Daily Dose Of Jazz…
Gordon “Specs” Powell was born June 5, 1922 in New York City. He started out musically on the piano but by the late 1930s he became exclusively a drummer. He began in the swing era working with Edgar Hayes in 1939, Benny Carter in 1941-42 and Ben Webster.
He started working as a staff musician for CBS in 1943 and by the early 60s he was lead drummer on The Ed Sullivan Show. He only led one recording session for Roulette Records in 1957 titled “Movin’ In”.
Remaining active until the 1970s, Specs Powell, jazz drummer and percussionist that worked in the bebop and hard bop idioms was honored by the Big Band and Jazz Hall of Fame in 2004.
Though he passed away three years later on September 15, 2007 at the age of 85, Specs Powell selected discography lists his orchestra and big band albums, “Movin’ In” and “Big Band Jazz” and left behind an impressive albeit a selected collection of recordings with Teddy Wilson, Jess Stacy, Red Norvo, Erroll Garner, Shirley Scott, Reuben Wilson, Bernard Purdie and Billy Butler among others.
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Russell Donald Freeman was born on May 28, 1926 in Chicago, Illinois. He was initially classically trained, but later turned toward jazz of a largely bop style. His reputation as a jazz pianist grew in the 1940s when he worked with Art Pepper, Shorty Rogers and Chet Baker. Among his best work is his extensive collaboration with Shelly Manne, especially in the 1950s and 1960s.
Freeman wrote “The Wind” with original lyrics by Jerry Gladstone and was performed as an instrumental piece during the 1950s and 1960s by the likes of Chet Baker, Leo Wright and Stan Getz as well as sung by vocalist June Christy. Russ’s piano is featured on the 1954 recording of “The Wind,” which has since become a jazz standard, for the album Chet Baker With Strings and Deep I A Dream: The Ultimate Chet Baker Collection, the latter he is featured on seven cuts. In 1991, Mariah Carey wrote her own lyrics to Freeman’s “The Wind” for her album Emotions.
Russ Freeman, bebop and cool jazz pianist, remained busy in music throughout his life, transitioning from jazz pianist to film scoring and composition before his death on June 27, 2002 in Las Vegas, Nevada.
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Daily Dose Of Jazz…
William “Red” Garland was born in Dallas, Texas on May 13, 1923. Showing an early interest in music, he began his musical studies on the clarinet and alto saxophone but switched to the piano. Garland spent copious amounts of time practicing and rapidly developed into a proficient player. A short early career as a welterweight boxer did not seem to hurt his playing hands and he fought a young Sugar Ray Robinson before making the switch to a full-time musician.
Garland’s trademark block chord technique, a style that would influence many forthcoming pianists in the jazz idiom and a commonly borrowed maneuver in jazz piano today, was unique and differed from the methods of earlier block chord pioneers such as George Shearing and Milt Buckner. His block chords were constructed of three notes in the right hand and four notes in the left hand, with the right hand one octave above the left. The right hand played the melody in octaves with a perfect 5th placed in the middle of the octave.
After WWII he performed with Roy Eldridge, Coleman Hawkins, Charlie Parker and Lester Young. He found steady work in Boston, New York and Philadelphia and by the late 40s he was touring with Eddie Vinson at the same time that John Coltrane was in Vinson’s band. His creativity and playing ability continued to improve, though he was still somewhat obscure. By the time he became a pianist for Miles Davis he was influenced by Ahmad Jamal and Charlie Parker’s pianist Walter Bishop.
Red Garland found fame in 1955 when he joined the Miles Davis Quintet along with John Coltrane, Philly Joe Jones and Paul Chambers and together they recorded several Prestige albums such as Workin’, Steamin’ Cookin’ and Relaxin’, that would later influence the free jazz movement. He would go on to play on ‘Round About Midnight and Milestones but would be eventually be fired by Miles.
In 1958 Garland formed his own trio. Among the musicians the trio recorded with Pepper Adams, Nat Adderley, Ray Barretto, Kenny Burrell, Eddie “Lockjaw” Davis, Jimmy Heath, Harold Land, Leroy Vinnegar and many others to numerous to list.
Red released some 46 albums as a leader, recording sessions for Prestige, Fantasy, Galaxy, Jazzland, Keystone, Xanadu, Alfa, Moodsville and New Jazz record labels. He sat in as a sideman for such greats as Arnett Cobb, Art Pepper, John Coltrane and Phil Woods.
Stopping his playing professionally for a number of years in the 1960s when jazz lost popularity to rock and roll, he returned to Dallas to care for his mother. Pianist Red Garland recorded sparsely through the 70s but continued recording and performing until his death of a heart attack on April 23, 1984 at the age of 61.
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Daily Dose Of Jazz…
John Aaron Lewis was born in LaGrange, Illinois on May 3, 1920 but was raised in Albuquerque, New Mexico. He learned classical music and piano from his mother starting at the age of seven, then continued his musical training at the University of New Mexico and also studied anthropology. He served in the Army stationed in France during World War II and during his three-year tour of duty he met and performed with Kenny Clarke. Together they formed a band and in the bop style, John composed and arranged.
After the war he went to New York where he found work in the 52nd Street clubs with Allen Eager, Hot Lips Page and others. This led to him joining dizzy Gillespie’s bop-style big band and further developing his skill as a composer and arranger while matriculating through the Manhattan School of Music. He soon returned to Europe on tour, remained a continued to write and study piano. By ’48 he was back in the States playing with Charlie Parker, Illinois Jacquet, Lester Young, Miles Davis and Ella Fitzgerald.
Lewis, vibraphonist Milt Jackson, drummer Kenny Clarke, and bassist Ray Brown had been the small group within the Gillespie big band that played their own short sets when the brass and reeds needed a break. This led to the foursome forming a full-time working group in 1950, known at first as the Milt Jackson Quartet. After replacing Brown with Percy Heath the name was changed to the Modern Jazz Quartet and assuming the role of musical director from 1954 to 1974, John oriented it toward a quiet, chamber style of music that found a balance between his gentle, almost mannered compositions and Jackson’s more elemental writing and playing.
Over a long and illustrious career, John directed the School of Jazz at the Music Inn, was musical director for the Monterey Jazz Festival from 1958 to 1982, taught at City College of New York and Harvard University, rejoined the re-formed MJQ, led his own sextet, founded the American Jazz Orchestra, participated in Re-Birth of the Cool, was involved in various Third Stream Projects all while continuing to teach, compose and perform.
John Lewis, conservative bop pianist, composer, arranger and musical director for the Modern Jazz Quartet passed away in New York City on March 29, 2001.
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Carlos Ward was born on May 1, 1940 in Ancon, Panama and was raised in Panama City. His first instrument was the ukulele and by age 12 he took to the clarinet. His early influences were his aunt and uncle, both pianist, the former classical. He listened to Bob Crosby’s Dixieland clarinet on the radio as were as calypso.
By 1952 his family relocated to Seattle, Washington where his friend Marion Evans introduced him to the alto saxophone. Through high school he hung out with drummer Doug Robinson and the rock group The Playboys. Ward would go on to attend the Navy School of Music and worked with Albert Mangelsdorff when he was stationed in Germany.
He listened to Monk and Coltrane but it was Ornette Coleman’s “The Shape of Jazz to Come” that made the greatest impression on him. After a prophetic meeting with John Coltrane, in 1965 he took his advice and moved to New York. This led to his first major effort was his work with John Coltrane’s unrecorded octet in the period between 1965-66. He had a long-lasting association with Don Cherry from 1973 to 1980 and beyond. His duet association with pianist Abdullah Ibrahim has also been significant to his career.
Ward was a member of Cecil Taylor’s group in the period immediately after altoist Jimmy Lyons death in 1986. He also was a member of The Ed Blackwell Project and led his own quartet in 1987.
Alto saxophonist and flautist Carlos Ward has four albums as a leader and has some 15 as a sideman while working with Carla Bley, Roswell Rudd and the Jazz Composers Orchestra, Karl Berger, Abdullah Ibrahim, Paul Motian, Sunny Murray, Sam Rivers, Rashied Ali and Don Pullen & The African-Brazilian Connection.
It is unfortunate for the industry that an injury to his playing hand has sidelined this musician for many years. However, Ward is readying himself for a return to the scene and hopefully we will hear from future generations of players who will partake of the opportunity to glean knowledge from this master.
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