Daily Dose Of Jazz…

Matt Bauder was born and raised in Ann Arbor, Michigan on May 3, 1976 and attended the University of North Texas in Denton, Texas and earned a bachelor of fine arts in jazz and contemporary improvisation at the University of Michigan in Ann Arbor.

From 1999 to 2001 he lived in Chicago, Illinois where he was a part of the city’s modern jazz and improvised music scene. Matt attended graduate school at Wesleyan University in Middletown, Connecticut studying under Anthony Braxton and received a master’s degree in composition. He lived in Berlin, Germany for a year, then moved to New York City in 2005.

In 2003, Bauder released his debut album, Weary Already of the Way, on 482 Music. His sophomore album in 2007 was the first album from his long-form improvisational jazz trio Memorize the Sky, featuring Bauder on saxophone, clarinet, bass clarinet and percussion, Zach Wallace on bass, vibraphone and percussion, and Aaron Siegel on drums and percussion. The band released two more albums in 2008 and 2010.

His next trio, Hearing Things, had the saxophonist leading JP Schlegelmilch on organ and Vinnie Sperrazza on drums. Never limiting himself to one genre, Bauder’s next venture formed the doo-wop jazz group White Blue Yellow & Clouds, covering songs by the Beach Boys, The Flaminogos and The Mystics.

His Brooklyn-based jazz quintet Day in Pictures released two albums on Clean Feed Records, in which heplayed tenor saxophone and composed the songs on both albums. Matt has since performed as part of the Arcade Fire’s touring lineup, played saxophone and clarinet on Will Butler’s debut album Policy, and has played in the Broadway production of Fela!

Ever busy, saxophonist Matt Bauder continues to perform, compose and collaborate on numerous projects across genres.

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Daily Dose Of Jazz…

Meeco was born on May 2, 1976 in Berlin, Germany. As a young child he was heavily influenced by his father who played classical piano and his poet/artist mother, thereby making it completely natural to follow their footsteps. Beginning piano lessons at six years old, and after several years of studying classical music, he sought other musical outlets. After a friend introduced vintage Ella Fitzgerald, Horace Silver and McCoy Tyner records, he became enamored with Black American music.

Mentored by his close friend, the late New York pianist/singer Bob Lenox, he realized that the only important thing in music was creating the right feeling. He would go on to work with German producer Marco Meister, founding member of the group Terranova, Meeco gained invaluable studio experience producing his own music.

Over the course of his career Meeco has recorded with Benny Golson, Gregory Porter, Ron Carter, John Scofield, Hubert Laws, Kenny Barron, Buster Williams, Kirk Whalum, Richard Bona, Casey Benjamin, Mary Stallings, Freddy Cole, Kevin Mahogany, Bennie Maupin, James Moody, Eddie Henderson, Shedrick Mitchell, David “Fathead” Newman, Eric Reed, Vincent Herring, Victor Lewis, Stefon Harris, Lionel Loueke, Cedar Walton, Charlie Mariano, David Friedman, just to name a few.

Not limiting himself to jazz, Meeco has also produced hip hop and soul legends Talib Kweli, Masta Ace, Smif n Wessun, Lil Fame of M.O.P., Yahzarah, Jean Baylor, DJ Stylewarz, along with Latin and pop genres Joe Bataan, Jane Birkin, Jaques Morelenbaum and Romero Lubambo.

Pianist, composer, producer, deejay and photographer Meeco, who has released seven albums to date, remains based between Berlin and Paris, France as he continues to expand his musical horizons.

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Daily Dose Of Jazz…

Mika Mimura was born in Osaka, Japan on April 18, 1978. She began to play marimba when she was 6 years old. She studied classical music at Osaka College of Music and finished her Master’s degree at the college. Inspired by pianist Makoto Ozone, she began her study of jazz vibraphone after graduation. She entered Berklee College of Music in 2004 and studied with Dave Samuels, Ed Saindon, Tiger Okoshi, and Ed Tomassi , among others.

Mika became a regular member of Phil Wilson’s Rainbow Big Band and Rainbow All Stars. In 2007 she performed with Greg Osby in 2007. She joined The BandA ecLectics, whose leader, Petros Sakelliou, had won the first prize at Thelonious Monk Institute Composition Competition. Together they played the Kodak Theatre in Los Angeles, California. She has performed many times in concert throughout the Boston, Massachusetts and New York City areas.

Vibraphonist Mika Mimura, who is currently a part of the New York City jazz scene, continues to energetically perform, compose and arrange in jazz or classical.

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Daily Dose Of Jazz…

Susanne Alt was born April 15, 1978 in Würzburg, Germany to Hans-Joachim and Maria Alt. Her father is a composer, poet and piano teacher, and mother a guitar teacher. After studying classical piano and guitar with her parents, she began playing the saxophone at thirteen and successfully participated in several saxophone competitions.

While still in high-school she started taking lessons in classical saxophone at the Meistersingerkonservatorium Nuremberg between 1993 and 1995, becoming a full-time student there in the 1995–96 academic year. During this period Susanne began practicing jazz and after winning the Siemens-Jazz-Förderpreis, she moved to the Netherlands to continue her studies at the Hilversums Conservatorium. Returning to Germany for postgraduate studies, she enrolled in the Berlin University of the Arts in 2000.

Forming the Susanne Alt Quartet in 2003, in the following year she released her debut album, Nocturne at Bimhuis, Amsterdam, Netherlands. Five jazz albums later, she released the funk album Saxify in 2016, preceded by the 7-inch single Saxify. The album features 36 musicians, amongst them are Fred Wesley, Michael “Clip” Payne, Michael Hampton, Rodney “Skeet” Curtis, and Roger Smith of Tower Of Power.

Alt has collaborated with a number of notable musicians and ensembles and has also toured worldwide. Saxophonist and composer Susanne Alt is based in Amsterdam, and continues to pursue her desire for new musical experiences.

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Requisites

Blues For Harvey ~ Johnny Griffin | By Eddie Carter

It’s been a while since I listened to one of my favorite tenor saxophonists, Johnny Griffin, so I chose an album that became the inspiration for this morning’s discussion. Blues For Harvey (SteepleChase Records SCS-1004) is an excellent 1973 live date, and Johnny’s working with a stellar supporting cast: Kenny Drew on piano, Mads Vinding on bass, and Ed Thigpen on drums. My copy is the 1976 U.S. Stereo reissue (Inner City IC 2004). Johnny began his career in the forties playing the alto sax. He changed to tenor after joining Lionel Hampton’s Orchestra, and he’s played with Art Blakey, Eddie “Lockjaw” Davis, Kenny Clarke-Francy Boland Big Band and Thelonious Monk, to name a few.

The quartet begins the set with a trip to That Party Upstairs, the first of four by Johnny Griffin. The ensemble’s melody begins at an easy swing before stepping aside for Johnny’s lengthy opening statement. Kenny takes an interesting turn next; then Mads finishes with a carefree stroll ahead of the foursome’s theme restatement and close. Alone Again is a pretty ballad that Kenny introduces gently segueing into Johnny’s delicately tasteful theme and opening chorus. The pianist follows with an elegantly stylish interpretation; then, Mads makes a few intimate remarks preceding Griff’s return for a touching theme reprise and finale.

Side Two starts with Soft and Furry. Griff and Mads open with a dialogue over Ed’s soft supplement into the quartet’s haunting theme. Johnny opens the solos with an exceptionally rich tone. Kenny takes an exquisite performance next, and then Mads gives a tender interpretation before the tenor and bass reappear to lead the foursome to a beautiful climax. Blues For Harvey is dedicated to the Montmartre bartender, Harvey Sand. Griff sets the tone in the introduction and the quartet’s melody. Johnny takes the lead in an incredibly fleet interpretation. Kenny adds a bit of fire and drive in the second reading, and Ed has a vigorous exchange with the leader, leading to the ensemble’s brisk conclusion.

Rhythm-A-Ning by Thelonious Monk starts with the foursome’s quirky theme before Johnny takes flight with a speedy interpretation that seamlessly switches to The Theme before the song ends with Griff’s introduction of the quartet. Johnny Griffin and Nils Winther produced Blues For Harvey, and Nils also did double duty behind the dials of the recording. The album’s sound quality is good for a seventies live date, placing the listener in the Montmartre audience, and the quartet’s performance is enjoyable throughout. If you’re a fan of Griff’s playing or in the mood for hard bop, I offer for your consideration, Blues For Harvey by Johnny Griffin. It’s a little-known release in his extensive discography deserving of greater recognition and worthy of checking out for a spot in your library!

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