Daily Dose Of Jazz…
John Funkhouser was born on October 16, 1966 in Boston, Massachusetts and studied classical piano from the age of seven, and classical bass starting at nine. He earned a B.A. in Musicology at Cornell University and returned to Boston to earn a Master’s degree from New England Conservatory in jazz piano, bass and composition in 1995. After a year performing in Singapore and four years performing and teaching in New York City, he again returned to Boston in 2000. This move was to raise a family, perform, and accept a job at Berklee College of Music, where he taught ear training, piano, bass, harmony, and ensembles until 2021.
Performing a wide spectrum of music, including all types of jazz, funk, rock, hiphop, Indian classical music, reggae, other world music and Western classical music, John is in equal demand as a jazz bassist and pianist. He has performed and/or recorded with Grammy winners Joe Lovano, Charles Neville, Steve Gadd, Abe Laboriel Sr., Luciana Souza, Mark Walker, Max Weinberg and Grammy nominees Bobby Watson, Francisco Mela, and Tierney Sutton.
In addition he has performed with among others Geri Allen, Bill Pierce, Joe Hunt, Herb Pomeroy, Francisco Mela, and Rebecca Cline. He leads Piandia, a duo specializing in Indian classical music, with tabla player Jerry Leake and the John Funkhouser Group, and has toured the U.S., Europe, Africa and Asia several times with both bands.
Pianist, bassist, arranger, and producer John Funkhouser, whose discography catalogue includes over 80 compact discs, currently resides, performs and teaches in Albuquerque, New Mexico.
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Jazz Poems
HERE WHERE COLTRANE IS
Soul and race
are private dominions
memories and modal
songs, a tenor blossoming,
which would paint suffering
a clear color, but is not in
this Victorian house
without oil in zero degree
weather and a forty-mile-an-hour wind;
it is all a well-knit family:
a love supreme.
Oak leaves pile up on walkway
and steps, catholic as apples
in a special mist of clear white
children who love my children.
I play”Alabama”
on a warped record player
skipping the scratches
on your faces over the fibrous
conical hairs of plastic
under the wooden floors.
Dreaming on a train from New York
to Philly, your hand out six
notes which become an anthem
to our memories of you:
oak, birch, maple,
apple, cocoa, rubber.
For this reason Martin is dead;
for this reason Malcolm is dead;
for this reason Coltrane is dead;
in the eyes of my first son are the browns
of these men and their music.
MICHAEL S. HARPER | 1938 ~ 2016
from Jazz Poems ~ Selected and Edited by Kevin Young
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Daily Dose Of Jazz…
Thore Jederby was born October 15, 1913 in Stockholm, Sweden and received his formal training in music at the Royal Swedish Academy of Music. He began playing jazz in the mid-1930s, playing with Arne Hülphers’s band from 1934 to 1938, and then with Thore Ehrling’s ensemble from 1938 through the end of World War II.
Thore led his own group, the Swing Swingers, for studio recordings in the mid-1930s, and led smaller ensembles for recording sessions in the 1940s.
Later in his life, Jederby became active in the capturing of the history of Swedish jazz. He was involved in reissues of early Swedish recordings, curated radio shows devoted to Swedish jazz, and participated in a national commission on the history of jazz in Sweden.
Double bassist, record producer, and radio broadcaster Thore Jederby died on January 10, 1984 in his city of birth.
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Daily Dose Of Jazz…
Chris Karan was born Chrisostomos Karanikis on October 14, 1939 in Melbourne, Victoria, Australia. In the early 1960s he played in the Three Out Trio with Mike Nock and Freddy Logan in Sydney, Australia.
A move to London, England in 1962 saw him becaming the drummer in the Dudley Moore Trio. He toured and recorded with Moore for many years, including appearances on the TV series Not Only But Also and the soundtrack of the 1967 movie Bedazzled. Their association continued until Moore’s last major public appearance at Carnegie Hall in New York City in 2001.
Karan has worked with Michel Legrand, Lalo Schifrin, Charles Aznavour, the Swingle Singers, Quincy Jones, Herbie Hancock, Stanley Myers, Basil Kirchin, Tony Hatch, Jackie Trent, Jerry Goldsmith, Jerry Fielding, Pat Williams, André Previn, Richard Rodney Bennett, Barry Tuckwell, Carl Davis, Henry Mancini, the Beatles, the Seekers, Katie Melua and Roy Budd.
He toured with John Dankworth and Cleo Laine, the Bee Gees, Caterina Valente, Dusty Springfield, Lulu and the Yardbirds. He was a member of the Harry Stoneham group, which provided the musical backing for the Michael Parkinson shows on BBC-TV.
As a member of Roy Budd’s band, the Roy Love Trio, he performed on the Get Carter 1971 film soundtrack. He plays the tabla on some albums, having studied the instrument under the Indian musician Alla Rakha. He has recorded with Dudley Moore, Ronnie Scott, Teresa Brewer, Ian Carr, Ray Ellington, Stephane Grappelli, Cleo Laine, Oliver Nelson, among numerous others.
Drummer and percussionist Chris Karan, who at 84 years of age has recorded 84 albums as a sideman, continues to perform.
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Requisites
The Modern Touch ~ Benny Golson Sextet | By Eddie Carter
The jazz world mourned the loss of an icon when Benny Golson passed away on September 21, 2024. His departure left a void that can never be filled. Benny was an excellent musician, arranger and composer. He co-founded the Jazztet with Art Farmer. His extensive discography as a leader and his collaborations with elite jazz musicians as a sideman are a testament to his unique talent. My mother was a fan of his, and her love for his music inspired this morning’s discussion. The Modern Touch (Riverside RLP 12-256), released in 1958, is his second album as a leader and first for the label. He’s joined by Kenny Dorham on trumpet, J.J. Johnson on trombone, Wynton Kelly on piano, Paul Chambers on bass, and Max Roach on drums. My copy is the 1974 Victor Musical Industries Japanese Mono reissue (Riverside SMJ-6070M).
Out of The Past by Benny Golson opens the album with the sextet’s leisurely melody, setting the mood for the saxophonist’s relaxing opening solo. Kenny steps into the spotlight next. He is followed by J.J., who expresses his thoughts in the following statement. Wynton gives a captivating interpretation; then Paul walks with a steady beat. Max adds the finishing touches with a short solo ahead of the reprise. Reunion by Gigi Gryce begins with the front line’s introduction to the ensemble’s upbeat melody. Golson gets right to work first and wails. Johnson takes over and is especially impressive in an inspired interpretation. Dorham follows with a superb solo, ahead of a brief comment by Roach that gives way to Chambers telling a fascinating story. Kelly sustains the excitement in the following reading, and the drummer has an exchange with the front line into the closing chorus that slowly dissolves into nothingness.
Venetian Breeze by Benny Golson takes us on a musical journey inspired by the saxophonist’s travels over the Venetian Causeway from Miami to Miami Beach. The tempo shifts to mid-tempo for the three horns in unison to drive the sextet’s theme. J.J. takes the first solo and moves with ease into a fine groove. Kenny takes over like a refreshing drink on a hot day to give a relaxing performance. Benny swings straight from the heart next, and then Wynton holds our attention leading to the theme’s restatement. Hymn To The Orient by Gigi Gryce is a happy-blowing vehicle. It starts the second side with the sextet’s upbeat theme. Kelly takes the opening chorus and gives an energetic reading. Golson is at his most effective on the subsequent interpretation. Johnson has an outstanding solo next; then Roach gives his drums a short workout before the song’s conclusion.
The pace slows down for a beautiful rendition of Namely You by Gene DePaul and Johnny Mercer. The group sets the mood with a lovely introduction, segueing into Benny’s gentle, deeply emotional melody. In the solo showcase, the saxophonist applies a little tenderness and romantic beauty before the sextet reappears for a soft summation. Blues on Down by Benny Golson is a blues affording everyone a solo opportunity. It brings the album to a close, beginning with the sextet’s leisurely melody. Dorham begins the blowing with an easy-going solo. Golson continues to communicate a laid-back feeling in the following reading. Johnson steps into the spotlight next with a breezy interpretation; then Kelly offers a mellow flow of ideas in the fourth statement. Chambers gets the nod and takes a soulful walk, and Roach takes us home in the finale, ahead of the theme.
>Orrin Keepnews produced The Modern Touch, and Jack Higgins was the recording engineer behind the dials. The album has an excellent sound and is beautifully engineered. The listener will feel like the musicians are playing for them in their listening room. Benny Golson was one of the significant contributors to hard bop jazz as an arranger, composer and musician. I had the pleasure of seeing him perform live and meeting him during the nineties when he was the leader and musical director of The Jazz Messengers during a concert in Cleveland, Ohio. He couldn’t have been more gracious and down to earth. We talked for quite a while after the group’s performance, and I consider it a highlight of my life. His career lasted just over seven decades; he was ninety-five when he died.
Anyone who’s already a fan of Benny Golson and in the mood for an excellent hard-bop album should consider The Modern Touch on your next record-shopping trip. It’s a terrific release that offers a glimpse into one of the best multi-talented jazz musicians, and a record I happily recommend for a spot in your library!
Postscript: The Modern Touch was reissued in 1962 as Reunion on Jazzland (AM 85/AS 985).
© 2024 by Edward Thomas Carter
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