Daily Dose Of Jazz…
Kemba Cofield was born on August 2, 1972 in and grew up in Frankfort, Kentucky. As a young girl she sang in talent shows, beauty pageants, musicals and church. It was only after seeing Sarah Vaughan perform at age 12 that she knew she wanted to sing jazz. However, it wasn’t until she moved to Atlanta, Georgia that opportunity knocked, allowing her to learn the technical aspects of jazz.
Former Freddy Cole drummer, Bernard Linnette, heard Kemba sing during a Tuesday night jam session and was impressed by her voice. She soon began gigging with his sextet and Linnette became her mentor. She taught chorus and piano lessons to students during the day, absorbed jazz during the night and completed her Masters in Music at Northern Illinois University in 2006 and a Masters of Education in 2013 from Cambridge College on summer breaks.
Meeting trombonist Wycliffe Gordon in 2003 earned her an invitation to sing with his ensemble as well as to appear on his album, In The Cross. Her relationships with Linnette and Gordon exposed her to new audiences and provided her with an entrée into the broader jazz scene.
Whether singing in the church choir, teaching scales to students, gigging with the likes of Wycliffe Gordon, Don Braden or Bernard Linnette, she leads her own ensemble.
Vocalist Kemba Cofield, who sings with a soulfulness that wraps itself around the song, continues to She reminds us of how music transforms and how the essence of jazz transcends.
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Daily Dose Of Jazz…
Charlie Harrington ws born on August 1, 1972 in child prodigy, he has played drums since the age of 5 and performed professionally since the age of 15. He studied with and became the protégé of jazz drumming legend Ray Bauduc. He went on to study with classical percussionist Tim Tull. His drumming influences include Buddy Rich, Louie Bellson, Ed Shaughnessy, Joe Morello, and Peter Erskine.
Additionally he leads his own band, Charlie Harrington and the Jazz Express. He has shared the stage with Woody Herman, Freddie Green, Stan Mark, Kirk Whalem, Larry Coryell, Kurt Elling, John Scofield, Benny Golson, Barbara Streisand, Dave Brubeck, Richie Cole, Tony Bennett, Ira Sullivan, Carly Simon, Ari Brown, Junko Onishi and Eddie “Cleanhead” vinson.
As a bluesman he performed with Joe “Guitar” Hughes, and Stevie Ray Vaughan. He has taken master classes with Ed Soph, Louie Bellson, Jack DeJohnette, Donny Osborne, Johnny Rabb, Clayton Cameron, Butch Miles, Steve Smith, Joe Morello, Jeff Hamilton, Bill Stewart, Steve Gadd, Billy Cobham, Jeff Tain Watts, Peter Erskine, and Ed Shaughnessy.
The highly inventive and skilled drummer Charlie Harrington, who has yet to record as a leader or sideman, continues to build a body of work and performs in trio, small group settings and big band ensembles.
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On The Bookshelf
Duke Ellington: Music Is My Mistress
My favorite tune? The next one. The one I’m writing tonight or tomorrow, the new baby is always the favorite. The author of these words has created some of the best loved music in the world: Mood Indigo, Sophisticated Lady, Caravan, Take The A Train, Solitude.
Music is my mistress, and she plays second fiddle to no one.” This is the story of Duke Ellington, the story of Jazz itself. Told in his own way, in his own words, a symphony written by the King of Jazz and published by Doubleday & Company, Inc. His story spans and defines a half-century of modern music. This man who created over 1500 compositions was as much at home in Harlem’s Cotton Club in the 1920s as he was at a White House birthday celebration in his honor in the 1960s.
For Duke knew everyone and savored them all. Passionate about his music and the people who made music, he counted as his friends hundreds of the musicians who changed the face of music throughout the world: Bechet, Basie, Armstrong, Lena Horne, Ella Fitzgerald, Sinatra, to name a few of them.
In this 522 page volume are 100 photographs to give us an intimate view of Duke’s world, his family, his friends, his associates. What emerges most strongly in his commitment to music, the mistress for whom he saves the fullest intensity of his passion.
”Lovers have come and gone, but only my mistress stays,” he says. He composed not only songs that all the world has sung, but also suites, sacred works, music for stage and screen and symphonies. This rich book, the embodiment of the life and works of the Duke, is replete with appendices listing singers, arrangers, lyricists and the symphony orchestras with whom the Duke played. There is a book to own and cherish by all who love jazz and the contributions made to it by the Duke.
Requisites
Dedicated to Tadd ~ The Charles Davis Sextet | By Eddie Carter
The Charles Davis Sextet steps into this morning’s spotlight, showcasing the multi-instrumentalist on his second outing as a bandleader with Dedicated to Tadd (West 54 WLW 8006). My introduction to Davis came through three standout albums: “Breakthrough,” “Illumination,” and “Manhattan Project.” Davis has contributed as a sideman to more than 100 recordings, with some of jazz’s brightest talents; however, he is best known for his work with Archie Shepp and Sun Ra. This date features a stellar lineup: Tex Allen on trumpet; Clifford Adams, Jr. on trombone; Charles Davis alternates between baritone sax (A2, B3), soprano sax (A1, B2), and tenor sax (A3, B1); Kenny Barron on piano; Walter Booker, Jr. on bass; and Billy Hart on drums. My copy of the album is the 1979 U.S. stereo release.
Monking, the first of four originals by Charles Davis, gets off to a good start with the sextet’s engaging melody in unison. The fun begins as Tex leads with a lively opening solo. Clifford comes in next, laying down an infectious groove. Kenny takes over to deliver a performance executed with thoughtful, nuanced articulation. Charles glides effortlessly through the closing statement on soprano into the climax. Eastern Vibrations comes to life with the ensemble’s collective theme at medium speed. Allen steps forward first with a bright and captivating solo. Adams is especially impressive in the following reading. Barron tackles the third reading incisively, and then Booker seizes the moment in his first statement. Davis’s baritone brings it all home with unmistakable authority, leading to the theme’s reprise.
The group ventures onto Mexico Street next, beginning with Billy’s concise introduction ahead of the sextet’s rapid-fire theme. Tex sets the bar with a brisk and agile solo, paving the way for Clifford’s energetic interpretation. Charles’s tenor sax brings a thrilling intensity to the following statement. Kenny keeps things rolling in an electrifying performance, then Walter and Billy both make a brief comment preceding the ensemble’s robust exit. The title tune, Dedicated to Tadd, unfolds as a graceful ballad, opening with a soft piano prelude that ushers in the group’s beautiful melody. Davis draws out the song’s tenderness in the opening tenor sax statement. Barron infuses the following solo with sensitivity and finesse, before the ensemble’s gentle reprise of the theme and a touching ending.
The last two tracks come from the pen of Tex Allen, starting with the sextet’s introduction and medium melody to Love Gods. Charles gets the opening solo underway with a laid-back soprano interpretation. A brief piano interlude leads to Tex, who hits his target in the following interpretation. A second short piano break leads to the sextet’s closing chorus and finale. Sir Charles, the trumpeter’s tribute to Charles Davis, turns the beat upward one final time for the ensemble’s introduction and theme. Davis gets right to work on the baritone sax and turns in an opening solo that’s a sheer delight. Allen shines in a flawless performance, which in turn leads to Barron’s final statement preceding the sextet’s return to the theme, affording Adams a concise comment as the music gracefully fades away.
Roger Pola produced the album, and the executive producer was Pierre Bourdain. Allan Tucker was behind the dials as the recording engineer. The album’s sound quality is excellent, featuring a superb soundstage that places the musicians directly in the listener’s sweet spot with impressive fidelity. Dedicated to Tadd is an enjoyable album that showcases each artist at their best. If you’re a sax fan and are looking for something fresh to add to your library, I offer for your consideration Dedicated to Tadd by the Charles Davis Sextet on your next record-shopping trip! It shines a spotlight on a truly talented multi-instrumentalist deserving of wider recognition!
~ Breakthrough (Cobblestone CST 9011), Illumination! (Impulse A-49/AS-49), Manhattan Project (Bee Hive Records BH 7001) – Source: Discogs.com
© 2025 by Edward Thomas Carter
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Requisites
Montreux ‘77 ~ Tommy Flanagan 3 | By Eddie Carter
I’ve admired and been a fan of pianist Tommy Flanagan for many years, so I was delighted to come across a delightful live album with his trio, Montreux ’77 (Pablo Live 2308-202). Tommy, a Detroit native, drew early inspiration from three legends: Nat King Cole, Art Tatum, and Teddy Wilson, as well as local greats Earl Van Riper and Willie Anderson. Throughout a remarkable forty-five-year career, he recorded thirty-six albums as a band leader and appeared as a sideman on over two hundred albums, many of which are regarded as jazz classics. Flanagan’s longest tenure was thirteen years as an accompanist and musical director to Ella Fitzgerald. Joining him on this date are Keter Betts on bass and Bobby Durham on drums. My copy of the album is the 1977 U.S. stereo release.
Barbados by Charlie Parker sets an upbeat tone to begin the trio’s set, with Flanagan’s introduction segueing into a vivacious melody. Tommy takes the lead with a spirited performance. Keter makes every note sparkle in the following solo, while Bobby’s steady rhythms anchor the soloists. The pianist returns for a rousing finale that draws enthusiastic applause from the audience. A pair of timeless jazz standards is up next. Some Other Spring by Arthur Herzog, Jr. and Irene Kitchings offers Flanagan the spotlight for a solo of exquisite tenderness. The trio then moved into “Easy Living” by Ralph Rainger and Leo Robin. Tommy remains the only soloist, and he gives a warm, sultry and deeply sincere performance, gracefully supported by Keter and Bobby into a soft, mesmerizing close.
Side Two begins with Flanagan’s gentle introduction to Star Crossed Lovers by Duke Ellington and Billy Strayhorn. The pianist enchants the listener in a beautiful solo of heartfelt lyricism until the beat moves upward for “Jump For Joy” by Duke Ellington, Sid Kuller, and Paul Francis Webster. After the trio’s melody swings in unison, Tommy begins the song’s only solo with infectious enthusiasm and an array of inventive ideas preceding a rousing reprise and finish. Dizzy Gillespie’s Woody ‘n’ You is off to the races from the start of Tommy’s introduction, leading to the trio’s vigorous theme. Flanagan forges ahead into the spotlight for the song’s only solo exuberantly until the ensemble reconvenes for a brisk closing chorus and a rousing ovation from the audience.
Blue Bossa by Kenny Dorham opens with the trio’s irresistibly rhythmic and lively theme. Tommy has the first say, and his fingers soar effortlessly across the keys. Keter follows, infusing the second statement with firm bass lines. The song culminates in a spirited conversation between Tommy and Bobby, leading to the trio’s danceable, infectious reprise and an enthusiastic ovation from the audience. Norman Granz produced the album, and Mountain Recording Studios was behind the dials. Val Valentin remixed this live date. The sound quality is very good except on the final track, Blue Bossa. During Keter Betts’s bass solo on this song, there’s a harshness or distortion that, while annoying, especially if you’re listening through headphones, doesn’t fully detract from the music.
Tommy Flanagan’s artistry was marked by clarity and elegance. His piano playing featured a delicate, lyrical touch and a remarkable knack for crafting nuanced phrases. Each of his improvisations unfolded with a natural, narrative flow, as he expertly walked the line between a tune’s structure and the freedom of creative expression. As an accompanist, Flanagan excelled and was attentive to his fellow musicians, always enhancing their sound. His understated comping offered a gentle harmonic support, letting soloists shine. When stepping forward with his own solos, his playing sparkled with wit, grace, and a distinctive sense of swing. Despite facing health challenges later in life, he continued to perform and record right up until his death at age seventy-one on November 16, 2001.
If you’re a fan of a piano jazz trio or live jazz recordings, I can’t recommend this album enough on your next record shopping trip. Montreux ‘77 by the Tommy Flanagan 3 allows listeners to take a delightful trip to the Montreux Jazz Festival without the need for luggage, a passport, or boarding a flight. Just set the record on your turntable, settle into your favorite chair with a preferred drink in hand, and immerse yourself in the moment!
Postscript: Montreux ‘77 by Tommy Flanagan 3 also appears in the eight-record box set, Norman Granz Presents The Montreux ’77 Collection.
~ Norman Granz Presents The Montreux ’77 Collection (Pablo Live 2620-107) – Source: Discogs.com
~ Easy Living – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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