Daily Dose Of Jazz…

Aaron J. Johnson was born in Washington, D.C. on June 10, 1958. He studied piano and drums before taking up the trombone at age 12. While in high school he frequently performed with area funk bands but also conducted and arranged for student ensembles under the direction of noted trumpeter Peter D. Ford. It was Ford who gave him his first professional gigs and introduced him to Ellington alumni, bandleader and alto saxophonist Rick Henderson.

Although pursuing  degrees in electrical engineering, Johnson remained active as a trombonist and bass trombonist throughout his college years. He had the good fortune to play with the University of Pittsburgh Jazz Ensemble under the direction of Kenny Clarke and Nathan Davis. Following college Aaron continued gigging around D.C. and the New York area, studying privately with reed multi-instrumentalist Makanda Ken McIntyre.

By the early 1990s Johnson established himself as an experienced and valuable sideman, composer and arranger. He has since recorded and performed with a multitude of major artists and ensembles to include Reggie Workman, Jimmy Heath, Charles Tolliver, Oliver Lake, Muhal Richard Abrams, Bill Lee, Frank Lacy, The Mingus Big Band, the Count Basie Orchestra, Steve Turre’s Sanctified Shells, the Lincoln Center Jazz Orchestra and the Smithsonian Jazz Masterworks Orchestra.

He has received the New Jersey State Council Fellowship in Music Composition (2000) Aaron Johnson has composed and arranged works performed or recorded by Frank Foster, Steve Turre, Frank Lacy, the Nancie Banks Orchestra, and Paradigm Shift.  He has been featured in film scores, television commercials and public radio broadcasts.

Trombonist Aaron Johnson is currently in Columbia University’s Musicology doctorate program and has released his debut album Songs Of Our Fathers and continues to perform.

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Daily Dose Of Jazz…

Gösta Theselius (was born June 9, 1922 in Stockholm, Sweden and was the younger brother of musician Hans Theselius.

He worked in the 1940s with a number of European big bands, including those of Thore Jederby, Hakan von Eichwald, Sam Samson, Lulle Elboj, and Thore Ehrling.

He played jazz into the 1950s, both as a saxophonist and a pianist. The latter instrument with Benny Bailey, Arne Domnerus, James Moody, and Charlie Parker, and composed copiously for film in the 1950s and 1960s.

Arranger, composer, film scorer, pianist and saxophonist Gösta Theselius died in Stockholm on January 24, 1976.

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Daily Dose Of Jazz…

Mel Martin was born on June 7, 1942 in Sacramento, California. Both parents were singers and early piano and clarinet lessons led him to Benny Goodman and Glen Church’s Jazz Rhythm & Blues radio program. The big bands of Benny Goodman, Duke Ellington, Woody Herman, Shelly Manne and His Men, and Cannonball Adderley, passing through town kept his interest high. Forming a small combo of clarinet, accordion and drums, his father got him his first gig, afterwards they played at Mel’s Drive-In for tips.

While still a teenager, Martin was good enough to sit in with Wes Montgomery and his brothers. Already jamming with Black musicians in the community, he’d hit the clubs to hear the Montgomery Brothers when they played, sometimes sitting in on flute.

At San Francisco State in 1962 while majoring in music he met fellow undergraduate John Handy and played with him in his Freedom Band. At the same time, Mel was learning how to play bop with the musicians who hung out at Bop City, Soulville, the Jazz Workshop, Shelton’s Blue Mirror, Jack’s on Sutter and later the Both/And.

In the late 1960s and early Seventies Martin played with progressive rock and Latin bands including The Loading Zone, Cold Blood, Azteca and Boz Scaggs, Doug Sahm’s Honky Blues Band, Wayne Talberty, Chuck Berry, Dr. John and others. Creating Listen in 1977 which became part of the early West Coast jazz fusion scene, he recorded three albums before the end of the decade.

He was the artistic director of Bebop and Beyond, a group he founded in 1983 and released four albums. Martin has received five National Endowment for the Arts grants, and was honored by the San Francisco Jewish Museum. As performer, composer, arranger and multi-instrumentalist he contributed music to television and film. He was a bandleader, contractor and sideman, he played in) big bands for McCoy Tyner and Dizzy Gillespie and played with the Freddie Hubbard Quintet and Charlie Haden’s Liberation Orchestra.

As an educator he taught the Stanford Jazz Workshop at Stanford University from 1984 to 1995, produced a series of Jazz Workshops for the Marin Jewish Community Center and regularly conducts workshops at his studio in Novato and in the Marin public schools.

Saxophonist, composer, arranger, and bandleader Mel Martin, who also played flute, clarinet and piccolo, died of a heart attack on November 17, 2017 at age 75.

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Daily Dose Of Jazz…

Leroy ‘Cash’ Maxey was born on June 6, 1904 in Kansas City, Missouri, of mixed Native American heritage. He grew up receiving a musical education from Major N. Clark Smith, father of future tubist Jimmy Smith, with whom he was a student at Kansas City’s Lincoln High School. He was also in good company there with trombonist E.B. DePriest Wheeler, trumpeter Lammar Wright, trumpeter Harry Cooper, saxophonist Eli Logan, tubist Jasper ‘Jap’ Aallen, and bassist Walter Page.

Maxey’s first musical steps were in marching bands and then he made his first appearance as one of Dave Lewis’ Jazz Boys in 1917 and for the next three years held the drum seat in the spetet. This eventually evolved into the Dave Lewis Orchestra.

Throughout his career he hwld membership in the Andy Preer And The Cotton Club Orchestra, Cab Calloway And His Cotton Club Orchestra, Cab Calloway And His Orchestra, Chu Berry And His Stompy Stevedores, and The Missourians. Being a percssionist, during the Roaring Twenties, Leroy added the xylophone to his arsenal of instruments, although he never recorded playing it.

Drummer Leroy Maxey, notable for his use of the bass drum pedal and his four-to-the-floor technique, died on July 24, 1987 in Los Angeles, California.

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Britt Woodman was born on June 4, 1920 in Los Angeles, California. A childhood friend of Charles Mingus, he first worked with Phil Moore and Les Hite. After serving in World War II he played with Boyd Raeburn before joining with Lionel Hampton in 1946.

During the 1950s he worked with Duke Ellington. As a member of Ellington’s band he can be heard on twenty-five recorings such as 1957’s Such Sweet Thunder, Ella Fitzgerald Sings the Duke Ellington Song Book, and 1958’s Black, Brown, and Beige and Ellington Indigos.

1960 saw Britt departing from Ellington to work in a pit orchestra. He went on to later work with Mingus and can be heard on the album Mingus Mingus Mingus Mingus Mingus released in 1963. In the 1970s he led his own octet and recorded with pianist Toshiko Akiyoshi. In 1989, he was part of the personnel for the album Epitaph dedicated to the previously unrecorded music of Charles Mingus.

He recorded Playing For Keeps and In L.A. as a leader, and leaves a sideman recording catalogue of ninety-three albums with Toshiko Akiyoshi – Lew Tabackin Big Band, Bill Berry, Ella Fitzgerald, Lionel Hampton, Johnny Hodges, Jimmy Smith, Gene Ammons, Ray Brown, Ruth Brown, Frank Capp, Nat Pierce, Benny Carter, Rosemary Clooney, John Coltrane, Randy Crawford, Tadd Dameron, Miles Davis, Booker Ervin, John Fahey, Dizzy Gillespie, Benny Golson, Chico Hamilton, Jimmy Hamilton, Hank Jones, Oliver Nelson, Philly Joe Jones, Jon Lucien, Galt MacDermot, Teo Macero, Junior Mance, The Manhattan Transfer, Wade Marcus, Blue Mitchell, Grover Mitchell, James Moody, Maria Muldaur, Oliver Nelson, Oscar Peterson, Zoot Sims, Billy Taylor, Clark Terry, Teri Thornton, Jimmy Woode

Trombonisit Britt Woodman died in Hawthorne, California at the age of 80, having suffered severe respiratory problems on October 13, 2000.

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