vanguard’s intimacy as the musicians perform. If you’re a Dexter Gordon fan and are in the mood for an excellent live quintet date, I invite you to consider Homecoming for a spot in your library. It’s a jazz time capsule with many magical moments that not only rewards those in attendance but allows the listener to enjoy these outstanding performances each time it’s on the turntable!
~ Round Midnight – Source: JazzStandards.com © 2023 by Edward Thomas Carter
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Lover Man ~ Duke Jordan Trio | By Eddie Carter
The Duke Jordan Trio enters this morning’s spotlight with an album initially recorded in 1975 but not released until 1979. Lover Man (SteepleChase Records SCS 1127) is the companion to Duke’s Delight, an excellent quintet date, recorded at the same session and released a year later. I’ve been a fan of this extremely gifted pianist since first hearing Flight To Jordan (1960) and Two Loves (1975). Sam Jones on bass and Al Foster on drums are the rhythm section for this date, and Duke’s Delight. My copy is the original Danish Stereo release.
Side One takes off with Dig by Miles Davis. Duke opens with a concise introduction segueing into the threesome’s medium theme. The leader swings freely on the song’s only solo, propelled by Sam and Al’s support into the reprise and close. Up next is Dancer’s Call, the first of two Duke Jordan originals. The trio introduces the song easily and then delivers the melody. Jordan sets the mood in the opening solo with a lightly swinging interpretation; then Jones sculpts the following statement blissfully. Foster shares a conversation with piano and bass in the finale ahead of the trio’s closing chorus and finish.
Duke’s Love Train leaves the station heading down the track with a leisurely paced melody. Sam takes the opening solo unaccompanied, followed by Duke, who contributes a splendid statement. Al keeps the beat flowing in an exchange with the pianist into the ending theme. Lover Man by Jimmy Davis, Roger Ramirez, and Jimmy Sherman begins with a pretty introduction by Jordan, which develops into an elegant theme by the threesome. The pace picks up for the song’s only statement by the leader. He gives a gorgeous performance as crisp as the cool night air with a soft sensitivity preceding an affectionate climax.
They Say It’s Wonderful by Irving Berlin comes from the 1946 Broadway musical Annie Get Your Gun. Duke introduces this old evergreen, leading to the trio’s gentle melody. The pianist again has the song’s only reading and scores on a delicately pretty solo into a gorgeous theme reprise and soothing finale. Out Of Nowhere by Johnny Green and Edward Heyman begins with a concise introduction by Jordan that segues into a delightfully happy melody. The pianist is up first with a brisk opening statement; then Jones takes a short walk in the following solo. Foster concludes the proceedings with a scintillating conversation with Jordan before the close.
Nils Winther produced Lover Man, and Chuck Irwin recorded this album and Duke’s Delight. The sound quality is excellent, with a wonderful soundstage that transports the trio from the studio to your listening room with superb definition. The record is also noticeably quiet until the music starts. If you’re a piano trio fan and unfamiliar with this marvelous musician, I offer for your consideration Lover Man by The Duke Jordan Trio. It’s an excellent album and a fine showcase for Duke Jordan’s pianistic artistry with a superb rhythm section, resulting in an entertaining title I strongly recommend for a spot in your library!
~ Duke’s Delight (SteepleChase SCS 1046) – Source: Discogs.com ~ Lover Man, Out of Nowhere – Source: JazzStandards.com ~ They Say It’s Wonderful – Source: Wikipedia.org © 2023 by Edward Thomas Carter
Mr. Carter’s review is based upon the original album release. As you listen, know that Sea and Don’t Blame Me are bonus tracks available only on compact disc.
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Daily Dose Of Jazz…
Nicolas Masson was born on April 14, 1972 in Geneva, Switzerland. He took up the saxophone in his youth and at twenty years old he met Cecil Taylor in New York and took lessons from Frank Lowe and Makanda Ken McIntyre. Returning home he enrolled in the jazz program at the Conservatoire Populaire de Musique de Genève with Maurice Magnoni as a saxophone teacher.
While a student he attended master classes withLee Konitz, Dave Douglas and Misha Mengelberg. In 1999 Masson spent the summer in New York City studying with Chris Potter. Graduating from the conservatoire in 2000 with a jazz performance and teaching degree, he returned to New York City for a year and studied regularly with Rich Perry and played with local musicians.
His debut album Awake was released in 2002 on the Swiss label Altri Suoni. The session was recorded with his New York band featuring trumpeter Russ Johnson, bassist Eivind Opsvik and drummer Mark Ferber. A year later they were touring Switzerland and Italy.
Receiving a grant from the Bourse d’Aide à la Création he was able to tour Italy and record his sophomore album Yellow (A Little Orange) that was released in 2006 on the Fresh Sound/New Talent label. In 2005 and 2006, the Quartet toured Italy again, taking part in an itinerant Swiss festival organized by Rome’s Swiss Cultural Centre, sharing the evening with Irène Schweizer, Lucas Niggli and Malcolm Braff.
In 2007, a New York concert, European duo tour with Kris Davis of Switzerland, Italy, France and Germany, a New York gig with the Quartet and a 2009 release Thirty Six Ghosts on Clean Feed Records kept him busy. Saxophonist Nicolas Masson continues to record and play throughout Europe.
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