Daily Dose Of Jazz…
Victor Louis Goines, born August 6, 1961 in New Orleans, Louisiana. He graduated from St. Augustine High School in New Orleans and has been a member of Jazz at Lincoln Center Orchestra and the Wynton Marsalis Septet since 1993.
Goines has collaborated with Terence Blanchard, Dee Dee Bridgewater, Ruth Brown, Ray Charles, Bo Diddley, Bob Dylan, Dizzy Gillespie, Freddie Green, Lionel Hampton, Freddie Hubbard, B.B. King, Lenny Kravitz, Branford Marsalis, Ellis Marsalis, James Moody, Dianne Reeves, Marcus Roberts, Diana Ross, Eric Clapton, Wycliffe Gordon, and Stevie Wonder.
He has performed on more than 20 recordings, including the soundtracks for three Ken Burns documentaries and the 1990s films Undercover Blues, Night Falls on Manhattan, and Rosewood. He has composed more than 200 original works, including Jazz at Lincoln Center and ASCAP commissions.
He has also served on the faculties of Florida A&M University, University of New Orleans, Loyola University of New Orleans, and Xavier University of Louisiana. Goines is an artist for Buffet Crampon and Vandoren.
Saxophonist and clarinetist Victor Goines, who was director of the jazz program at Juilliard from 2000 to 2007, has served as president and chief executive officer of Jazz St. Louis since September 2022.
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Daily Dose Of Jazz…
Jemeel Moondoc was born in Chicago, Illinois on August 5, 1946 and studied clarinet and piano before settling on saxophone at sixteen. He became interested in jazz largely due to Cecil Taylor and at the University of Wisconsin–Madison, and was a student of Taylor’s.
After his time at the university he moved to New York City, where he founded “Ensemble Muntu” with William Parker, Roy Campbell, Jr., and Rashid Bak. The group had its own Muntu record label, but eventually faced financial difficulties.
In 1984, he formed the Jus Grew Orchestra, which secured a residency at the Neither/Nor club on the Lower East Side. He worked with Parker again in 1998’s album, New World Pygmies.
Alto saxophonist, clarinetist and pianist Jemeel Moondoc, a proponent of a highly improvisational style, died on August 29, 2021, at the age of 75 from the effects of sickle cell anemia.
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Daily Dose Of Jazz…
Lew Davis was born on August 4, 1903 in London, England. His early childhood and education is unknown or when he picked up the trombone. He began playing with Jack Hylton And His Orchestra as the only trombonist on recordings from 1923 to 1928. He then joined Leo Vauchant before moving on to become a part of Paul Fenhoulet’s band.
The Thirties saw Lew with Ray Noble, Ambrose & His Orchestra, Lew Stone & The Monseigneur Band, as well as his own Lew Davis Trombone Trio. He went on to work with Benny Carter And His Orchestra, Jack Harris & His Orchestra, Ronnie Munro & His Orchestra, Savoy Hotel Orpheans, and Louis de Vries And His Rhythm Boys.
Trombonist Lew Davis dided in London on November 24, 1986.
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Requisites
One of the best things I love about jazz is the discovery of old and new songs, classic and new artists, and bands with which I am not familiar. On one occasion, I visited Evolution Home Theater in Buckhead for the Atlanta Audio Club meeting and had the pleasure to meet and hear jazz vocalist Lyn Stanley. She treated the members to selections from her sixth LP, London Calling: A Toast To Julie London (A.T. Music, LLC – ATM 3107), and discussed how the album was recorded. This 2019 two-record release pays homage to the talented actress, jazz, and pop vocalist with other surprises. My copy used in this report is the limited edition, numbered 33 1/3 Stereo audiophile release.
She’s heard here with nine exceptional musicians; Mike Garson (tracks: A1, A2, A4, B1, B4 to C3, D2 to D4), Christian Jacob (tracks: B3, D1) on piano, John Chiodini (tracks: A1, A2, A4, D3) on guitar, Chuck Berghofer (tracks: A3 to B3, C3 to D1, D3), Mike Valerio (tracks: A1, A2, B1, B5 to C4, D2) on double bass, Paul Kreibich (tracks: A1, A2, B1, B4, C1 to C3, D2) on drums, Aaron Serfaty (A1, A2, A4, B1, B3 to D2) on drums, percussion, Luis Conte (track: C1), Brad Dutz (tracks: A1, A2, B1, B3, B4, C1 to C3, D1, D2) on percussion. What is unique about the album is that each song was recorded only once without any formal arrangements whatsoever, only chord charts with the musical roadmap created by Lyn and the band during the working demo sessions.
Ms. Stanley opens the album with an upbeat rendition of the 1936 song, Goody Goody by Matty Malneck and Johnny Mercer. The lyrics depict a woman getting her revenge on the man who hurt and left her and has now had the tables turned on him. It first appeared on Julie Is Her Name, Volume 2 (1958). Lyn beautifully expresses the song’s lyrics with a lively rendition of the opening and closing melody. Chiodini, Garson, and Valerio also add three spirited concise comments that swing freely. Call Me Irresponsible by Jimmy Van Heusen and Sammy Cahn is from Julie’s LP, The End of The World (1963). This tune shows Lyn is an inspired stylist as she cruises smoothly through the melody with artful simplicity. Chiodini and percussionist Brad Dutz appear at the introduction and finale with Garson, Valerio, and Serfaty providing a solid foundation throughout her presentation.
Bye Bye Blackbird was composed in 1926 by Ray Henderson and Mort Dixon. This song appeared on Julie (1958) and is a slow-tempo duet by Lyn and Chuck. Both vocalist and bassist complement each other in one of the most beautiful renditions I have ever heard. Lyn’s voice is soft and sweet matching Chuck’s bass walking tenderly on a short statement with his sensitive support to her vocals into a tranquil finale. I Heard It Through The Grapevine by Barrett Strong and Norman Whitfield is a Soul classic. It was a hit for Gladys Knight & The Pips on Everybody Needs Love (1967), Smokey Robinson & The Miracles on Special Occasion, and Marvin Gaye on In The Groove (1968). Lyn’s sultry interpretation about hearing a lover’s plan to leave their significant other from someone else is an excellent illustration of how she transforms this straightforward melody into a chillingly unique performance. Chiodini, Garson, Berghofer, and Serfaty provide the slowly rocking beat for her to tell the story.
Side Two starts with a 1928 song from the pen of Irving Berlin, How About Me? Ms. London introduced it on Around Midnight (1960) and the lyrics describe a display of regret and sadness for the loss of someone loved. The tempo moves to a medium beat for Lyn who kicks off the solo sequence with flawless enunciation, followed by Garson and Chiodini who split a perfectly constructed chorus. Cry Me A River by Arthur Hamilton was Julie’s first and biggest hit, making its debut on Julie Is Her Name (1955). It remained her signature song throughout her singing career. Like Ms. London’s version, a trio release featuring Barney Kessel on guitar and Ray Leatherwood on bass, Lyn is accompanied by John and Chuck who are the lush foundation behind her deeply affecting vocals. Chiodini also gives a passionately poignant reading before the trio’s tender climax.
As Time Goes By is songwriter Herman Hupfield’s most well-known composition. It premiered in the Broadway musical, Everybody’s Welcome (1931), but is best known as the song featured in the romantic drama, Casablanca (1942). Julie’s rendition first appeared on Our Fair Lady (1965). The ensemble’s version possesses a Bossa Nova flavor by the musicians and Lyn infuses the lyrics with a cheerfully happy tone, resulting in a delightful vocal interpretation. Christian and John match Ms. Stanley with two mellow statements that move along sprightly off the easy-going drive of Chuck’s bass, Aaron’s drums, and Brad’s percussion.
The first of two vocals of the timeless classic Summertime (1934) by George and Ira Gershwin and DuBose Heyward concludes both records. The song first appeared in the opera, Porgy & Bess (1935). Heyward wrote the lyrics based on his 1925 novel Porgy and it is sung as a mother’s lullaby to her baby. To date, the standard has over twenty-five thousand recordings. It is beloved by jazz musicians and vocalists worldwide and considered one of the greatest songs ever written. Julie sang it on Feelin’ Good (1965). Lyn and the quintet preserve the spirit of the song as a seductive slow tempo southern styled blues and her delivery of the lyrics are alluringly tender and expressive. John and Chuck take the spotlight, leading the quintet through one enchanting chorus preceding the bewitchingly beautiful ending.
Side Three starts with the Latin pop song It’s Impossible by Mexican songwriter Armando Manzanero who recorded it under the original title Somos Novios for his album, Somos Novios…Siempre Novios (1968). It was composed as an instrumental ballad. American composer and songwriter Sid Wayne added English lyrics two years later and it became a huge hit for Perry Como as the title tune of his album (1970). Lyn presents the lyrics with tender beauty and warmth while serenaded by Chiodini who plays a Spanish guitar and has a gentle solo as well. Berghofer and percussionists Conte and Serfaty provide the lush background behind Ms. Stanley’s delicate delivery.
Richard Rodgers and Lorenz Hart’s popular song Blue Moon (1934) was composed as The Bad In Every Man for the crime film, Manhattan Melodrama with different lyrics. After the film’s premiere, Hart eventually wrote more romantic lyrics for the song, and it has been a successful standard since two 1949 hit records by Billy Eckstine and Mel Tormé. Blue Moon opens Julie’s album, Julie Is Her Name, Volume 2 and in the version presented here, Lyn sings the lyrics sensuously at a slower tempo than Ms. London, blending superbly with John who provides a marvelous interpretation enhancing one of the prettiest tunes on the album.
George and Ira Gershwin contribute another jazz classic with Lyn’s version of I’ve Got A Crush On You. This song appeared in two different Broadway musicals, Treasure Girl (1928) and Strike Up The Band (1930). The vocal became a standard after renditions by Ella Fitzgerald, Frank Sinatra, and Sarah Vaughan. Ms. London featured it on Nice Girls Don’t Stay For Breakfast (1967). Lyn captures the melody perfectly with a warm, sincere interpretation and the song is perfect for couples to slow dance to. Chiodini answers her vocals with an impressive chorus backed by Garson, Berghofer, Kreitbich, and Serfaty preceding an intimately romantic conclusion.
Light My Fire was the first huge hit for the American Rock band, The Doors, first appearing on their debut release (1967). The song was a collaborative effort by Jim Morrison, Ray Manzarek, Robby Kreiger, and John Densmore. It appeared on Julie’s final studio album of Pop and Rock songs, Yummy, Yummy, Yummy (1969)! Lyn’s sultry voice caresses each word of the lyric with sensuous pleasure to John’s Flamenco flavored guitar playing, Aaron’s incredibly perfect percussion work, and Mike’s passionately powerful piano cascades that speak voluptuously.
Sway by Norman Gimbel and Pablo Beltran Ruiz appeared on Julie London Sings Latin In a Satin Mood (1963). The rhythm section’s gentle beat serves as a backdrop through the seductively, poignant introduction. Lyn’s tender, expressive opening, and closing vocals are immensely touching as Chiodini’s thoughtfully constructed reading of velvety-soft phrases. Lyn treats us to two beautiful melodies next; Go Slow by Debbie Kronck and Russell Garcia which appeared on Julie’s album, Make Love To Me (1957) and Nice Girls Don’t Stay For Breakfast by Bobby Troup and Jerome Leshay!
On the first tune, her bewitchingly lusty lyrics are the spark for a romantic evening ahead with the assistance of Chiodini, Serfaty, and Dutz who provide the gentle rhythm as she sings. Mike Valerio’s bass sets the mood perfectly for Lyn’s swinging interpretation of the second song’s lyrics illustrating her skillful phrasing into a subtle climax. You, The Night and The Music by Arthur Schwartz and Howard Dietz, premiered in the Broadway musical comedy, Revenge With Music (1934). Julie sang this timeless standard on her album, Around Midnight (1960). Lyn paints a compelling portrait of the lyrics as a Tango, making it her own with a unique delivery to a superbly done danceable beat. Garson matches the vocalist with an exquisite contribution sustained by the rhythm section’s rich accompaniment.
Ev’ry Time We Say Goodbye (1944) is one of Cole Porter’s most beautiful compositions from The Great American Songbook. It first appeared in Billy Rose’s musical revue Seven Lively Acts. This is a trio number with Lyn opening with an enchantingly vocal presentation possessing a deep romantic affection for the lyrics. Her bandmates Chiodini has a voluptuously gorgeous guitar solo and Berghofer matches the delicate softness of her tone with a tender bass beat, resulting in a stunningly perfect rendition. The finale is the second version of Summertime, this time a duet with Lyn and Mike. This tune opens with the pianist’s very pretty introduction capturing the beauty and sensitivity of the song into Lyn’s vocals which weaves a spell of love and intimacy in a style distinctively her own, completing the stories she and her colleagues tell so convincingly.
Lyn and John Chiodini produced the album and the men responsible for the excellent engineering on all the songs except It’s Impossible are Rouble Kapoor and Steve Genewick. Spencer Garcia was the engineer on It’s Impossible. The mastering is by Bernie Grundman of Bernie Grundman Mastering. Allen Sides of Ocean Way Recording is the mixing engineer, and the record was pressed at RTI (Record Technology Incorporated). The sound quality is stunning with a very realistic soundstage of Lyn’s vocals and the musicians’ instruments. If you have a mid-fi or high-end audio system, the music emerges from your speakers vibrantly transporting you into the studio alongside Lyn and the musicians.
Now that I have had the pleasure of hearing Lyn Stanley, I look forward to picking up the other albums in her discography. London Calling: A Toast To Julie London is a record that has it all, superb vocals, engaging compositions, excellent musicians, and a great sound that should be heard in its entirety to be fully appreciated. For those in search of fine jazz singing, I offer for your consideration London Calling: A Toast To Julie London by Lyn Stanley. A great collection of standards and abundant music for the money that once heard should earn her lots of new fans!
~ Around Midnight (Liberty LRP 3164/LST-7164), Everybody Needs Love (Tamla SM-706/SS-706), Feelin’ Good (Liberty LRP-3416/LST-7416), In The Groove (Tamla T-285/TS-285), Julie (Liberty LRP 3096/LST 7004), Julie Is Her Name (Liberty LRP 3066/LST 7027), Julie Is Her Name, Volume 2 (Liberty LRP 3100/LST 7100), Julie London Sings Latin In a Satin Mood (Liberty LRP-3278/LST-7278), Make Love To Me (Liberty LRP 3060/LST-7060), Nice Girls Don’t Stay For Breakfast (Liberty LRP-3493/LST-7493), Our Fair Lady (Liberty LRP 3392/LST-7392), Special Occasion (Tamla S-290/TS-290), Somos Novios…Siempre Novios (RCA Victor MKL-1785/MKS-1785), The Doors (Elektra EKL-4007/EKS-74007), The End of The World (Liberty LRP-3100/LST-7300), Yummy, Yummy, Yummy (Liberty LST-7609) – Source: Discogs.com
~ As Time Goes By, Blue Moon, Bye Bye Blackbird, Ev’ry Time We Say Goodbye, Summertime, You, The Night and The Music – Source: JazzStandards.com ~ Call Me Irresponsible, Cry Me a River, Goody Goody, How About Me, I Heard It Through The Grapevine, It’s Impossible, I’ve Got a Crush on You, Light My Fire, Sway – Source: Wikipedia.org © 2021 by Edward Thomas Carter
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Daily Dose Of Jazz…
Raymond Allen Draper was born on August 3, 1940 in New York City. He attended the Manhattan School of Music in the mid-1950s. As a leader, he recorded his debut album, Tuba Sounds in 1957 for Prestige Records at the age of 16, with a quintet. His sophomore album, The Ray Draper Quintet featuring John Coltrane, was recorded at the age of 17 with slight changes in his quintet, including John Coltrane.
His drug use got him imprisoned, however, after his release in the late 1960s, Draper formed the first jazz rock fusion band composed of established jazz musicians of the day. This preceded Miles Davis’s Bitches Brew, which is normally recognized as the first jazz rock fusion group and recording by two years.
Original band members included George Bohanon on trombone, Hadley Caliman on tenor sax, John Duke on upright bass, Paul Lagos on drums and Tom Trujillo on guitar. This band, after its first live performance at Hollywood’s Whisky a Go Go and was offered numerous record deals and booked solid at rock venues for the rest of the year. Lagos went on to tour with John Mayall and was one of the founders of the group Pure Food & Drug Act, featuring Don ‘Sugarcane’ Harris.
He began using heroin again and the more experienced band members quit, except for the youngest member, guitarist Tom Trujillo and his landlord, Chuck Gooden. He hired San Diego trumpeter Don Sleet and saxophonist Ernie Watts. Eventually Draper brought drummer Paul Lagos back, along with saxophonist Richard Aplanalp, trumpeter Phil Wood, and bassist Ron Johnson, becoming a new group named Red Beans and Rice.
They recorded the album Red Beans and Rice Featuring Sparerib Ray Draper on Epic Records. They disbanded, he got hooked on drugs again, and left California for a couple of years in London, England. He was seen sporadically performing and recording. Returning to New York City in the hopes of becoming clean, he remarried and had two children, and continued to compose for other musicians.
He went on to play for a time with Max Roach, and in 1982 he joined the Lionel Hampton Orchestra. Tha year, coming out of a bank in Harlem, he was held up by a gang of juveniles. The 13-year-old leader of the gang shot him, after he had given him his money.
Tuba player Ray Draper, who had been clean of drug use and was working on a composition found in his attaché case, died on November 1, 1982.
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