Daily Dose Of Jazz…
Ted Nash was born December 28, 1960 in Los Angeles, California. His trombonist father, Dick, and reedman uncle Ted, were both well-known jazz and studio musicians and both exposed and encouraged the young man. He started playing the piano at seven, by 12 the clarinet, and a year later he picked up the alto saxophone. In high school he studied jazz improvisation with vibraphonist Charlie Shoemake and had his first gig when he was This was followed by a week with Lionel Hampton in Hawaii.
Ted went on to win an audition to play lead alto with the Quincy Jones band, and by the time he turned 17 he had toured Europe, appeared on three records, and was performing regularly with the likes of Don Ellis, Louie Bellson and Toshiko Akiyoshi, as well as leading his own quintet. The following year he moved to New York City, recorded Conception, his debut album as a leader for the Concord label and became a regular member of a variety of ensembles. He worked with the Gerry Mulligan Big Band, the National Jazz Ensemble and for ten years would be a part of the Mel Lewis Jazz Orchestra.
An accomplished composer his first composition, Tristemente, was recorded by Louie Bellson, he has been commissioned by the Davos Musik Festival in Switzerland to compose works featuring a string quartet in a jazz setting, and commissioned by the Jazz at Lincoln Center Orchestra to compose the well-received Portrait in Seven Shades. It is dedicated to the representation of seven different artists, each in their own movement and was nominated for a Grammy in 2010. The artists were Claude Monet, Salvador Dalí, Henri Matisse, Pablo Picasso, Vincent van Gogh, Marc Chagall, and Jackson Pollock.
Composer and alto saxophonist Ted Nash leads an eclectic group called Odeon, and is a member of the Jazz Composers Collective along with Ben Allison, Frank Kimbrough, and Michael Blake.
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Daily Dose Of Jazz…
Meredith Jane Monk was born November 20, 1942 in New York City and her mother was a professional singer in the popular and classical genres. Known primarily known for her avant-garde vocal innovations with a wide range of extended techniques, she first developed them during her solo performances prior to forming her own ensemble.
By the end of 1961 she was solo dancing on Off Broadway in the Actor’s Playhouse production of Scrooge, graduated from Sarah Lawrence College in 1964 and four years later founded The House, a company dedicated to an interdisciplinary approach to performance. 1978 saw her forming Meredith Monk and Vocal Ensemble to explore new and wider vocal textures and forms, which often were contrasted with minimal instrumental textures.
Monk began a long-standing relationship with the Walker Art Center of Minneapolis, Minnesota, as well as with the ECM record label that released her debut album in 1981. She has written and directed two films, Ellis Island and Book of Days, composed an opera called Atlas, has written pieces for instrumental ensembles and symphony orchestras, and composed Stringsongs for string quartet, commissioned by the Kronos Quartet. She has worked with Björk, Terry Riley, DJ Spooky, Ursula Oppens, Bruce Brubaker, John Zorn, Alarm Will Sound, Bang On A Can All-Stars and the Pacific Mozart Ensemble.
Meredith has received a MacArthur Fellowship, the Creative Capital Award, honorary Doctor of Arts degrees from Bard College, the University of the Arts in Philadelphia, the Juilliard School, the San Francisco Art Institute and the Boston Conservatory.She received the Demetrio Stratos International Award for musical experimentation in Italy and U.S. President Barack Obama presented Monk with a National Medal of Arts, the highest honor in the United States specifically given for achievement in the arts.
Avant-garde vocalist, composer, performer, director, filmmaker and choreographer continues to record extensively and create multi-disciplinary works combining music, theatre and dance.
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Daily Dose Of Jazz…
Donald Byron was born November 8, 1958 in The Bronx in New York City. His mother was a pianist and his father played bass in calypso bands. As well as listening to jazz recordings by Dizzy Gillespie, Miles Davis and others, he was exposed to other styles through trips to the ballet and symphony concerts.
He studied clarinet with Joe Allard and studied music at the New England Conservatory in Boston with George Russell. While in Boston, Byron performed and recorded with the Klezmer Conservatory Band, founded by NEC faculty member Hankus Netsky.
A gifted performer on clarinet, bass clarinet and saxophone, but on many of his albums he subordinates his own playing to the exploration of a particular style. Don is representative of a new generation of conservatory-trained jazz musicians who explore and record in a rich array of styles. His debut album in 1992, Tuskegee Experiments, bring classical avant garde and jazz improvisation together, while his albums like Ivey Divey are a more straight-ahead exploration of the traditional jazz, for which he has been nominated for a Grammy Award for his bass clarinet solo on I Want To Be Happy.
A practicing jazz historian and educator Byron recreates in spirit forgotten moments in the history of popular music with albums like Plays the Music of Mickey Katz and Bug Music. He has held professorships at Metropolitan State University of Denver, The University at Albany and MIT teaching composition, improvisation, music history, clarinet, and saxophone.
In 2001, Byron performed for the Red Hot Organization’s compilation album Red Hot + Indigo tribute to Duke Ellington, was named a 2007 USA Prudential Fellow and won a Guggenheim Fellowship. He has won the Rome Prize Fellowship and his Seven Etudes for solo piano made him a finalist for the Pulitzer Prize in Musical Composition.
Byron is a member of the Black Rock Coalition, has recorded with Allen Toussaint, Marc Ribot, Vernon Reid, Bill Frisell, Joe Henry, Hamiet Bluiett, Craig Harris, Mandy Patinkin, Ralph Peterson, Reggie Workman, David Murray, Steve Coleman, Bobby Previs, Anthony Braxton, Marilyn Crispell, Cassandra Wilson, Uri Caine and many others.
Composer and multi-instrumentalist Don Byron, who plays primarily clarinet, bass clarinet and saxophones, continues to perform, tour, record and educate, while venturing outside his jazz roots and into klezmer music, German lieder, cartoon jazz, hard rock/metal and rap.
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Daily Dose Of Jazz…
Alvin Batiste was born in New Orleans, Louisiana on November 7, 1932 and learned to play the clarinet. He was the first Black student to be invited to play with the New Orleans Philharmonic on Mozart’s Concerto. His childhood friend was fellow musician Ed Blackwell and in 1956, he spent time in Los Angeles, California working with Ornette Coleman.
Batiste released five albums as a leader with his debut, Musique D’Afrique Nouvell Orleans, hitting the streets in 1984. His final album, Marsalis Music Honors Series: Alvin Batiste, was a tribute produced by Branford Marsalis and also features Russell Malone and Herlin Riley.
Alvin worked as a sideman with Cannonball Adderley, Henry Butler, Billy Cobham, Marlon Jordan, the Clarinet Summit with John Carter, David Murray and Jimmy Hamilton, Mark Whitfield, Wynton Marsalis on the latter’s Crescent City Christmas Card. Though he could have risen to the top as a performer, he chose a life of teaching and mentoring.
As an educator he taught at his own jazz institute at Southern University in Baton Rouge. In addition, several well-known musicians studied under him such as Branford Marsalis, Randy Jackson of American Idol, Donald Harrison, Henry Butler, Charlie Singleton of Cameo, Ronald Myers and Woodie Douglas of Spirit.
He went on to host the radio show Jazz Sessions on WBRH, has held workshops and clinics around the globe as well as performing in concert in West Africa, Europe and the United States. Clarinetist, composer, arranger and educator Alvin Batiste, who performed in the avant-garde genre of jazz, passed away on May 6, 2007.
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Daily Dose Of Jazz…
Rudolph “Rudy” Van Gelder was born on November 2, 1924 in Jersey City, New Jersey. His interest in microphones and electronics can be traced to a youthful enthusiasm for amateur radio. Named for his uncle who had been the drummer in Ted Lewis’s band in the mid-1930s, he took trumpet lessons and trained as an optometrist at the Pennsylvania College of Optometry, in Philadelphia, thinking he could not earn a living as a recording engineer.
From 1943, after graduating, Van Gelder had an optometry practice in Teaneck, New Jersey, and moonlighted recording local musicians in the evenings who wanted 78-rpm recordings of their work. From 1946, Van Gelder recorded in his parents’ house in Hackensack, New Jersey, in which a control room was built adjacent to the living room, which served as the musicians’ performing area. The dry acoustics of this working space were partly responsible for Van Gelder’s inimitable recording aesthetic.
Interested in improving the quality of the playback equipment he acquired everything that could play back audio: speakers, turntables and amplifiers. One of Rudy’s friends, baritone saxophonist Gil Mellé, introduced him to Alfred Lion, a producer for Blue Note Records, in 1953. Within a few years he was in demand by many other independent labels based around New York City, such as Bob Weinstock, owner of Prestige Records. To accommodate each label – Blue Note, Prestige, Savoy, Impulse, Verve he assigned them to different days as Lion was more stringent with the sound of original music, Weinstock had essentially blowing sessions for some of the best musicians in jazz history.He also engineered and mastered for the classical label Vox Records in the Fifties.
Van Gelder worked during the day as an optometrist until the summer of 1959, when he moved his operations to a larger studio in Englewood Cliffs, New Jersey and became a full-time recording engineer. The new studio’s design was inspired by the work of Frank Lloyd Wright had high ceilings and fine acoustics with “no food or drink and do not touch microphones” policy as he himself always wore gloves when handling equipment.
By 1967 the labels were beginning to utilize other engineers more regularly but Rudy remained active engineering nearly all of Creed Taylor’s CTI Records releases, a series of proto-smooth jazz albums that were financially successful, but not always well received by critics. He was not without his detractors. Despite his prominence in the industry, like Lion who didn’t care for the overuse of reverb, and Charles Mingus refused to work with him because he change the sound of his bass. He remastered the analog Blue Note recordings into 24-bit digital recordings in its RVG Edition series and also remasters of some of the Prestige albums, and was happy to see the LP go by the wayside because it was hard for him to get the sound the way he thought it should be.
He received awards and honors being named a fellow of the Audio Engineering Society (AES), received the society’s most prestigious award, the AES Gold Medal, named a Jazz Master by the National Endowment for the Arts, received the Grammy Trustees Award, and Thelonious Monk composed and recorded a tribute to Van Gelder titled Hackensack.
Producer and recording engineer Rudy Van Gelder, who specialized in jazz and regarded as the most important recording engineer of jazz by some observers, passed away at home in Englewood Cliffs, New Jersey on August 25, 2016. Among the several thousand jazz sessions he recorded are the acknowledged classics John Coltrane’s A Love Supreme, Miles Davis’s Walkin’, Herbie Hancock’s Maiden Voyage, Sonny Rollins’s Saxophone Colossus and Horace Silver’s Song for My Father.
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