Daily Dose Of Jazz…
Cindy Blackman was born November 18, 1959 in Yellow Springs, Ohio into a musical family. Her mother and grandmother were classical musicians, an uncle was a vibraphonist and her dad was into jazz. Her first introduction to the drums happened when she was seven years old at a friend’s house she sat down at a drum set starting hitting and knew it was for her. Following this was joining the school band and convincing her parents to get a set of her own. By age 11 she was in Bristol, Connecticut, studying at the Hartt School of Music in Hartford and gaining an interest in jazz two years later after listening to Max Roach. It was at this time she got her first professional drum kit at fourteen.
One of her early influences was drummer Tony Williams who was the first drummer she ever saw perform live, later having the opportunity to participate in a William’s drum clinic. She soon moved to Boston, studying at the Berklee College of Music. She left after three semesters and moved to New York in 1982, became a street performer and got a chance to watch and learn from drummers like Billy Higgins, Elvin Jones, Roy Haynes, Philly Joe Jones and Art Blakey who became her mentor and major influence.
Blackman initially encountered resistance to a woman playing drums in the jazz world, both racial and gender prejudice along with her musical opinion and hairstyle. But persistence paid off in 1984 when she was showcased on Ted Curson’s “Jazz Stares of the Future”, then in 1987 her first compositions appeared on Wallace Roney’s Verses album, then Muse offered her a contract and in ’88 lead her debut session “Arcane” with Joe Henderson, Wallace Roney, Tony Williams, Clarence Seay, Kenny Garrett and Larry Willis.
Cindy has immersed herself in both jazz and rock leaving the former for a period recording and touring with Lenny Kravitz but returned to her love of jazz. She has recorded several straight-ahead jazz sessions since her 1994 release of “Telepathy” and continues to evolve the music playing with a who’s who list of luminary jazz musicians. In her own words, “To me, jazz is the highest form of music that you can play because of the creative requirements”.
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Daily Dose Of Jazz…
Jerome Richardson was born November 15, 1920 in Oakland, California and started on alto saxophone at the age of eight. In his teens Benny Carter, Johnny Hodges and Willie Smith were his idols. He became a professional musician at the age of fourteen, and had a brief stint with Lionel Hampton, and worked with Bay Area bands until 1941, during which time he also studied music at San Francisco State College. The flute was added to his working compliment in 1940. Both this and his alto sax were used to advantage in a Navy band, under the direction of Marshall Royal, at St. Mary’s Pre-Flight from 1942 to 1945. He joined the Lionel Hampton band again in 1949, with whom he recorded what is widely regarded as the first modern jazz solo played on flute on “Kingfish”, and was also a member of the Earl Hines big band.
Settling in New York in 1954 he began a very active session career, but continued to make his mark in a purely jazz context. He worked with bands led by Lucky Millinder and Cootie Williams, led his own quartet at Minton’s Playhouse in Harlem in 1955 and was part of Oscar Pettiford’s group that summer.
Over the next decade Jerome continued to lead his quartet, work the Roxy pit orchestra, regularly worked with Quincy Jones, toured Europe with Harold Arlen’s blues opera, was a founder member of the Thad Jones-Mel Lewis Orchestra, organizing and performing many Thad Jones tribute concerts. He played with a number of other notable big bands during his long career, including bands led by Jimmy Lunceford, Gerald Wilson, Gil Evans and Charles Mingus.
His standing as a superbly accomplished soloist on a range of reed and wind instruments was complemented by an equally strong reputation as an accompanist of singers, including the likes of Ella Fitzgerald, Frank Sinatra, Sarah Vaughan, Billie Holiday, Peggy Lee, Nancy Wilson, Billy Eckstine, and Lena Horne. Richardson performed with practically every significant post-war jazz artist, including Miles Davis, Dizzy Gillespie, Duke Ellington, Louis Armstrong, John Coltrane, Cannonball Adderley, Lionel Hampton, Herbie Hancock, Milt Jackson, Oliver Nelson, Art Farmer, Clifford Jordan, Slide Hampton, Horace Silver, Gerry Mulligan, Jimmy Smith, Wes Montgomery, Cal Tjader, and Antonio Carlos Jobim, as well as a whole range of blues, soul and pop artists.
Jerome Richardson played tenor, alto, baritone saxophone, clarinet, piccolo, and flute passed away in Englewood, New Jersey on June 23, 2000 recorded sparingly as a leader but was one of the most sought after session musicians for more than half a century was probably the most recorded saxophonist of his generation.
Daily Dose Of Jazz…
George Andrew Cables was born November 14, 1944 in New York City and was classically trained as a youth. He discovered jazz while attending the New York High School for Performing Arts, smitten by the freedom of expression. But unlike most musicians who are influenced by a single pianist, George listened to the whole bands of Miles and Trane and how they held together.
By 1964 he was playing in a band called The Jazz Samaritans that included Billy Cobham, Lenny White and Clint Houston. Playing gigs around New York at the Top of the Gate, Slugs, and other clubs attracted attention to Cables’ versatility and before long he had recorded with tenor saxophonist Paul Jeffrey, played with Max Roach and earned a brief 1969 tenure at the piano bench with Art Blakey and the Jazz Messengers and later with Sarah Vaughan, Tony Williams, Roy Haynes and Dizzy Gillespie.
A 1969 tour with tenor titan Sonny Rollins took Cables to the West Coast and by 1971 he became a significant figure in the jazz scenes of Los Angeles, where he first resided, and San Francisco, where he also lived. Collaborations and recordings with tenor saxophonists Sonny Rollins and Joe Henderson, trumpeters Freddie Hubbard and Woody Shaw, and vibist Bobby Hutcherson made Cables’ wide-ranging keyboard skills, often on electric piano, amply evident. Demand for his sensitive accompaniment increased and by the end of the 1970s, Cables was garnering a reputation as everyone’s favorite sideman.
Perhaps the most pivotal turn came when Dexter Gordon invited Cables into his quartet in 1977. The two years he spent with the tenor giant ignited Cables’ passion for the acoustic piano and immersed him in the bebop vocabulary. But the longest standing relationship Cables developed in the late seventies was with alto saxophonist Art Pepper, becoming his favorite pianist.
George Cables has emerged as a major voice in modern jazz and currently performs and records as a soloist, with trio and larger ensembles, and as a clinician in college jazz programs in addition to composing and arranging for his own albums and others.
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Daily Dose Of Jazz…
Hampton Hawes was born November 13, 1928 in Los Angeles, California and his first experience at the piano was as a toddler sitting on his mother’s lap while she practiced. He was reportedly able to pick out fairly complex tunes by the age of three. Entirely self-taught and influenced by Earl Hines, Bud Powell and Nat King Cole, by his teens Hawes was playing with the leading jazz musicians on the West Coast, including Dexter Gordon, Wardell Gray, Art Pepper, Shorty Rogers and Teddy Edwards. His second professional job, at 19, was playing for eight months with Howard McGhee’s Quintet at the Hi De Ho Club, in a group that included Charlie Parker, who became a great influence on his playing.
After serving in the U.S. army in Japan from 1952–1954, Hampton formed his own trio, with the bassist Red Mitchell and drummer Chuck Thompson. The subsequent three-record “Trio” sessions made by this group in 1955 for Contemporary Records were considered some of the finest records to come out of the West Coast at the time. The following year he added guitarist Jim Hall for the “All Night Sessions” that produced three records made during a non-stop recording session at the Contemporary Studios in Los Angeles.
In 1956, Hawes won the “New Star of the Year” award in Down Beat magazine, “Arrival of the Year” in Metronome magazine and the following year Hawes recorded in New York City with Charles Mingus on the album “Mingus Three”.
Struggled for many years with a heroin addiction and became the target of a federal undercover operation in Los Angeles in 1958. The DEA bargained that Hawes would inform on dealers in L.A. rather than risk a successful career. Coerced into selling a small amount of heroin to an undercover agent, he was arrested on his 30th birthday. Refusing to talk landed him a twice the mandatory minimum, ten-year sentence at Fort Worth Medical Facility, a federal prison hospital. However, after serving three years, in 1963 he was granted Executive Clemency by President Kennedy in 1963, the 42nd of only 43 such pardons given in the final year of Kennedy’s presidency.
After his release from prison, Hampton resumed playing and recording and during a world tour in 1967-68, the pianist was surprised to discover that he had become a legend among jazz listeners in Europe, Asia and the Middle East. During a ten-month period overseas he recorded nine albums, played sold out shows and concert halls in ten countries, and was covered widely in the press, appearing on European television and radio.
As a pianist Hawes’s style is instantly recognizable – for its almost unparalleled swing, unique approach to time and harmony, and its depth of emotional expression, particularly in a blues context. Hawes influenced a great number of other pianists including Andre Previn, Oscar Peterson, Horace Silver, Claude Williamson, Pete Jolly, Toshiko Akiyoshi and others.
Pianist Hampton Hawes died suddenly of a brain hemorrhage on May 22, 1977 at 48 years old. In 2004, the City Council of Los Angeles passed a resolution declaring November 13th “Hampton Hawes Day”.
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Daily Dose Of Jazz…
Samuel Jones was born on November 12, 1924 in Jacksonville, Florida. He started his career playing in local bands but by 1953 he was playing with Tiny Bradshaw. Moving to New York City in 1955 he joined up with the groups of Kenny Dorham, Cannonball Adderley, Dizzy Gillespie, and Thelonious Monk. But it would be with the Cannonball’s quintet from 1959 to 1966 that would establish his reputation.
Pairing up with stellar drummer Louis Hayes, the association proved to be a benchmark rhythm section for being “in the pocket”. Jones went on to replace Ray Brown in the Oscar Peterson Trio from 1966 to 1970. After this tenure he teamed up with Cedar Walton and Billy Higgins.
Known for playing the bass and cello with impeccable technique he could also swing and groove with the best of them. Sam fronted his own bands and left a reputable recorded legacy as a leader, recording solo projects during the early sixties and released some wonderful sides for Riverside, where he was able to stretch out on some of his cello oriented pieces.
From 1977 to 1981 Jones remained very active both as leader and sought after session player with two of his landmark recordings “Something New” and Something In Common” being produced during this period. He has played with Bobby Timmons, Tiny Bradshaw, Freddie Hubbard, Bill Evans and Illinois Jacquet as well as many others who revolved around the New York City jazz scene that was fertile ground for his career.
Sam Jones, double bassist, cellist and composer of the jazz standard, “Del Sasser”, passed away on December 15, 1981 at the age of 57.