Daily Dose Of Jazz…
Doug Beavers was born September 22, 1976 in Bellflower, California. He received a BA in music from California State University, East Bay, an MA in composition from the Manhattan School of Music. He is the founder of the music production company and record label, Circle 9.
As a performer Doug has worked with Eddie Palmieri, Spanish Harlem Orchestra, Mingus Big Band, Christian McBride, Paul Simon, and others. He also served as an adjunct professor at Los Medanos College and music faculty of Jazz Trombone at California State University, East Bay.
His most recent album recording,Sol, was released in 2020. In 2021, he received a New Jazz Works grant from Chamber Music America. Trombonist, arranger, composer and producer Doug Beavers, a Grammy Award-winning musician, is currently an adjunct faculty member at the College of New Jersey.
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Requisites
Stablemates ~ Jon Eardley and Al Haig | By Eddie Carter
You really know your godchildren truly care and love you when they surprise you for your birthday with an album by two artists whose music you’re aware of, yet whose records have never found a place in your library. This morning’s spotlight shines on flugelhorn and trumpet player Jon Eardley, who was passing through London on a brief 1977 tour and pianist Al Haig, who was in town to visit friends. The two musicians seized the moment to head into the studio to record their only album together, Stablemates (Spotlite Records SPJ LP11). It was released two years later, and rounding out the ensemble are Art Themen on tenor sax, Daryl Runswick on bass, and Alan Ganley on drums. My copy of this album is the 1979 U.K. stereo release.
The first side opener, Tangerine by Johnny Mercer and Victor Schertzinger, begins with Al’s upbeat piano intro to Jon’s lively melody. Art kicks off the opening solo briskly, then Al flows smoothly into the following reading. Jon entersnext with a strong, assertive tone. Art and Jon share a final conversation leading back to the theme’s reprise and close. Speak Low by Ogden Nash and Kurt Weill raises the temperature with the quintet’s swinging melody. Themen opens the solos with an inspired improvisation that sets the tone. Eardley follows with plenty of bounce and effervescence on the second statement. Themen is off to the races next with impeccable precision, then Runswick and Ganley engage in a spirited exchange until the theme’s restatement fades out.
‘Round Midnight by Bernie Hanighen, Thelonious Monk and Cootie Williams is a quartet showcase that opens with Al and Daryl’s pensive introduction ahead of Jon’s tender melody. Al begins the opening solo with dreamlike softness, then the pace moves upward slightly for Jon’s elegant interpretation before the ensemble’s gentle ending. The second side gets underway with the pianist’s soothing introduction to Embraceable You by George and Ira Gershwin. Eardley states the gentle melody with Themen. In the first solo, Haig offers a tender, thoughtful statement with a soft touch of elegant beauty. Eardley truly shines in the closing reading with notes so deeply heartfelt that it’s bound to move you to tears, leading to Themen’s closing chorus and a gentle climax.
Don’t Blame Me by Dorothy Fields and Jimmy McHugh receives a gorgeous treatment by the quintet, beginning with Jon’s slow-paced theme that radiates inviting warmth, and Art’s perfectly placed inserts. Al leads off, skillfully blending composure and gentleness, before Art continues this lovely standard with a solo that truly touches the spirit. Jon delivers an exquisitely soft, poignant horn passage preceding the theme’s return. The beat moves upward on final time for Eardley’s theme to Love Walked In by George and Ira Gershwin. Themen opens the solos with an energetic drive, then Haig contributes a robust interpretation. Eardley matches the intensity with swift execution, and Ganley and Runswick meet on common ground in the closer, leading to the theme’s reprise and climax.
Tony Williams produced the album, and Steve Waldman served as the recording engineer. It delivers an exceptional soundstage, as though the ensemble is performing live in your listening room. The mix is impressively balanced, offering remarkable clarity and fidelity from your speakers. Stablemates is one of six albums Jon Eardley led as a leader, and he contributed as a sideman on ten additional records. Al Haig, meanwhile, led twenty-five albums and played as a sideman on eight more. If you haven’t yet experienced the artistry of Jon Eardley or Al Haig, I highly encourage you to seek out Stablemates on your next search for great jazz records. This outstanding album invites fresh appreciation with each play and remains as relevant today as it was over forty years ago!
~ Don’t Blame Me, Embraceable You, Love Walked In, ‘Round Midnight, Speak Low, Tangerine – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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On The Bookshelf
Jazz In The Movies: A Guide to Jazz Musicians 1917~1977 by David Meeker is the result of ten years research into the arena of jazz and the film industry. Norman Granz, who penned the introduction, writes of David as one of the small, dedicated, diligent, extremely hard-working, enthusiastic group of people that the world luckily possesses.
The idea for the book came to Meeker some twenty years before its writing after waiting for a prolonged and disappointing time of news reels, travelogues and the like to watch a film titled The Three Little Bops and to finally hear the sweet sounds of Shorty Rogers. Then he thought why has there been no jazz filmography produced. So, he set about the daunting task of compiling 2,500 movies and this is the outcome.
The book lists each film title alphabetically, together with its nationality, year of production, director, running time, a short critique and details of all jazz artists, band personnel and musical items where known.
On The Bookshelf
I Should Care: The Sammy Cahn Story
I Should Care: The Sammy Cahn Story is an autobiography by the acclaimed lyricist Sammy Cahn. Published in 1974 by Arbor House, the book is written from Cahn’s own perspective, offering his insights into his life and career, along with anecdotes, photographs, and lyrics of his well-known songs.
The title itself is a nod to one of his famous songs, which first appeared in the 1944 MGM film Thrill of a Romance. The Academy Award winner for Three Coins In The Fountain, High Hopes, All The Way and Call Me Irresponsible, star performer in his own Broadway musical Words & Music.
This Lower East Side New York City boy who made more than good now tells his whole loving story – personal, public and professional.
I Should Care ~ The Sammy Cahn Story: 1974 | Sammy Cahn
Arbor House Publishing Co.
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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