Daily Dose Of Jazz…
Eugene Joseph Wright was born May 29, 1923 in Chicago, Illinois. Mostly self-taught but took a few lessons late in his career from Paul Gregory. He studied cornet in high school. He played with the Lonnie Simmons group and led his own 16-piece band, the Dukes of Swing in the Forties. He played with Gene Ammons, Count Basie, and Arnett Cobb in the late ’40s and early ’50s, then worked with Buddy DeFranco from 1952 to 1955, touring Europe with him.
He played in the Red Norvo trio in 1955, toured Australia with them, and was featured in a film short with Charlie Barnet. His biggest opportunity came when he was hired by pianist Dave Brubeck, remaining until 1968. He led his own ensemble on a tour of Black colleges in 1969 and 1970, then played with Monty Alexander’s trio from 1971 to 1974.
During the ’70s working in television studios found him film soundtrack work as well as play in clubs. He also did private teaching and became head of the advisory board in the jazz division of the International Society of Bassists, and head of the University of Cincinnati’s jazz department.
Over the course of his lengthy career Wright has worked with Charlie Parker, Billie Holiday, Carmen McRae, Buddy DeFranco, Cal Tjader, Kai Winding, Sonny Stitt, Paul Desmond, Kenny Drew, Dottie Dodgion, Lee Shaw, Buddy Collette, Gerry Wiggins and Dorothy Donegan among others, participating on more than five dozen recordings, thirty-two of which were with Brubeck.
With the death of Brubeck on December 5, 2012, he became the last surviving member of the quartet. Cool and swing bassist Eugene Wright, who has recorded once as a leader, The Wright Groove, is presently still active on the jazz scene at age 96.
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The Quarantined Jazz Voyager
The Quarantined Jazz Voyager is placing Mode For Joe on the turntable and is another timeless classic that influenced my listening in the Eighties and has since been a part of my collection. Recorded and released in 1966 box tenor saxophonist Joe Henderson, it would be the last Blue Note album to feature Henderson as a leader in the classic era. The session was recorded by Rudy Van Gelder on January 27, 1966, and produced by Alfred Lion for Blue Note Records.
It is a concept album combining modal and hard bop modes aimed at creating an oceanic atmosphere. Many of the track titles refer to marine biology or the sea, and the musicians develop the concept through their use of space. The album was presented with the Grammy Hall of Fame Award in 1999.
A Shade of Jade, Mode for Joe, Black, Caribbean Fire Dance, Granted, and Free Wheelin’ are the six compositions that make up the hard-bop album. The personnel on the date are tenor saxophonist Joe Henderson, trumpeter Lee Morgan, trombonist Curtis Fuller, vibraphonist Bobby Hutcherson, bassist Ron Carter and drummer Joe Chambers.
So stay diligent my fellow voyagers in being healthy, continue to practice social distancing, and don’t be so anxious to rush back to the new normal. It has been said that music soothes the savage beast, so listen to great music. I share that music to give you a little insight into the choices this voyager has made over the years during this sabbatical from jet setting investigations of jazz around the globe.
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Hollywood On 52nd Street
Something’s Gotta Give was composed by Johnny Mercer for his friend Fred Astaire who starred in the 1955 film Daddy Long Legs. It is the love song duet between him and Leslie Caron. The song playfully uses the irresistible force paradox – which asks what happens when an irresistible force meets an immovable object – as a metaphor for a relationship between a vivacious woman and an older, world-weary man. The man, it is implied, will give in to temptation and kiss the woman.
The film also stars Terry Moore, Thelma Ritter, Fred Clark, and Ray Anthony who appear as himself with his orchestra. Filming took place on location at 20th Century Fox Studios in Hollywood and the Andrew Carnegie Mansion in Manhattan.
The Story: On a trip to France, millionaire Jervis Pendleton III (Astaire) sees an 18-year-old girl Julie Andre (Caron) in an orphanage. Immediately enchanted with her, but mindful of the difference in their ages and what the press may report should his involvement be discovered, he anonymously sponsors her to attend a fictional college in New England. She writes him letters, which he doesn’t read. After 3 years, he goes to visit her at a dance, not telling her that he is her benefactor. They fall in love, but the usual movie-type difficulties get in the way before they can get together at the end.
Daily Dose Of Jazz…
Earl Malcolm “Jock” Caruthers Sr. was born on May 27, 1910 in Monroe, Mississippi and studied at Fisk University in the 1920s. He began playing in Bennie Moten’s ensemble in 1928.
Working in St. Louis, Missouri early in the next decade with Dewey Jackson and Fate Marable, Jock then joined Jimmie Lunceford’s band in 1932, recording often with the band. He remained a member of the orchestra until Lunceford’s death in 1947.
Following this he played with Joe Thomas and Ed Wilcox, and he worked locally in Kansas City through the 1960s. Saxophonist Earl Caruthers, who was a mainstay on the Kansas City jazz scene, passed away on April 5, 1971 in Kansas City, Kansas.
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Three Wishes
The Baroness asked Harry Carney what his three wishes would be and he replied:
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“To be healthy.”
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“To be happy.”
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“For everyone to have eternal life and healthy minds.”
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*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter
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