Daily Dose Of Jazz…
Nat Janoff was born on July 13, 1970 in New Jersey and began his musical education on the piano before switching to bass. After hearing Eddie Van Halen he settled on the guitar. Growing up in the 80’s his musical interests were all things rock and metal and soon earned a reputation for being one of the best shred guitarist in the area. However, seeking a platform to improvise longer than a standard rock riff led him to jazz and hearing the Mahavishnu Orchestra’s Birds of Fire for the first time.
He pursued jazz earning his Bachelor of Music degree in Jazz Performance from William Paterson University in 1996 and set to work forging his own musical path.
Recording his debut album, Looking Through, he enlisted the talents of electric bassist, Matthew Garrison and drummer Gene Lake, that showcased him as a player and a composer. Two more albums as a leader followed, a live acoustic date and a studio session, then contributing to the ESC tribute album Mahavishnu Redefined II.
In addition to playing with his own groups, Janoff has performed with Joe, David “Pic” Conley, Norman Simmons and drummer Victor Jones’ group Culturversy, Debelah Morgan, and Roland Clark.
Guitarist, composer and educator Nat Janoff teaches guitar privately, has been a guest instructor at the annual William Paterson University summer jazz camp, and continues to perform and record.
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Daily Dose Of Jazz…
Mark Soskin was born on July 12, 1953 in Brooklyn, New York. Attending Colorado State University he pursued classical piano studies but his interests in jazz music grew and by 1973 he enrolled in Berklee College of Music in Boston, Massachiusetts. He studied composition and arranging. While there he began working professionally until moving to San Francisco, Califonia and eventually going on to work with some of the west coast’s finest players.
Shortly after arriving in San Francisco, he was introduced to Pete Escovedo and along with his daughter Sheila. E they toured and recorded as Azteca, a group in which Soskin’s keyboard, writing, and arranging talents were showcased. Eventually, the group, including trumpeter Tom Harrell, went on to record twice for Fantasy Records. Enlisted in Cobham’s band for two years produced two recordings for Columbia. Between tours for Cobham, Soskin did a tour and live recording for the CBS All Stars with Tom Scott, Alphonso Johnson and Steve Khan. At this time Soskin was an active session player at Fantasy.
Mark signed his first recording contract with Prestige titled Rhythm Vision with Benny Maupin and Harvey Mason among others. Introduced by Orrin Keepnews to Sonny Rollins, the two started a fruitful collaboration that lasted 14 years. By 1981 he was living in New York City as an active sideman and leader.
He has been written up in numerous music publications, including Ira Gitler and Leonard Feather’s Biographical Encyclopedia of Jazz and The Jazz Book by Joachim E. Berendt. Mark Soskin is featured in the film documenting latin jazz artists entitled Calle 54. Pianist Mark Soskin has recorded 10 albums as a leader, three as co-leader and continues to maintain a busy tour schedule as well as giving master classes, workshops, teaches privately and is on the faculty of The Manhattan School Of Music.
Three Wishes
The Baroness was having a conversation with Archie Shepp when she brought up the topic of three wishes and asked him what his would be. He responded by telling her:
- “To be free of poverty.”
- “I don’t know the next.”
- “To be free.”
*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter
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Daily Dose Of Jazz…
Stuart Wayne Goldberg was born on July 10, 1954 in Malden, Massachusetts but was raised in Seattle, Washington. He attended the University of Utah, taking his bachelor’s in music in 1974, then relocated to Los Angeles, California.
The following year Goldberg played with the Mahavishnu Orchestra and subsequently worked through the 1970s with Al Di Meola, Freddie Hubbard, Alphonse Mouzon, Michal Urbaniak, and Miroslav Vitous.
Booking a European tour in 1978 as a solo keyboardist, Stu released several albums under his own name and with Toto Blanke’s Electric Circus. Returning to Los Angeles in 1985 he worked extensively in film soundtracks with Lalo Schifrin and Ira Newborn. He also worked as a studio musician.
Keyboardist Stu Goldberg, who played with Ray Brown at the Monterey Jazz Festival in 1971, continues to perform and record.
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Requisites
Homecoming – Live at The Village Vanguard ~ Dexter Gordon | By Eddie Carter
I’ve been a Dexter Gordon fan since childhood and saw him perform in an all-star jam session at The 1972 Newport Jazz Festival. In 1976, he returned to the US for an engagement at The Village Vanguard. Dexter received a warm welcome upon his arrival and played to sold-out crowds each night. This morning’s album from the library, Homecoming (Columbia PG 34650), finds Dexter effectively demonstrating he was still a master on the tenor sax. His bandmates on this live date are Woody Shaw on flugelhorn (tracks: A2, D1) and trumpet (A1, B1, B2, C1, C2, D2), Ronnie Matthews on acoustic piano, Stafford James on acoustic bass, and Louis Hayes on drums. My copy is the 1977 US Stereo release.
The album opens with Gingerbread Boy by Jimmy Heath. The front line leads the ensemble in a lively melody. Dexter is off to an adventurous start on the opening solo. Woody and Louis share the spotlight in the following reading; first, in a vigorous exchange; next, Woody takes the reins. Ronnie follows with an exciting closing statement ahead of the reprise. Gordon introduces Woody Shaw’s Little Red Fantasy, a dedication to his wife and manager, Maxine Gregg opens with the ensemble’s attractive melody. Gordon begins the opening solo affectionately, then gradually increases the intensity as it unfolds. Shaw comes behind him with a beautiful performance, then Matthews moves into the third reading elegantly. James walks the bass confidently until the ensemble’s delicate ending.
Fenja, Dexter Gordon’s touching tribute to his wife, begins Side Two with the quintet’s medium theme. Dexter takes the first solo at an easy swing, then builds to a happy groove. Woody adds a bit of home cooking in the following interpretation. Ronnie emerges next for a relaxing reading one can almost dance to, and Stafford eases into a delightfully personal statement preceding the ensemble’s closing chorus. In Case You Haven’t Heard by Woody Shaw picks up the pace for the rhythm section’s introduction and quintet’s melody. Gordon is up first with a lively interpretation; then Shaw engages in a vigorous conversation with Hayes. Matthews has the last spot and dispenses vibrant notes into the melody reprise and ending.
Side Three starts with It’s You Or No One by Sammy Cahn and Jule Styne. The saxophonist opens with an energetic introduction, succeeded by the quintet’s spirited melody. Dexter swings hard on the first solo. Woody comes in next for an enthusiastic romp, then Ronnie responds with a passionate improvisation. Louis provides a memorable exclamation point preceding a vibrant closing chorus. Let’s Get Down by Ronnie Matthews begins with his introduction segueing into the group’s peppy theme. Gordon kicks off the solos with an inspired improvisation; Shaw has much to say in the following statement. Matthews settles in for some straight-ahead swinging next, then James’ bass walks smoothly. Both horns share the finale with Louis before the quintet takes the song out.
‘Round Midnight is Thelonious Monk’s best-known and most recorded composition. It opens Side Four with Ronnie’s gentle introduction; then Dexter comes in for the tender theme, accented by Woody’s comments. Dexter continues with a delicately pretty opening solo. Woody delights with velvet smoothness in the following reading. Ronnie shows expressive artistry in the next statement. Dexter provides a final comment ahead of the ensemble’s summation. The rhythm section opens Dexter’s Backstairs with a brisk introduction to the quintet’s quick melody. Gordon gives the opening solo an energetic workout; then Shaw delivers a passionate intensity in the second statement. Matthews raises the temperature in a quick finale leading to the quintet’s climax, and Dex thanking the audience.
Michael Cuscuna produced Homecoming, and Malcolm Addey recorded it. The album has a splendid soundstage that transports the listener to the Village Vanguard’s intimacy as the musicians perform. If you’re a Dexter Gordon fan and are in the mood for an excellent live quintet date, I invite you to consider Homecoming for a spot in your library. It’s a jazz time capsule with many magical moments that not only rewards those in attendance but allows the listener to enjoy these outstanding performances each time it’s on the turntable!
~ Round Midnight – Source: JazzStandards.com © 2023 by Edward Thomas Carter
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