Daily Dose Of Jazz…
Samuel “Savoirfaire” Williams was born on September 22, 1973 in Chicago, Illinois. At the age of three he began playing violin at his parents’ church and two years later joined a group of child prodigies under the tutelage of Suzuki Violin instructor, Betty Haag. His first performance was at Chicago’s Orchestra Hall during a public television broadcast which became an annual event spanning more than 35 years.
He attended the Merit School of Music in Chicago, studying music theory while participating in youth orchestras including the City Youth Symphony, Chicago Youth Symphony Orchestra, Protégé, All-City and All-State. He took private lessons from Afro-Panamanian musician Joseph Williams when he was 16. During this time he played lead for the City Youth String Ensemble’s viola section, then received a scholarship at Interlochen where he sat in with vibraphonist Milt Jackson.
Meeting and performing with Wynton Marsalis while working at the Chicago Symphony Center, Williams continued his studies and busked on the streets to pay for violin lessons. During one of his street performances, guitarist Kenny Burrell observed his skill and invited him to collaborate with himself, Willie Pickens and Larry Gray on a Bebop performance at Chicago’s Jazz Showcase.
In 2000, he was voted into the Chicago Chapter of the Association for the Advancement of Creative Musicians (AACM), which earned him the moniker “Savoirfaire.” That same year, he began an apprenticeship with luthier Martin Sheridan to learn the art of violin-making, later owning the violin shop and managing it for three years.
After self-releasing three live albums, Bob Koester discovered his work and in 2004 Delmark Records produced the internationally acclaimed release Running Out of Time. Over the years, Savoirfaire has been invited to record with a plethora of artists in various genres and at international Jazz festivals.
In 2015, Williams founded the Chicago Gypsy Project with guitarist Dave Miller and bassist Charlie Kirchen. He continues to perform with his group Savoirfaire Jazz Quartet as well as busking on the streets, and in various venues throughout Chicago.
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Swiss Nights, Vol. 2 ~ Dexter Gordon Quartet | By Eddie Carter
I begin September with a return to The Zürich Jazz Festival ’75 for this morning’s discussion of Swiss Nights, Vol. 2 (SteepleChase Records SCS-1090) by The Dexter Gordon Quartet. The tenor saxophonist’s back on stage with Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Alex Riel on drums. My copy used in this report is the 1978 SteepleChase Records German Stereo Audiophile release.
Dexter opens the set introducing There’s No Greater Love by Isham Jones and Marty Symes. The quartet launches into an exciting melody, stepping aside for Dexter who leads off the first solo vigorously. Kenny shows off his creative powers in the second reading, next Niels-Henning walks the bass enthusiastically. Dexter trades thoughts with Alex leading to his final solo ahead of the reprise and finish.
Sticky Wicket, the first of two tunes by Dexter eases the throttle back to a comfortable pace on the foursome’s opening chorus. Gordon leads off the solos with a relaxed statement. Drew continues cruising to a carefree beat, then Pedersen takes a laid-back stroll with his bass. Gordon and Riel share a brief exchange preceding the reprise and the audience’s approval.
Side Two opens to a timeless standard from The Great American Songbook, Darn That Dream by Jimmy Van Heusen and Eddie Lange. Dexter and the trio introduce the song with a delicately gentle theme. Dexter’s tenor sax is the epitome of graceful elegance on the opening solo, next Kenny compliments him with a mellow reading of soft warmth. Niels-Henning and Alex hold everything together as Dexter returns for the climax.
Montmartre is Dexter Gordon’s tribute to the Copenhagen jazz club and is off to the races from the foursome’s opening theme. The leader kicks off the solos with a robust performance that gains momentum as it unfolds. Drew has a very good time on the second statement, next Gordon and Riel exchange a few ideas, then the drummer gets the spotlight briefly. The quartet returns to take the song out with an abrupt finish, followed by the group’s theme and musician introductions to great applause.
Nils Winther produced Swiss Nights, Vol. 2, and Helmuth Kolbe recorded and mixed the album. The soundstage is excellent, placing the listener in a front row seat to enjoy the quartet at work. The record is pressed on 180 grams of audiophile vinyl and is very quiet until the music starts. Like its two companions, Swiss Nights, Vol. 2 is a great live album by The Dexter Gordon Quartet with tight musicianship and outstanding sound. If you’re a fan of Dexter Gordon, it’s definitely worth adding to your library!
~ Swiss Nights, Vol. 1 (SteepleChase Records SCS-1050), Swiss Nights, Vol. 3 (SteepleChase Records SCS-1110) – Source: Discogs.com ~ There’s No Greater Love, Darn That Dream – Source: JazzStandards.com © 2022 by Edward Thomas Carter
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Saturday Night at The Montmartre ~ Ben Webster | By Eddie Carter
This morning’s subject submitted for your consideration is a delightful live date by tenor saxophonist, Ben Webster. Saturday Night at The Montmartre (Black Lion Records BLP 30155) is the first of three LPs chronicling his quartet’s January 30 performance at the renowned club shortly after Ben moved to Europe. Midnight at The Montmartre and Sunday Morning at The Montmartre (1977) complete the evening’s concert. He’s joined on stage by Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Alex Riel on drums. My copy used in this report is the 1974 US Stereo release (Black Lion Records BL-302).
The rhythm section begins the evening with a bit of relaxed cooking on the introduction to Our Love Is Here To Stay by George and Ira Gershwin. Ben takes the lead on the theme and swings effortlessly on the first interpretation. Kenny and Niels-Henning are completely at ease in the next two readings. Alex and Ben engage in a delightful conversation preceding the theme’s reprise and finish. The pace slows down for a gorgeous rendition of My Romance by Richard Rodgers and Lorenz Hart. A brief introduction by Kenny opens the way for Ben’s richly toned, emotional expression on the melody. The pianist starts the solos with an enchanting presentation, next Webster gives an incredibly beautiful performance ahead of the song ending quietly.
Blues For Herluf is Ben Webster’s uptempo tribute to Jazzhus Montmartre’s manager, Herluf Kamp-Larsen. Kenny kicks off this tune with a brief introduction that evolves into the foursome’s invigorating theme. Ben opens with a hard-blowing swinger. Kenny tells a vigorously spirited story on the second solo. Niels-Henning goes for a short walk in the third spot and Alex’s drums dance briefly with the leader into the finale. The quartet slows the tempo again to begin Side Two with a very pretty song, Londonderry Air. The trio begins their introduction gracefully, then Webster touches a soft spot in everyone’s heart on the theme and provides a wonderful feeling of peaceful serenity as the song’s only soloist into a lovely finale.
Mack The Knife by Kurt Weill, Mark Blitzstein, and Bertolt Brecht first appeared in The Threepenny Opera (1928). The rhythm section introduces this song at midtempo leading to the collective melody led by Ben who also sparkles on the first reading. Kenny and Niels-Henning contribute something fun on the next two solos. Alex and Ben exchange a few riffs before the conclusion. I Can’t Get Started by Vernon Duke and Ira Gershwin is one of the most beautiful standards in The Great American Songbook. The trio introduces the song leading to a sincerely poignant theme by Webster. Drew speaks to the listener intimately in the opening statement. Webster’s passion for ballad interpretation is abundantly evident in a delicately pretty reading perfectly matched to the trio’s sensuous support.
The Theme by Miles Davis brings this set to a close in rapid fashion. The foursome launches the theme collectively, next Ben, Kenny, Niels-Henning, and Alex give four quick statements ahead of the melody’s reprise and the audience’s approval. Saturday Night at The Montmartre and its companions were produced by Alan Bates, and Birger Svan was the recording engineer. The album’s sound quality is amazing with a breathtaking soundstage placing the listener in a seat among the audience as the quartet performs. If you’re a fan of Ben Webster and like your jazz swinging and soulful, I invite you to check out Saturday Night at The Montmartre on your next search for vinyl treasure. It sets the mood for a great evening of jazz that’s perfect to enjoy with the lights dimmed and your favorite drink as you listen!
~ Midnight at The Montmartre (Black Lion Records BLP 30173), Sunday Morning at The Montmartre (Black Lion Records BLP 30182) – Source: Discogs.com ~ I Can’t Get Started, Mack The Knife, My Romance, Our Love Is Here To Stay – Source: JazzStandards.com © 2022 by Edward Thomas Carter
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The Quarantined Jazz Voyager
This week while maintaining social distancing and continued mask wearing I’ve selected the 1974 album Skylark saxophonist Paul Desmond featuring Gábor Szabó. It was recorded on November 27~28 and December 4, 1973 at Van Gelder Sturio in Englewood Cliffs, New Jersey. The recording engineer was Rudy Van Gelder, the producer was Creed Taylor, and Don Sebesky wrote all the arrangements. It was released in 1974 on Taylor’s CTI label.
Desmond adapted to the changing times music was facing as did Taylor with his innovative photography used as his covers injected a sense of adventure, a bit of fantasy and a freedom that the 1970s exuded. It’s a change of pace for the saxophonist and a welcomed addition to the label’s stable.
Tracks |53:28- Take Ten (Paul Desmond) ~ 6:08
- Romance De Amor (Traditional) ~ 9:40
- Was A Sunny Day (Paul Simon) ~ 4:52
- Music For A While (Henry Purcell) ~ 6:45
- Skylark (Hoagy Carmichael, Johnny Mercer) ~ 5:21
- Indian Summer (Al Dubin, Victor Herbert) ~ 4:00
- Music For A While [alternate take] (Purcell) ~ 5:56
- Skylark” [alternate take] (Carmichael, Mercer) ~ 5:39
- Indian Summer” [alternate take] (Dubin, Herbert) ~ 5:27
- Paul Desmond ~ alto saxophone
- Bob James ~ piano, electric piano
- Gene Bertoncini ~ guitar
- Gábor Szabó ~ guitar (all solos)
- Ron Carter ~ bass
- Jack DeJohnette ~ drums
- Ralph MacDonald ~ percussion
- George Ricci ~ cello
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Cherry ~ Stanley Turrentine With Milt Jackson | By Eddie Carter
Two of my favorite musicians are the subject of this morning’s discussion, Stanley Turrentine With Milt Jackson. Cherry (CTI Records CTI 6017) hit the stores in 1972 and was Turrentine’s fourth album on CTI. On this date, the tenor saxophonist’s leading an all-star sextet. Milt Jackson on vibes, Bob James on piano (track: A2), electric piano (tracks: A1, A3, B1 to B3), Cornell Dupree on guitar, Ron Carter on bass, and Bill Cobham on drums. My copy used in this report is the original US Stereo release.
Side One starts with the rhythm section’s spirited introduction to Speedball by Lee Morgan. The ensemble’s theme leads off this happy swinger, then Stanley cruises into the opening solo. Milt gets into a bluesy groove next, and Bill exchanges the finale with Stanley, Milt, and Bob ahead of the climax.
I Remember You by Johnny Mercer and Victor Schertzinger is a beautiful 1941 ballad that was first heard in the film, The Fleet’s In, a year later. Milt and the rhythm section introduce the song discreetly, segueing into a gentle opening chorus. Jackson is up first with a tender reading, then Turrentine gives an elegant presentation leading to a serene ending. The Revs by Milt Jackson swings at a leisurely tempo with the sextet in unison during the melody. Stanley steers a nice course for everyone with a carefree, bouncy first solo. Milt follows with melodic lines that emerge effortlessly from his vibes. Bob and Cornell close out the statements with two lightly swinging readings preceding the sextet taking the song out.
Side Two starts with Sister Sanctified by Weldon Irvine Jr who also arranged this tune. The sextet starts this swinging jazz service with a funky groove on the melody that’s sure to get the listener snapping their fingers and tapping their toes. Turrentine sets the tone on the opening statement with a soulful sermon. Jackson preaches the second solo rocking all the way. Dupree hits the sweet spot on the next reading and Cobham makes a brief comment leading to the theme’s reprise and fade-out. Cherry by Ray Gilbert and Don Redman begins with the vibist setting down a subtle theme at a slow tempo. Stanley opens with a wonderful expression of incredible beauty, then Milt responds with a delicately pretty performance moving towards a gorgeous finale.
Weldon Irvine Jr. also composed and arranged the album’s closer, Introspective. This is a mid tempo jaunt of pure pleasure leading off with Turrentine’s cheerful theme and lighthearted opening solo. Jackson comes in next for a delightful interpretation. James follows with a fine reading and Cobham swings the door shut with his brushwork. Cherry was produced by Creed Taylor and the man behind the dials was Rudy Van Gelder. This is a great recording and an excellent vinyl pressing for a 1970s album with a splendid soundstage. The instruments come through your speakers vividly and surround your sweet spot with music that’s sure to make you smile. Both Stanley Turrentine and Milt Jackson are a joy to hear together with a wonderful supporting cast. If you’re a fan of either musician, I recommend and invite you to check out Cherry on your next vinyl hunt. It’s a great album that still stands up fifty years later and your ears will thank you for adding it to your library!
~ I Remember You – Source: JazzStandards.com © 2022 by Edward Thomas Carter
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