Daily Dose Of Jazz…
Bobby Martin was born on May 15, 1903. He played trumpet as a child with June Clark and Sonny Greer. By 1925 at the age of 22 he was in New York City playing and recording with Sam Wooding, as well as touring Europe through 1931.
From 1932 to 1936 he played abroad with Willie Lewis, and formed his own band after returning home in 1937. His quartet held an extended gig at the Palace in Greenwich VillageYork with pianist Richard Edwards, drummer Ural Dean, and guitarist Samuel Steede. This era of Martin’s life, as is much of his life, is poorly documented, however, because during a tour of The Netherlands at the Mephisto Club in Rotterdam, his entire book of arrangements was burned in a club fire.
Bobby continued to tour Europe into the early Forties, then held residencies in New York City and New Jersey. He opened his own club briefly in the decade as well.
He married vocalist Thelma Minor, but then left the music industry in 1944. Not much is known of him after this time, however, he never recorded as a leader and transitioned in March 1983.
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Requisites
Tubby The Tenor ~ The Tubby Hayes Sextet | By Eddie Carter
Submitted for your approval this morning is a 1962 release by British tenor saxophonist Tubby Hayes. The year before, he traveled to the United States for the first time to appear at the Half Note. This week’s album is an excellent studio session recorded at Columbia Studio A during his engagement and initially released in the U.K. as Tubbs in N.Y. Its U.S. counterpart came out the same year and is titled Tubby The Tenor (Epic LA 16023/BA 17023) by The Tubby Hayes Sextet. Hayes is in good company on this date; Clark Terry on trumpet (tracks: A2, B1), Eddie Costa on vibes (tracks: A2, A3, B3), Horace Parlan on piano, George Duvivier on bass, and Dave Bailey on drums. My copy is the 1995 Classic Records U.S. Stereo audiophile reissue sharing the original catalog number.
Side One gets underway with You For Me by Bob Haymes, a quartet feature for Tubby and the rhythm section. The saxophonist sets the scene with an unaccompanied introduction segueing into the foursome’s lively opening chorus. Tubby takes the song’s only solo and gives a swinging interpretation complemented by the trio’s spirited support leading to the closing chorus. Clark Terry’s easy-going blues, A Pint of Bitter, begins with the sextet stating the carefree melody collectively. The trumpeter is up first with a relaxing lead interpretation; then Hayes is equally laid-back on the following statement. Costa comes in next and delivers a leisurely-paced reading; then, Parlan builds a compelling finale ahead of the ending theme.
Airegin by Sonny Rollins opens with the quintet’s brisk theme. Tubby launches the solos with a spirited presentation, then gives way to Eddie, who swings freely in an exciting reading. Horace has the third spot and gives an energetic performance. George walks briskly behind him, ahead of the tenor sax’s and vibraphonist’s concise conversation preceding the reprise and climax. Side Two takes off with Opus Ocean by Clark Terry, a fast-paced thrill ride that moves quickly from the quintet’s collective theme. Hayes is off to the races wailing at top speed in the opening solo, followed by an exhilarating statement from Terry. Parlan turns the heat up on the third reading, and the front line delivers a spirited exchange before the ensemble takes the song out.
The quartet returns to put some fresh clothes on Soon, an old tune from the songbook of George and Ira Gershwin. Horace briefly introduces himself; then Tubby steps up for an excellent melody that flows seamlessly into his impressive lead statement. Horace is next and completes the solos with a festive interpretation until Tubby reappears for the song’s finish. Doxy by Sonny Rollins is misspelled here as Doxie and begins with a relaxing melody led by Hayes and Costa. Hayes is up first and gets into a comfortable groove on the opening statement. Costa comes in next for a pleasant performance, then Parlan takes a nice turn in the third reading. Duvivier wraps it up with a short walk leading to the ensemble’s finale.
Mike Berniker and Nat Shapiro produced Tubby The Tenor, and it’s unknown who the recording engineer is. However, this Classic Records reissue is an excellent recording with a superb soundstage. Bernie Grundman remastered this album, and it is an outstanding pressing using 180-gram audiophile vinyl that’s silent until the music starts. The front and rear covers also have a high gloss. Though known as a tenor saxophonist, Tubby Hayes played the flute and vibraphone equally proficiently. Until this album, I only knew of his work as a member of The Jazz Couriers with Ronnie Scott, but I am now on the hunt for more of his records. If you’re a fan of the tenor sax, I invite you to check out Tubby The Tenor by The Tubby Hayes Sextet on your next vinyl shopping trip. It’s an ideal introduction to this remarkable musician and an enjoyable album you can listen to any time of the day or evening!
~ Tubbs in N.Y. (Fontana TFL 5183/STFL 595) – Source: Discogs.com ~ Aireign – Source: JazzStandards.com ~ Columbia Studio A – Source: Tubby Hayes: How The Little Giant Conquered The Big Apple by Simon Spillett. Jazzwise Magazine, October 18, 2021. www.jazzwise.com ~ Doxy, Soon – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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Daily Dose Of Jazz…
Calvin Edwards was born in Kings Mountain, North Carolina on May 14, 1957. At 17, he joined the famous Gospel group Five Blind Boys of Alabama for many years. Then, he moved to Los Angeles, California to play in his brother’s band, The Jett Edwards Band. During this time, he and his brother recorded two albums together, including one song which was recorded by George Benson.
He has released four CD’s as a band leader, and performed with and/or booked various artist through Chasity Music including Tom Brown, Tuck & Patti, Michael White, Kei Akagi, Lonnie Plaxico, Benny Maupin, Hidefumi Toke, Javon Jackson, Michael O’Neil, Ron Brown, Ali Jackson, Michael Paluo, Michael Wolf, Roy Ayers, Everette Harp, Dan Siegel, and Phil Perry.
A well-known international artist, Calvin has performed for President Clinton at the G8 Summit, as well as in Asia and across the United States. He continues to record and play both jazz and blues as he explores the genres.
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Daily Dose Of Jazz…
John Von Ohlen was born in Indianapolis, Indiana on May 13, 1941. He began playing trombone in middle school, and continued playing through high school. Graduating from North Central High School in 1960, he briefly studied at North Texas State, but returned to Indianapolis shortly after.
From 1967 to 1968, Von Ohlen toured with Billy Maxted’s Manhattan Jazz Band. He also worked for Woody Herman in 1967 and 1969, then with Stan Kenton from 1970 to 1972.
John went on to lead the Blue Wisp Big Band in Cincinnati from 1980 to 2018 and his own groups under his name ranging from quartets to big bands. During this period of the 1980s and 1990s, he was a member of a big band led by pianist Steve Allee.
Drummer John Von Ohlen transitioned in Cincinnati, Ohio on October 3, 2018 at the age of 77.
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Daily Dose Of Jazz…
On May 12, 1964 Audrey Silver was born and raised in New York City, New York. She graduated from Brown University, where she founded The Higher Keys, the school’s first a capella singing group. After stints working in marketing for CBS Masterworks (now Sony Classical) and Chesky Records, she returned to school and earned an MBA from Columbia University Business School.
Beginning her singing career in earnest in 1998, she teamed with Jon Raney, son of pianist Jimmy Raney and produced her first demo with the help of Ronnie Zito and Jay Leonhart. In the meantime, she honed her craft through private study with singers Sheila Jordan and Mark Murphy. Building a respected career performing around the city’s jazz clubs and music venues, she also performed at national festivals and venues around the country.
She released her debut album Here In My Arms in 2004 and has since released three more, the last being before the pandemic. Silver was a 2016 semi-finalist in the International Songwriting Competition. As a songwriter, it was her four year old son that opened that door for her and the stories began to pour out.
Vocalist Audrey Silver credits Bill Evans, Annie Lennox and Arnold Schoenberg as influences as she continues to grow her catalogue of originals and performing around the world.
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