Daily Dose Of Jazz…
Justin Wood was born on November 18, 1975 in rural Northern Maine and began playing saxophone in fifth grade growing up. During high school, he co-led a jazz trio with trombonist Philip Yaeger and brother Tyler on piano, and played gigs ranging from local restaurants to agricultural conventions.
After attending Harvard University, Justin moved to New York City in 1999 and worked as a union organizer and explored the city’s music scene. He began performing in the city in 2001, and has performed with diverse musical groups in venues including Birdland, the Brooklyn Academy of Music, NJ Performing Arts Center, the Knitting Factory, and the Garage.
Rather than pursuing a conservatory education, he has learned from and been inspired by his peers. Through private lessons with top creative musicians such as Bill McHenry and Michel Gentile he has developed his own voice.
Currently, alto saxophonist and flautist Justin Wood continues to participate in diverse musical projects. He co-leads Spoke, an eclectic quartet with trombonist Andy Hunter, bassist Dan Loomis, and drummer Danny Fischer.
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Requisites
Crossings ~ Red Garland, Ron Carter and Philly Joe Jones | By Eddie Carter
It happened like this: after hearing Introducing Carl Perkins, I spent the remainder of the evening listening to several other trio albums while reading when I heard a title I hadn’t played in a while, which inspired this morning’s discussion. Crossings (Galaxy GXY-5106) is a 1978 release bringing together a dream team to record their first trio album. Red Garland is on piano, Ron Carter is on bass, and Philly Joe Jones is on drums. All three were members of the Miles Davis Quintet and have given jazz fans many incredible albums throughout their careers as leaders and sidemen. My copy is the original U.S. Stereo release.
Side One starts with a brief trio introduction, setting the stage for the melody of Solar by Chuck Wayne and Miles Davis. Red leads the way with a statement that sparkles with energy. Ron delivers precisely articulated choruses in the second solo. The pianist and Philly share the finale in an inspired interpretation, leading to the theme’s reprise. Railroad Crossing by Ron Carter is a smooth, easy-flowing tune. The bassist sets the tone with a concise introduction that seamlessly transitions to the trio’s melody. Carter begins with a leisurely opening statement; then, Garland gets into a down-home groove on the following solo ahead of the bassist’s return for the ending theme.
Never Let Me Go is a beautiful Jay Livingston and Ray Evans song. It was featured in the 1956 film noir The Scarlet Hour. Red opens with a short unaccompanied introduction that segues into the trio’s gorgeous theme. The pianist goes first with a delicately sultry performance, then hands the torch to Ron, who delivers a heart-warming presentation before the close. Oleo by Sonny Rollins gets underway with a short workout by Jones, leading to the ensemble’s quick theme. Garland ignites the fire in the first solo, and then Carter keeps the fires burning next. Jones adds more heat in the closer, preceding a captivating conclusion.
George and Ira Gershwin introduced But Not For Me in the 1930 Broadway musical Girl Crazy. The jazz standard starts Side Two with Ron leading the trio through the melody. The bassist masterfully manages the opening statement before making room for Red, who swings in the following reading. Ron returns to converse briefly with Philly ahead of the finish. Cole Porter’s classic Love For Sale begins with a lengthy solo piano introduction before the trio steps on the gas for the lively theme. Garland ignites the first solo with fiery choruses. Carter steps into the spotlight next and slows things down, and Garland returns for a vigorous exchange with Jones into the climax.
Orrin Keepnews produced Crossings, and Bruce Walford recorded and mixed the album at Fantasy Studios. David Turner mastered the album. The record’s sound quality possesses a vibrant soundstage, placing the musicians in your listening room with excellent fidelity. If you’re a fan of these jazz giants and enjoy a good piano trio album, I invite you to check out Crossings by Red Garland, Ron Carter, and Philly Joe Jones. The group’s musicianship shows three masters’ at work, and the six selections complement each other perfectly. The result is an album you can sit back, listen to and enjoy from the first note to the finale!
~ But Not For Me, Love For Sale, Oleo – Source: JazzStandards.com
~ Solar – Source: Wikipedia.org
© 2024 by Edward Thomas Carter
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Daily Dose Of Jazz…
Gustavo Casenave was born on November 10, 1971 in Montevideo, Uruguay where he studied classical piano from age 6 with Maestro Hector Tosar, who was Aaron Copland’s student. He led the group Kongo Bongo and recorded two albums, however, following a conversation with Hugo Fattoruso he decided to study in Boston, Massachusetts. In 1994 received a full scholarship from O.A.S. to study at the Berklee College of Music and two years later he graduated magna cum laude.
During this period he was awarded the Professional Music Achievement, and his composition Fragiltimer for the Past Future for piano was selected as one of the ten best original compositions coming out of Berklee in the last 30 years, 1966-1996. In 1995 he was accepted as a private student by the legendary jazz vibraphonist Gary Burton.
1997 saw Gustavo settling in New York City and creating a name for himself. He has been awarded three Grammys as a producer, composer and performer, Best Latin Jazz Album (producer), Best Tango Album, and Best Instrumental Album that showcased his ability to create compositions that resonate with audiences worldwide. He has also had six Latin Grammy nominations and three nods for Best Contemporary Classical Composition.
As an educator, Casenave has held positions as Jazz Department Director at the Harbor Conservatory for the Performing Arts and has conducted Tango Master Classes as well as being a guest artist lecturer at The Juilliard School, Yale University, Eastman School of Music, Oberlin Conservatory and Indiana University.
Pianist Gustavo Casenave continues to contribute to jazz as a performer, composer, educator, and scholar, having published his first music theory book, “The Harmonic Structure Levels.
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Daily Dose Of Jazz…
Samuel Quinto Feitosa was born Samuel Quinto Feitosa on September 5, 1973 in Belém, Pará, but grew up in Salvador, Bahia. From the age of seven, he developed his interest in piano from the gospel music performed in the Baptist Church during his childhood. An autodidact, he played at home without teachers, learning harmony, reading and writing music and orchestration, musical composition, arranging for the church choir, and started playing as a pianist at age 12.
Releasing his debut CD Latin Jazz Thrill in 2007 in Portugal, with his trio, Samuel followed it with Salsa ‘n Jazz, containing eight original compositions and a standard the following year. After a European tour he established the first course of Latin Jazz at Jazz School North, Porto. He also became the artistic director of one of the most traditional jazz Portuguese clubs, B-flat.
He returned to Brazil in 2012 to take the position of Music Minister at the Second Baptist Church in Mossoro, Rio Grande do Norte. During this period he wrote symphonies, opera, minuets and christmas rratorio for choir.
In 2015 he becames the newest piano representative of Fritz Dobbert pianos and returned to jazz performance. He published his first book called Improvisar é muito fácil in 2016. Quinto is a member of several organizations including the International Council for Traditional Music, the American Council of Piano Performers, the National Federation of Music Clubs and has a collaborative relationship with UNESCO.
Pianist Samuel Quinto, who is a Fellow of the Royal Society of Arts in London, continues to perform, compose and educate.
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Daily Dose Of Jazz…
Irene Aranda was born in Jaén, Andalucía, Spain on September 2, 1980 and started to play piano at age seven under the guidance of her maternal grandparents. She graduated from the Conservatory of Music in Granada and complimented her classical training by attending piano performance and composition classes with Gerardo López Laguna, Guillermo González, Fernando Puchol, Pilar Bilbao, Antonio J. Flores and Javier Darías, among the most notable.
She was self-taught in jazz and free improvisation, she later studied with Peter Zack, Eduard Simons, Chano Domínguez, Nikky Illes, Mike Ph. Mosman, Greg Hopkins, David Pastor, Jordi Farrés Tomás, Pete Churchill, Perico Sambeat, Tony Reedus, etc.
Her first work as a leader, Interfrequency 23 7, brought her great critical acclaim which led her to participate in numerous festivals. Since her debut release in 2007 she has released six more albums.
Freed from stereotypes, Irene has gone on to perform and collaborate with Paolo Fresu, Toots Thielemans, Maria Pia De Vito, Baldo Martínez and Bojan Z among others. Aranda has played with Don Malfon, Brandon López, Markus Breuss, Johannes Nästestjö, Samuel Blasser, Germán Díaz, Agustí Fernández, Joanna Mattrey, Lucía Martínez, Javier Carmona, Núria Andorrà, Marc Egea and numerous others.
Pianist, improviser, composer Irene Aranda continues to swim against the stream of pianists with her creativity and exploration in her music.
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