Daily Dose Of Jazz…
Jaimie Breezy Branch was born June 17, 1983 in Huntington, New York and started playing trumpet at age nine. At 14 she moved to Wilmette, Illinois, a suburb of Chicago. She attended the New England Conservatory of Music and after graduating moved back to Chicago and began working as a musician, organizer, and sound engineer on the local music scene. She performed in Chicago and New York with her trio Princess Princess, with bassist Toby Summerfield and drummer Frank Rosaly, and in other trios before founding the band Block and Tackle with Jason Stein, Jeb Bishop, and Jason Roebke.
By 2012 Branch had moved to Baltimore, Maryland where she worked toward a master’s degree in Jazz performance from Towson University. At this time she also founded the record label Pionic Records, which released the music of her group Bomb Shelter. After two years, she dropped out of Towson, and six months later she moved to New York to seek treatment for heroin addiction.
In 2015 Jaimie moved to Brooklyn, New York where she began working with Fred Lonberg-Holm, Mike Pride, Luke Stewart, Jason Nazary, Tcheser Holmes, and many more. In addition, she performed on albums with independent rock groups. In 2017 she released her debut solo album, Fly or Die, with Tomeka Reid, Jason Ajemian, Chad Taylor, Matt Schneider, Ben LaMar Gay, and Josh Berman. Fly or Die was chosen as one of NPR Music’s Top 50 Albums of 2017.
Citing Don Cherry, Axel Dörner, Booker Little, Miles Davis, and Evan Parker among her musical influences. Jaimie Branch transitioned at home in the Red Hook section of Brooklyn on August 22, 2022, at the age of 39.
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Requisites
Joy Spring ~ Joe Pass Quartet | By Eddie Carter
One of my favorite guitarists, Joe Pass, enters this morning’s spotlight with a 1964 live date that sat in the vault for seventeen years. Joy Spring (Blue Note Classic LT-1103) by The Joe Pass Quartet showcases their February 6 performance at the Encore Theatre. Joe is joined on stage by Mike Wofford on piano, Jim Hughart on bass, and Colin Bailey on drums. My copy is the original 1981 US Stereo release. Side One opens with the title tune Joy Spring by Clifford Brown. The quartet establishes the theme leisurely, paving the way for Joe to take a happy strut on the first reading. Mike cruises comfortably through the following statement, then Jim concludes with a laid-back walk toward the finale and the crowd’s ovation.
Some Time Ago by Sergio Mihanovich begins with a beautiful introduction by Wofford. Pass leads the quartet in an exceptionally gentle melody, then devotes an equal degree of care to the first interpretation. Wofford makes the subsequent point with an affectionate touch ahead of the guitarist’s thoughtfully tender climax. The tempo moves upward for the ensemble’s spirited theme to The Night Has A Thousand Eyes by Buddy Bernier and Jerry Branin. Joe takes the first solo spot and swings with an intensity that builds excitement as it unfolds. Mike keeps the beat going with a brisk workout complemented by Jim and Colin’s lively accompaniment ahead of the quartet’s reprise and disappearance to the audience’s applause.
Side Two starts with Relaxin’ at Camarillo by Charlie Parker. The title refers to Parker’s six-month recovery from alcohol and drug addiction at the California State Hospital. The quartet sets the mood for what follows in an easy-swinging theme. Pass is given considerable space for an enjoyable opening statement, then Wofford has something to say in an impressive performance. Hughart takes a jaunty stroll in the closing reading into the theme restatement. There Is No Greater Love by Isham Jones, and Marty Symes begins with a guitar and piano duet, segueing into the ensemble’s blissful melody. Joe opens with a very engaging statement, then Mike delivers a charming presentation. Jim puts an exclamation point in the closing interpretation preceding the quartet’s soft summation.
Richard Bock produced Joy Spring, and Dino Lappas recorded the quartet’s performance. The sound quality is excellent, with an exquisite soundstage. Everyone is in top form, and the ensemble never fails to satisfy during this set of irresistibly enticing music. In a career lasting five decades, Joe Pass was regarded by critics and fans alike as one of the most gifted musicians in jazz. His discography as a leader and a sideman is extensive, and he always brought something unique to each session. Joe’s solo albums and work with Ella Fitzgerald and Oscar Peterson have also stood the test of time. He died from liver cancer at age sixty-five on May 23, 1994. If you like jazz guitar and are a fan of Joe Pass, I invite you to check out Joy Spring by The Joe Pass Quartet on your next vinyl hunt. It’s a beautiful live performance that’s easy on the ears and merits sincere consideration for any jazz library!
~ The Night Has a Thousand Eyes; There Is No Greater Love – Source: JazzStandards.com ~ Joy Spring, Relaxing at Camarillo – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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The Jazz Voyager
Coming off a fantastic performance by Cecilé McLorin Salvant in Miami, The Jazz Voyager is heading out of the South and up the East Coast for colder temperatures in Beantown to hang out at Scullers Jazz Club, and catch a pianist I haven’t seen in more than two decades. I was extremely impressed by his talent and his name is Loston Harris. As usual, after a relaxed dinner, I’ll be catching the second set which for me is the best.
After meeting Harry Connick, Jr. at the 1st Thelonious Monk Jazz Competition in Washington, DC, Connick led Loston to study with his mentor, Ellis Marsalis, who encouraged him to switch from drums to piano. The rest, as they say, is history. Blending jazz, gospel and blues with his own unique styling, Harris takes the Great American Songbook to new heights. He has toured and performed with numerous Grammy Award and Pulitzer winner Wynton Marsalis, and appeared in the PBS special Portraits in Blue with Grammy nominated pianist Marcus Roberts.
Since 1989 Scullers has presented the biggest names in straight ahead,Latin and Contemporary jazz along with blues, soul, r&b, and world music. It swet a new standard for jazz clubs in Boston with a world-class roster of renowned jazz artists.The club is located at 400 Soldiers Field Road, Boston, Massachusetts 02134. In the area or flying in and have the time, support jazz and hear a phenomenal musician and vocalist.
Sculler’s number is 617-747-2261. If you want to get more information visit https://notoriousjazz.com/event/loston-harris.
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Daily Dose Of Jazz…
Ben Williams was born on December 28, 1984 in Washington, D.C. and began playing bass at age 10. He graduated from Duke Ellington School of the Arts. He received a Bachelor of Arts in Music Education from Michigan State University and a Master of Music in Jazz Studies at the Juilliard School.
In 2009, he won the prestigious Thelonious Monk International Jazz Bass Competition as judged by Ron Carter, Charlie Haden, Dave Holland, Robert Hurst, Christian McBride, and John Patitucci. The honor included a recording contract with Concord Records through which Ben released his debut album, State of Art, in 2011. The album featured saxophonist Marcus Strickland, guitarist Matthew Stevens, pianist Gerald Clayton, drummer Jamire Williams, and percussionist Etienne Charles.
Williams’ 2015 album Coming of Age brought together sidemen Marcus Strickland on tenor and soprano saxophones, Matthew Stevens on electric guitar, Christian Sands on piano, and John Davis on drums.
By 2020, Ben contributed to the live streamed recording of the singer Bilal’s EP Voyage-19, created remotely during the COVID-19 lockdowns. It was released the following month with proceeds from its sales going to participating musicians in financial hardship from the pandemic.
He was a member of guitarist Pat Metheny’s Unity Band, which won a Grammy Award for Best Jazz Instrumental Album for Unity Band at the 2013 award show. He was introduced as one of the “25 for the Future” by DownBeat magazine in 2016. Double bassist Ben Williams continues to compose, perform and record.
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Requisites
Nica’s Dream ~ Red Holloway Quartet | By Eddie Carter
For my discussion this morning, I’ve chosen a swinging 1984 session by The Red Holloway Quartet. Nica’s Dream (SteepleChase Records SCS 1192) highlights the group in a program of jazz standards and original tunes. Red was born James Wesley Holloway in Helena, Arkansas. He began playing the banjo and harmonica as a child before graduating to the tenor sax at age twelve. In this session, he is equally skilled on the alto sax (tracks: A2, B2, B4) and tenor sax (A1, A3, B1, B3). Red is joined on this date by an excellent rhythm section, Horace Parlan on piano, Jesper Lundgaard on bass, and Aage Tanggard on drums. My copy used in this report is the original Danish Stereo release.
Side One starts with Reshma Rani Barnase, an uptempo original by Red Holloway. Red initiates the song’s lively theme, then gives an enthusiastic opening solo. Horace takes the baton and sprints through the following reading. Jesper does a bit of brisk walking next; afterward, Red returns to add a few more spirited remarks ahead of the finale. The leader switches to the alto for a gorgeous rendition of Lover Man by Jimmy Davis, Roger Ramirez, and Jimmy Sherman. The quartet begins with a lovely melody that leads to a stunning opening statement by Holloway. Parlan demonstrates his affection for this song in the next delicately tender performance. The saxophonist concludes the piece in fine form with a dreamy climax.
Love For Sale by Cole Porter places Red back on tenor for a gentle introduction that climbs to the ensemble’s festive theme. Red opens with a lusty statement that’s full of energy. He shares the next reading with Jesper in a robust exchange before the quartet’s closing chorus fades into nothingness. Side Two starts with Nica’s Dream by Horace Silver. It was composed in honor of Baroness Kathleen Annie Pannonica de Koenigswarter, a friend and patron of jazz musicians. This one starts from the group’s swift melody and does not let up until the final note. Holloway charges into the opening statement with a blazing interpretation. Parlan ignites the second statement with intense heat, and Red and Aage get their licks in an immensely satisfying finale.
Georgia on My Mind by Hoagy Carmichael and Stuart Gorrell gets going with Red back on alto for the medium theme and the tasty treat he delivers with deceptive ease on the opening solo. Horace takes the second spot with an endearing presentation he handles skillfully. Aage gets the last word and strolls in the finale toward the foursome’s closing chorus. Red Holloway’s 369 Blues is a happy groove that commences with the quartet’s collective melody that gets your foot tapping along from the outset. Holloway provides plenty of enjoyment on the opening tenor solo. Parlan steps up next to take a short, exhilarating ride, then Red and Tanggard engage in a delightful conversation ahead of the theme’s return.
Wee by Denzil Best brings the album to a close with the quick notes of the ensemble’s melody. Red takes his final turn on the alto sax and flies furiously through the first solo. Horace continues the aggressive pace on the second interpretation. Red and Aage bring a few more fireworks in a fleet interchange of ideas before the quartet wraps it up. Nils Winther produced Nica’s Dream, and Thomas Brekling was the recording engineer. The sound quality is superb, and the musicians draw the listener into the music. If you’re new to Red Holloway or are a longtime fan, I would like to offer Nica’s Dream by The Red Holloway Quartet for your consideration. It’s an enjoyable album that would make a terrific addition to any library and is worth every penny!
~ Georgia on My Mind, Love For Sale, Lover Man – Source: JazzStandards.com ~ Nica’s Dream, Red Holloway – Source: Wikipedia.org ~ © 2022 by Edward Thomas Carter
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