Daily Dose Of Jazz…

Clotilde Rullaud was born March 1, 1978 in Reims, France and was immersed in the performing arts of music, theatre and dance from early childhood. At five, she began studying flute and singing at the conservatoire, before going on to complete her studies in jazz and improvised music at IACP in Paris, France and EDIM in Cachan, France. She explored opera singing with the tenor singer, Peterson Cowan.

Her musical identity developed through her travels through the Balkans, Ireland, Lebanon, the United States. Clotilde’s study of vocal techniques, inspired by Meredith Monk, fado, tango, Romani music, Turkish music, Persian music, Inuit throat singing and Bulgarian voices were also great influences.

She has recorded three albums as a vocalist and flutist, her 2007 debut with Hugo Lippi, Live au 7 Lézards  She has also directed and produced a short film, and written and directed a multidisciplinary performance. With a repertoire spanning jazz, free improvisation and folk music, her career as a musician has led her to perform in France, Germany, Australia, Burkina Faso, China, South Korea, Japan, Luxembourg, the Netherlands, Switzerland, Taiwan, the United Kingdom and the United States.

Since 2007, Rullaud has taught at Martina A. Catella’s school, Les Glotte-Trotters in Paris, and conducted workshops for the festival Les Suds in Arles and for the Ateliers d’ethnomusicologie (ADEM) in Geneva, Switzerland. Moving to New York City in 2017 she collaborated with American pianist Chris McCarthy, producing Pieces of a Song, a repertoire of dark and beautiful pieces based on the writings of Diane di Prima, poetess of the Beat Generation.

She has performed with Olivier Hutman, Dano Haider, Antoine Paganotti, Tristan Macé, Albin Lebossé, Emmanuel Bex, Yann Cléry, Laurent Salzard, Gautier Garrigue, and Alexandre Saada, the latter collaboration produced A Woman’s Journey, a homage to American female protest songstresses.

She has received numerous awards for her work in both jazz and film. Vocalist, flutist and composer Clotilde Rulllaud, who is also an artistic director, filmmaker, producer and facilitator, continues to pursue the limits of her creativity.

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Requisites

The Chase ~ Gene Ammons & Dexter Gordon | By Eddie Carter

Throughout the chronicles of jazz, there have been many great tenor sax duos who have recorded some legendary battle albums that are among some of the greatest records ever made. Gene Ammons and Sonny Stitt, Arnett Cobb and Buddy Tate, Al Cohn and Zoot Sims, Dexter Gordon and Wardell Gray, Coleman Hawkins and Don Byas, Illinois Jacquet and Lester Young to name a few. This morning’s choice from the library is an exciting live date by Gene Ammons (A1, B1, B2) and Dexter Gordon (A1, A2, B1). The Chase (Prestige PRST 10010) was recorded live at the North Park Hotel before an enthusiastic audience on the afternoon and evening of July 26, 1970, during Gordon’s cross-country tour. The quintet is anchored by Jodie Christian (A1, B1), John Young (A2, B2) on piano, Rufus Reid (A1, B1), Cleveland Eaton (A2, B2) on bass, Wilbur Campbell (A1, B1), Steve McCall (A2, B2) on drums, and Vi Redd (B1) on vocals. My copy used in this report is the original 1971 Stereo album.

Side One opens with the title tune, The Chase is Dexter Gordon’s uptempo tribute to the great tenor duels beginning with a high-spirited, energetic theme. Dexter has the lead solo and produces an exceptionally high level of creativity including his famous big top circus quotes. Gene delivers an aggressive workout on the next reading, then Jodie swings strongly on a brief statement. Wilbur gets the final word in a vigorous conversation with both horns into the lively finale. Polka Dots and Moonbeams by Jimmy Van Heusen and Johnny Burke is a quartet tune with Young, Eaton, McCall, and Dexter as the solitary horn. The quartet starts with a slow-paced, sensuous melody by Gordon, who picks up the pace slightly on the subtly stated first solo. Young follows with a luxuriously, lovely statement, then Dexter delivers a few more rhythmically relaxing verses into the elegant ending and appreciative approval of the audience.

Lonesome Lover Blues is a mid tempo reworking of Blowing The Blues Away by Billy Eckstine and George Valentine. Both Gene and Dexter decided to do a new vocal version utilizing the talents of Vi Redd who was in the audience during their set. Vi gives the crowd and listener an imaginative improvised vocal with Christian, Reid, and Campbell returning to the stage. Gordon and Ammons exchange a few choruses before Dexter takes an extended interpretation. Gene gets busy on the next performance and Jodie lays down a soulful groove preceding both horns returning for the finale. The Happy Blues by Art Farmer debuted on Hi Fidelity Jam Session (1956), and Gene is the lone horn backed by Young, Eaton, and McCall. John opens with a swinging solo segueing into Gene’s invigorating opening chorus and first statement. Cleveland takes a short reading before the quartet’s vivacious finale and the crowd’s ovation.

The Chase was produced by Joe Segal, founder of The Jazz Showcase and one of the best places to hear jazz in Chicago. The man behind the dials is Leon Kelert who has worked on blues and jazz albums for Blackbird, Delmark Records, and G.H.B. Records. The sound quality on the album is quite good with the instruments providing an impressive treble, midrange, and bass soundstage that transports the listener to the audience as each performance is happening. Dexter Gordon is at his peak, and Gene Ammons is in exquisite form throughout. The stellar musicianship of their bandmates makes The Chase a splendid choice to add to your jazz library and well worth the listening time, once you do!

~ Hi Fidelity Jam Session (Prestige PRLP 7039/PRST 7654) – Source: Discogs.com ~ Polka Dots and Moonbeams – Source: JazzStandards.com © 2022 by Edward Thomas Carter

*The remastered cd added two bonus tracks not on the original album ~ Wee Dot & Ballad Medley

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Requisites

There’s nothing I enjoy more than listening to a piano trio album and that’s what prompted this morning’s discussion. The Horace Parlan Trio steps into the spotlight with their 1976 album, No Blues (SteepleChase Records SCS-1056). Horace was born in Pittsburgh, Pennsylvania, and was stricken with polio as a child, partially paralyzing his right hand. As a result, he developed a left-hand chord-voicing style and an ability to play with the right hand effectively. Parlan was discovered by Charles Mingus and spent two years with his Jazz Workshop. Over his lengthy career, he recorded with some of the elite musicians in jazz as a leader and sideman. On this date, Horace is joined by a burning rhythm section, Niels-Henning Ørsted Pedersen on double bass, and Tony Inzalaco on drums. The copy used in this report is a friend’s original Danish Stereo release.

Side One gets underway with the trio’s mid~tempo theme on Miles Davis’ No Blues. Horace swings blissfully into the opening solo with flawless execution. Niels-Henning bounces into the second statement with efficient ease, and Tony executes some nifty drumming in a conversation with the piano ahead of the threesome’s reprise and exit. My Foolish Heart by Victor Young and Ned Washington is one of the prettiest jazz standards in The Great American Songbook. Parlan has the solo showcase to himself and applies an equal amount of warmth and tenderness with Pederson and Inzalaco gracefully moving in the background towards a gentle ending. The tempo moves up rapidly for Richard Rodgers and Lorenz Hart’s Have You Met Miss Jones? Tony takes flight first on a brief intro, then Horace kicks off the melody swiftly. Parlan and Inzalaco make it a brightly swinging affair with two energetic readings before the close.

A Theme For Ahmad is Horace’s very moving tribute to Ahmad Jamal. As the song’s only soloist, he gives an elegant performance that’s quite beautiful with Niels-Henning and Tony adding their subtle support into a gorgeous finale. Side Two starts with one of the best-known tunes by Randy Weston, Hi-Fly. Parlan begins with a very pretty introduction segueing into the threesome’s laid-back and tasty opening chorus. Horace takes the lead and swings easily with sprightly notes, then Tony adds a short soulful statement ahead of the ending theme. Up next is a beautiful song by Austin Wells, West of Eden. The rhythm has a bouncing beat and tropical flavor that the ensemble portrays on the melody. Parlan has the only solo spotlight again and gives a delightful interpretation preceding the group’s slow disappearance into nothingness.

The pace picks up for the album’s closer, Holy Land by Cedar Walton. The trio gets into a good groove from the outset of the melody. Horace gives a vivid impression with a fleet lead reading, then Niels-Henning keeps things moving with a joyful excursion into the trio’s reprise and exit. No Blues was produced by Nils Winther and the recording engineer was Freddy Hansson. The sound quality is crystal-clear with superb fidelity that’s audiophile class and the interaction between the trio is exceptional. If you’re a fan of jazz piano or are just discovering Horace’s music for the first time, I invite you to audition No Blues by The Horace Parlan Trio for a spot in your library. It’s an album of beautiful music that’s sure to please your ears with each listen!

~ Darn That Dream, My Foolish Heart, Have You Met Miss Jones? – Source: JazzStandards.com ~ Hi-Fly – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

Swiss Nights, Vol. 1 ~ Dexter Gordon Quartet | By Eddie Carter

The Dexter Gordon Quartet steps into the spotlight for this morning’s discussion with Swiss Nights, Vol. 1 (SteepleChase SCS-1050), the first of three albums recorded live at The Zürich Jazz Festival ’75. Dexter’s joined on stage by an all-star rhythm section, Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Alex Riel on drums. My copy used in this report is the 1976 US Stereo release (Inner City Records IC 2050). 

Side One starts with Gordon introducing the first number, an uptempo rendition of Tenor Madness by Sonny Rollins. The quartet launches the melody briskly, and Dexter gets things off to a rousing start on the lead solo. Kenny maintains the momentum on a swiftly paced performance next. Niels-Henning lays down a rocking beat on the third reading. Alex sizzles in a brief exchange with the leader ahead of the ending and the audience’s ovation.

Wave by Antônio Carlos Jobim is one of his most beautiful compositions. Jobim first recorded it as the title tune of his 1967 album. After Dex’s introduction, the rhythm section gently sets the mood for this bossa nova. Gordon shines brightly on the melody and cooks with conviction on the opening statement. Drew is up next with a delightfully creative interpretation, then Pedersen delivers a melodic, rich-toned reading. Gordon returns for a few final comments into the closing chorus. 

Side Two begins with Dexter quoting a few of the lyrics to announce You’ve Changed by Bill Carey and Carl Fischer. This is a poignant story beautifully told by the quartet with a delicately gentle melody. Dexter makes the opening solo his own with a glowingly tender performance. Kenny responds with an emotionally touching reading, then the leader returns for an especially moving closing statement that’s very nice.

The set ends with Days of Wine and Roses by Henry Mancini and Johnny Mercer. This old favorite is the title song from the 1962 film and the ensemble opens with an infectious opening chorus. Gordon is up first expressing pleasure on the first statement. Drew swings easily on the following interpretation, then Pedersen takes great delight on the next reading. Dexter reappears briefly preceding the quartet’s closing theme and exit. Swiss Nights, Vol. 1 was produced by Nils Winther. The recording and mixing engineer is Helmuth Kolbe. The album transports the listener to the festival with a solid soundstage that doesn’t disappoint and captures The Dexter Gordon Quartet in fine form. Now that I have Swiss Nights, Vol. 1 in my library, I’ll certainly be seeking out the two remaining volumes in this series. If you’re a fan of Dexter Gordon and love live jazz, this is one I highly recommend!

~ Swiss Nights, Vol. 2 (SteepleChase Records SCS-1090), Swiss Nights, Vol. 3 (SteepleChase Records SCS-1110), Wave (A&M records SP-3002) – Source: Discogs.com
~ Days of Wine and Roses, Wave – Source: JazzStandards.com
~ You’ve Changed – Source: Wikipedia.org
© 2021 by Edward Thomas Carter

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The Quarantined Jazz Voyager

History has proven that it took three plus years to eradicate the Spanish flu because people back in 1918 took the same stance of not wanting to abide by the wisdom of professionals to mask, social distance and quarantine. We are heading towards another tipping point as we see a rise in Delta and Omicron running rampant through the country. People are walking around unmasked like it’s 1999, and I remain vigilant in protecting myself. It’s a choice and a responsibility to self.

This week I’m reaching back to the Seventies for one of my favorites and pulling off the shelves the jazz~funk~fusion album Street Lady by trumpeter Donald Byrd. Recorded on June 13~15, 1973 at The Sound Factory in Hollywood, California, the album was released on the Blue Note label in July 1973. Once again Byrd steps away from his jazz purity and engages producer Larry Mizell on the heels of his successful production of its predecessor, Black Byrd.

The vocal arrangements were by Fonce Mizell, Fred Perren and Larry Mizell and George Butler executive produced this project.

Tracks | 42:12 All compositions by Larry Mizell/Byrd except as indicated

1. Lansana’s Priestess ~ 7:39
2. Miss Kane ~ 6:20
3. Sister Love ~ 6:11
4. Street Lady (Larry Mizell, Fonce Mizell) ~ 5:40
5. Witch Hunt” – 9:42
6. Woman of the World (Larry Gordon, Larry Mizell) ~ 6:51

• Donald Byrd – trumpet, flugelhorn, solo vocals
• Roger Glenn – flute
• Jerry Peters – piano, electric piano
• Fonce Mizell – clavinet, trumpet, vocals
• Fred Perren – synthesizer, vocals
• David T. Walker – guitar
• Chuck Rainey – electric bass
• Harvey Mason – drums
• King Errisson – congas and bongos
• Stephanie Spruill – percussion
• Larry Mizell – vocals, arranger, conductor

• Mike Salisbury ~ Art Direction, Cover
• Norman Seeff ~ Liner Photography
• Reggie Andrews ~ Electronic Consultant
• Chuck Davis ~ Technical Director
• Chuck Davis, John Arias ~ Engineer Assistant
• John Mills ~ Recording Engineer
• Chuck Davis, John Arias, John Mills ~ Remix Engineer

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