CHRISTIAN MCBRIDE BIG BAND

Over the past three decades, 11-time Grammy Award winner Christian McBride has fronted ensembles that span and synthesize straight-ahead and experimental jazz, funk, soul, Latin, hip-hop and rhythm and blues. His celebrated groups include Inside Straight, Christian McBride Big Band, Ursa Major, Christian McBride’s New Jawn, The Christian McBride Trio and A Christian McBride Situation.

Several of those paths converged on Without Further Ado, Vol. 1, the Christian McBride Big Band’s 2025 album, which won the Grammy Award for Best Large Jazz Ensemble. For the first time, the 17-piece band shared the spotlight with a host of guest vocalists, including Sting, Samara Joy, Dianne Reeves, Cécile McLorin Salvant, Jeffrey Osborne and Antoinette Henry. The album includes covers of songs by The Police, Cole Porter, Carole King and others.

The bass-playing McBride and his band are likely to perform music from that recording and the group’s previous three albums, which feature jazz standards and McBride originals, at this larger-than-life concert.

Cover: $58.50 ~ $152.10 | Fees Included

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JOBIM & THE MUSIC OF BRAZIL

In the 1960s, Antonio Carlos “Tom” Jobim brought the bossa nova craze to the United States, and this infectious and sensuous sound soon became beloved throughout the world. We celebrate Jobim’s centennial and the jazz genres of Brazil—including bossa nova, samba and choro with Shelly Berg and the Frost School of Music’s Henry Mancini Institute Orchestra.

Featured Special Guests:
Eliane Elias ~ Piano, Vocal
Anat Cohen ~ Clarinet
Trio da Paz ~ Guitar, Bass, Drums

Cover: $52.65 – $152.10 | Fees Included

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Requisites

Sphere On Tour ~ Sphere | By Eddie Carter

This morning’s album from the library is a 1985 live recording by the bop quartet Sphere. Sphere on Tour (Red Record VPA 191) was the first of two live dates in their small discography and one of two records they recorded for the Italian label. Sphere took the pianist’s middle name and was originally formed to honor Thelonious Monk’s legacy after his death. The quartet quickly broadened its focus by recording albums that also featured its own original compositions. The group consists of two former members of Monk’s group, tenor saxophonist Charlie Rouse and drummer Ben Riley, and is anchored by pianist Kenny Barron and bassist Buster Williams. The copy I own is the 1986 Italian stereo release.

Dual Force by Buster Williams opens the set with the foursome’s lively melody setting the tone. Kenny gets things started with a spirited lead solo, then Charlie wails enthusiastically in a lengthy performance. Buster takes a short, scintillating statement leading to the theme’s restatement and an upbeat finish. Beautiful Friendship by Donald Kahn and Stanley Styne slows the pace when the rhythm section’s pretty introduction moves to an upbeat theme when Charlie enters. Kenny is up first to give a charming solo, then Charlie cooks at an easy groove next. Buster evokes a sense of intimacy in a short statement, and Ben has the last word before the theme returns and the song ends softly.

Scratch by Kenny Barron begins with the foursome’s offbeat introduction and melody. Charlie’s opening statement pushes his solo to the outer limits of musical boundaries. Kenny follows with a bit of quirky fun, then Buster takes an interesting walk, preceding the quirky theme reprise and abrupt stop. Tayamisha by Buster Williams starts Side Two at midtempo with the bassist’s introduction to the opening ensemble. Charlie leads the way with a smoothly flowing interpretation. Kenny comes in next for a delightful display of evident pleasure, then Buster takes us home in a short walk of consummate ease ahead of the quartet’s theme restatement and ending.

Up next is Spiral by Kenny Barron. Kenny brings the song to life, segueing into the quartet’s melody. Charlie sets the tone in the first solo with warmth, deep conviction and melodic beauty. Kenny follows with an exquisite, elegant statement, then Buster communicates his heart before the foursome regroups for the theme’s return. To conclude the album, the quartet dresses up one of Thelonious Monk’s most popular tunes, Well, You Needn’t, mistakenly listed as “Will, You Needn’t,” with a spirited introduction by Riley and the rhythm section, ahead of the ensemble melody. Charlie is off to the races with an intense drive. Kenny builds upon his solo with a steady attack, then Buster takes a short, swift walk leading back to the ending theme, band introductions and a pleasant goodnight to the audience.

Sphere on Tour was produced by Red Records co-founders Alberto Alberti and Sergio Veschi. Gianni Grassilli was the recording engineer, and the album’s sound quality is superb, with a soundstage that transports the listener to the audience as the musicians perform. The original group, consisting of Rouse, Barron, Williams, and Riley, recorded six albums from 1982 to 1988. They disbanded briefly after Rouse’s death, then made one final album with Gary Bartz in 1997. If you’re in the mood for live bop from a fabulous quartet who effortlessly blend innovation and tradition, I invite you to check out Sphere on Tour on your next record shopping trip. It’s a terrific introduction to their music collectively and might become a welcome addition to your jazz library!

~ A Beautiful Friendship, Well, You Needn’t – Source: Wikipedia.org
© 2026 by Edward Thomas Carter

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Daily Dose Of Jazz…

Charles Ables was born on July 23, 1943 in Mississippi and started out on his musical career playing the guitar. He worked with Ray Charles prior to switching to bass to become a member of the Shirley Horn Trio in the early Eighties. He would tour the world and record with her on Steeplechase and then Verve record labels over the next three decades

Ables is heard on guitar as well as bass on several of these, including You Won’t Forget Me, which featured guest contributions from both Miles Davis and Wynton Marsalis, Light Out of Darkness, Horn’s tribute to Ray Charles, I Thought About You, Close Enough For Love, Here’s To Life and the Grammy-winning I Remember Miles.

As well as accompanying Shirley Horn, Charles is heard with the trio on Carmen McRae’s last album in 1990, Sarah – Dedicated to You, in which Horn is featured in her often forgotten role as a pianist. He recorded in similar circumstances with Toot Thielemans on his album For My Lady, with Joe Williams and as a leader.

 Bassist and guitarist Charles Ables passed away on October 8, 2001 in Washington, D. C.

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Requisites

Something in Common ~ Houston Person and Ron Carter | By Eddie Carter

After a challenging day and an exhausting week, I was looking for something gentle to help me unwind and restore my energy. This morning’s discussion, submitted for your approval, came after I listened to a few duet releases in my library and features two of my favorite musicians, Houston Person and Ron Carter. Something in Common (Muse Records MR 5376) is a digital recording pairing the tenor saxophonist and bassist in a thoroughly enjoyable program of cool jazz, one of my go-to albums for soothing my senses. The copy I own is the 1990 U.S. stereo release.

The opener, Blue Seven by Sonny Rollins, gets things off to a good start with Houston’s big-toned, warm, relaxed melody and Ron walking beside him with a perfect bass rhythm. Houston catches sunlight in the opening solo, using a subtle tone that builds into a textbook performance. Ron walks comfortably at an easy pace into the theme’s reprise and climax. I Thought About You by Jimmy Van Heusen and Johnny Mercer begins with the duo handling the melody as if sharing a personal secret with the listener. Ron is the featured soloist here, expressing his feelings with tenderness and sentimentality through the duo’s restatement of the theme and compassionate finale.

Mack The Knife by Kurt Weill, Marc Blitzstein, and Bertolt Brecht is a jazz classic from the twenties, and the duo puts a lively, fresh take on the opening chorus. Houston captures the spirit of this timeless tune with a wonderfully inventive first performance. Ron thoughtfully makes every note shine in a charming solo, leading smoothly into Houston’s beautifully crafted postscript that guides us into the closing chorus. Clifford Brown’s Joy Spring begins with the duo’s relaxed, easygoing theme, inviting Ron to stroll confidently through the opening statement. Houston responds with a warm, laid-back interpretation before the melody makes its lovely return.

Good Morning Heartache by Ervin Drake, Dan Fisher, and Irene Higginbotham is one of the album’s definitive highlights. Houston treats the melancholy theme as a story, shaping each verse of the song’s only solo, with Ron supporting him effortlessly until the tender reprise and ending. The beat moves upward for Anthropology by Charlie Parker, and the melody unfolds with relaxed assurance from two masters with nothing left to prove. Houston’s opening solo flows seamlessly through every phrase. Ron puts an indelible stamp on the closing statement, and the theme’s restatement concludes perfectly.

Once In A While by Michael Edwards and Bud Green closes the album on a warm, gentle note, opening with Houston and Ron’s beautiful, dreamy melody. Ron takes a walk through the song’s only interpretation as it builds toward the duo’s tender reprise and climax. Houston Person and Ron Carter produced Something in Common with Rudy Van Gelder handling the recording console. The album has a beautiful soundstage and is a joy to listen to from start to finish. If you’re in the mood for a terrific album that’s especially enjoyable any time of day or night, I invite you to check out Something in Common by Houston Person and Ron Carter on your next record-shopping trip. It’s a terrific album by two jazz masters, and a title I’m sure you won’t be able to listen to just once!

~ I Thought About You, Mack The Knife, Once In a While – Source: JazzStandards.com
~ Anthropology, Good Morning Heartache, Joy Spring – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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