Daily Dose Of Jazz…
Sing Miller was born James Edward Miller on June 17, 1914 in New Orleans, Louisiana. He started his career as a singer with the Harmonizing Browns Quartet. His main instrument was banjo until late in the 1920s, when he moved to piano. He worked as a freelance musician with the Percy Humphrey band during the 1930s.
After serving in the military during World War II, he was in a band led by drummer Earl Foster from 1945 to 1961. He became a member of the Preservation Hall Jazz Band in New Orleans in the 1960s. He played in that band with Polo Barnes, Kid Sheik, Jim Robinson, and Kid Thomas Valentine.
His rare performances as a solo act included 1979 and 1981 when he went on tour in Europe. He recorded one album for Dixie Records in 1972 and one for Smoky Mary in 1978.
Pianist Sing Miller, who was a member of the Preservation Hall Jazz Band, passed away on May 18, 1990.
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Daily Dose Of Jazz…
Marilyn Montez Moore was born in Chicago, Illinois on June 16, 1930. Her vocal style was similar to that of Billie Holiday’s, at twenty-six she recorded her only solo album as a leader in 1957 on the Bethlehem label titled Moody Marilyn Moore. With Jackie Paris she recorde another album titled Oh, Captain.
She was the first wife of saxophonist Al Cohn, who played on Moody Marilyn Moore, and the mother of guitarist Joe Coh. After she and Cohn separated and later divorced, Moore was left to raise her family and never recorded again.
Singer Marilyn Moore, whose short career was limited to activity during the 1950s, passed away on March 19, 1992 at the age of 61 in Ft. Lauderdale, Florida.
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Daily Dose Of Jazz
Sid Phillips was born Isador Simon Phillips on June 14, 1907 in London, England into a Jewish family. He learned violin and piano as a child, and played reeds in his teens as a member of his brother’s European band. He got his start in the music business as a publisher and director for Edison Bell.
In 1930, Phillips began writing arrangements for Bert Ambrose, and joined Ambrose’s ensemble in 1933, remaining there until 1937. Towards the end of the decade he was playing in the United States on radio and freelancing in clubs.
During World War II, Sid served in the Royal Air Force, then put together his own quartet in 1946 and wrote several pieces for the BBC Symphony Orchestra. He led a Dixieland jazz band of his own formation from 1949, and his sidemen variously included George Shearing, Colin Bailey, Tommy Whittle, and Kenny Ball.
Phillips’s first recordings under his own name were made in 1928. In 1937 through 1938, a number of his recordings were issued in the United States, through a contract he signed with Irving Mills and issued on Mills’ Variety label, as well as Vocalion, Brunswick and Columbia labels, though most of his recordings were made in England.
Clarinetist, arranger and bandleader Sid Phillips, who continued to record as a leader well into the 1970s, passed away on May 23, 1973 at aged 65 in Chertsey, Surrey, England.
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Requisites
‘Four’ & More ~ Miles Davis | By Eddie Carter
I begin this morning’s column with a fantastic live album by Miles Davis. ‘Four’ & More (Columbia CL 2453/CS 9253) hit the stores in 1966, following My Funny Valentine, a year earlier. Both records document a benefit performance at Philharmonic Hall for black voter registration in Louisiana and Mississippi. The sold-out concert was sponsored by the NAACP Defense Fund, Congress for Racial Equality, and Student Nonviolent Coordinating Committee. It emphasized Davis’s solidarity with these organizations and the people fighting racism in the south. Miles decided the quintet wouldn’t accept payment for their appearance. This angered his bandmates, but they responded with ferocious, kick-ass solos! George Coleman on tenor sax, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums complete the quintet. My copy used in this report is the 2013 Stereo Audiophile reissue (Mobile Fidelity Sound Lab MFSL 1-376)!
Side One begins with a speedy rendition of Miles’s signature song, So What. Ron and the rhythm section start quickly on the opening chorus segueing into the ensemble’s brisk theme. Miles launches a fierce attack on the first solo, then George moves with equal swiftness on the next statement. Herbie produces plenty of heat on the third reading while Ron and Tony provide the support structure into the finale. There’s only a second to breathe because the group jumps right into Walkin’ by Richard Carpenter. A brisk introduction by Miles leads to a blistering collective melody. Davis takes the reins first for a wild ride at a dangerously high speed. Williams gives a fine example of his brushwork next, then Coleman romps through the third solo with exuberant vitality, and Hancock swings vigorously on the final performance.
Joshua by Victor Feldman begins with the quintet’s heated theme. Miles takes off first on a furious flight. George fuels the next interpretation with a high-octane performance, then Herbie infuses the closer with youthful energy and enthusiasm anchored by Ron and Tony’s searing supplement into the song’s climax. Go-Go, the quintet’s theme follows as Master of Ceremonies, Mort Fega addresses the crowd and reintroduces the band accompanied by the audience’s ovation.
Four, a Miles Davis original begins Side Two with an uptempo melody. The leader kicks off the solos with rapid acceleration. Coleman matches the adrenaline rush on the second solo with brisk momentum. Hancock charges into the third reading swinging up a storm and Williams makes a brief comment preceding the ensemble’s exit.
Seven Steps To Heaven by Miles Davis and Victor Feldman starts with a brief introduction by the trio ahead of the quintet’s zesty theme. Miles blazes into the opening statement with unbridled energy. Tony offers a considerable comment next, then George turns up the temperature on a torrid performance that slows down as he concludes. Herbie crafts an upbeat closing statement leading to the group’s out-chorus. The finale is There Is No Greater Love by Isham Jones and Marty Symes. The quintet starts at a medium beat with Miles stating the melody using a mute. He continues with a casual first chorus with only Carter anchoring a few verses. Coleman gives a marvelous interpretation also featuring the bassist prominently. Hancock takes the final spot to give a charmingly cheerful statement before Miles and the trio ends the song gently.
Miles states the melody of Go-Go on the mute, then goes to the open horn as the quintet ends the night behind Mr. Fega’s closing remarks acknowledging the members a final time. ‘Four’ & More was originally produced by Teo Macero, and Kreig Wunderlich of Mobile Fidelity Sound Lab utilized the Gain 2 System for the reissue’s half-speed remastering from the original Stereo tapes. The record was pressed on 180-gram virgin vinyl. The sound quality is stellar, the vinyl is flat and absolutely silent until the music starts. The stereo separation is also mesmerizing, Miles is on both channels, Herbie’s on the left, George, Ron, and Tony are on the right. If you’re in the mood for some live jazz, I submit for your consideration, ‘Four’ & More by Miles Davis. It’s nearly an hour of swinging music that rewards its owner every time it’s on the turntable!
~ My Funny Valentine (Columbia CL 2306/CS 9106) – Source: Discogs.com ~ There Is No Greater Love – Source: JazzStandards.com ~ So What, Four, Seven Steps To Heaven – Source: Wikipedia.org © 2021 by Edward Thomas Carter
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Daily Dose Of Jazz…
Born Garland Lorenzo Wilson on June 13, 1909 in Martinsburg, West Virginia. He attended Howard University in Washington, D.C. and in the 1930s worked in New York City nightclubs.
In 1932 the pianist joined Nina Mae McKinney on a European tour, worked extensively in England with local groups, and recorded with trumpeter Nat Gonella.
In the liner notes of the CD box l’intégrale Django Reinhardt ~ Vol 2 he is quoted as being accompanist of French singer Jean Sablon together with guitarist Django Reinhardt on two sides recorded on November 1, 1935 in Paris, France.
Returning to the United States in 1939, he remained there until 1951, when he moved to Paris, France. Pianist Garland Wilson remained in Paris until he passed away on May 31, 1954.
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