Daily Dose Of Jazz…

Herb Bushler was born on March 7, 1939 in New York City and played piano and tuba in his youth before picking up double bass. Classically trained in bass he has performed with symphony orchestras in this capacity.

In 1966 he began a longtime association with ballet and film composer Coleridge-Taylor Perkinson. Herb  played with The Fifth Dimension in the 1960s.  He worked extensively in jazz idioms in the 1960s and 1970s, including with David Amram, Ted Curson, Blossom Dearie, Tony Williams, and Paul Winter.

He first played with Gil Evans in 1967 and the association would continue on and off until 1981. During the 1970s Bushler recorded sessions with Enrico Rava, Joe Farrell, Ryo Kawasaki, David Sanborn and Harold Vick. He also worked with Dee Dee Bridgewater, Billy Harper, Les McCann, Enrico Rava, Joe Chambers, and Howard Johnson.

Bassist Herb Bushler, whose composition Herbs was recorded by David Sanborn, at 85 years old continues to occasionally play both double bass and electric bass.

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Requisites

Bass on Top ~ Paul Chambers Quartet | By Eddie Carter

I was in the mood to hear something soothing before going to bed a few nights ago. The record I chose to play inspired my first March discussion by one of the great jazz bassists, Paul Chambers. Bass on Top (Blue Note BLP 1569/BST 81569) by The Paul Chambers Quartet is a 1957 release and his second record for the label. It was one of my mom’s favorite albums to listen to when she was cooking dinner. She always loved his big and warm sound, and his playing always knocked me out whenever I heard him. He is joined on this date by a marvelous rhythm section: Kenny Burrell on guitar, Hank Jones on piano, and Art Taylor on drums. My copy is the 2021 Blue Note Tone Poet Series Stereo Audiophile reissue, sharing the original catalog number.

Side One gets underway with Paul and Kenny’s two-instrument introduction to Yesterdays by Walter Gross and Jack Lawrence. Hank and Art come in to pick up the pace to deliver the alluring melody. The standard’s only solo is a thoughtful, reflective showcase by Paul, complemented by Hank, Kenny, and Art’s delicate accompaniment leading to the gentle ending. You’d Be So Nice To Come Home To by Cole Porter brings the beat up a few notches for the bassist’s introduction, segueing into his stating the melody supported by his colleagues. Chambers starts it off with an easy swinging interpretation, then gives way to Burrell’s unhurried statement. Jones brings on the pleasant finale before the leader’s return for the reprise and conclusion.

Chasin’ The Bird by Charlie Parker affords everyone a solo opportunity and begins with Kenny’s introduction to the group’s medium melody. Paul takes the lead with a lightly swinging solo, then Hank follows with a splendid statement. Kenny comes in next for a thoroughly satisfying reading, and Art cooks comfortably in the closer, preceding the theme’s return. Dear Old Stockholm is a Swedish folk song and jazz standard that receives a medium groove by the quartet. Kenny makes the introduction, and the ensemble joins in for the opening chorus. Chambers is up first and gives a soothing interpretation. Burrell follows with a sensitive and delicate performance; then, Jones wraps up the readings with a delightfully pleasant statement until the quartet regroups for the close.

The Theme ended many of Miles Davis’ live sets. The group opens with Kenny and Paul’s introduction to their lively melody. Paul swings right out of the gate in the opening solo. Kenny follows, maintaining the infectious beat in a vibrant statement. Hank comes in and builds the next reading exquisitely; then, Art shares the finale with Paul ahead of the climax. Confessin’, aka I’m Confessin’ That I Love You by Doc Daugherty, Ellis Reynolds and Al Neiburg begins with Paul’s introduction ahead of the foursome’s lovely opening chorus. Chambers handles the first of two interpretations flawlessly with excellent taste. Jones follows with a short solo as pleasant as a Sunday evening stroll. Chambers returns to give a brief statement that brings the set to a fitting climax.

Alfred Lion produced the original session, and Rudy Van Gelder was the man behind the dials of the recording. Joe Harley supervised this reissue’s release, and Kevin Gray mastered it. The sound quality is superb, with a breathtaking soundstage. A lot of thought and care went into the remastering of this audiophile reissue. The record is pressed on 180 grams of audiophile vinyl and is incredibly quiet until the music starts. The covers could be displayed at home on any wall, and the inside gatefold photos are wonderful. Every once in a while, something magical happens in a recording session where all the musicians come together in such a way that perfection is the result. Bass on Top by Paul Chambers is one of those albums.

Paul Chambers and his bandmates compel you to listen as they’re playing and, as the album unfolds, they provide the perfect backdrop to help you unwind after a long day, night, or week. If you’re new to jazz or only know of his work as a sideman with The Miles Davis Quintet and others. In that case, I happily recommend and invite you to check out Bass on Top by The Paul Chambers Quartet the next time you’re out record shopping. It’s a stellar album of soulful, swinging jazz at its best and a title you won’t have to listen to twice to know you love it!

~ I’m Confessin’ That I Love You, Yesterdays, You’d Be So Nice To Come Home To – Source: JazzStandards.com
~ Chasin’ The Bird, Dear Old Stockholm – Source: Wikipedia.org
© 2024 by Edward Thomas Carter

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EKEP NKWELLE BAND

A rising master of her craft, vocalist Ekep Nkwelle entrances audiences with her strong lyrical presence and an uncanny connection to phrasing that’s at once grounded and ethereal. High-level musicality informs her storytelling. To Dizzy’s Club she brings her tight ensemble of acclaimed artists. Expect an evening of imaginative arrangements and compelling treatment of standard tunes. 

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SHEILA JORDAN WITH RONI BEN-HUR & HARVIE S

An absolute treasure of the New York music scene, bebop torchbearer Sheila Jordan brings her improvisatory trio to Dizzy’s Club. At 95, the singer and inexhaustible band leader delivers sets that spotlight her undeniable skill and personal treatment of repertoire from Charlie Parker, Dizzy Gillespie, Herbie Nichols, and other icons. Don’t miss an exhilarating one-night event that features her longtime collaborators, stylistic masters Roni Ben-Hur and Harvie S. 

Sheila Jordan, vocals
Roni Ben-Hur, guitar
Harvie S, bass

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TORD GUSTAVSEN

Norwegian pianist Tord Gustavsen and his exploratory trio present new music from his forthcoming ECM release. Combining improvisation and lush, at times eerie harmonies with electronic programming and plenty of soundscaping, Gustavsen and fellow artists Steiner Raknes and Jarle Vespestad invite listeners into a sonic world that draws inspiration from a range of styles, including church and folk music. Expect an invigorating evening of original music and energizing dialogue emanating from the bandstand.  

Tord Gustavsen, piano and electronics
Steinar Raknes, double bass and electronics
Jarle Vespestad, drums

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