Daily Dose Of Jazz…
Marc Buronfosse was born on May 6, 1963 in Paris, France. His musical training commenced with classical guitar studies at the age of ten, then he began lessons on the upright bass in 1982 with Thierry Barbé while achieving studies in sound engineering and musicology. After receiving a prize at the Conservatoire de Paris XII, he started playing more and more jazz, working with bass players such as Cesarius Alvim, Charlie Haden, Reggie Workman and Henri Texier. He also worked with symphonic orchestras such as the Opéra de Paris and chamber music orchestras on a tour in Japan with the Solistes de Versailles.
1991 saw him obtaining a grant from the French Ministry of Culture and attending for one year in New York at The New School of Music. During this time he worked regularly with Gary Peacock, Marc Johnson and Mark Dresser. He also met and played with Jimmy Cobb, Steve Kühn, John Abercrombie, Lew Soloff, Jim Hall, Tim Berne, Dave Liebman, and Billy Harper and numerous others.
Returning to Paris he plays with Stéphane Guillaume Quartet + Brass Project, René Aubry Septet, Michel Elmalem Quartet, and Gueorgui Kornazov “Horizons” Quintet. As an educator he teaches jazz at the Conservatoire National de Région of Paris. Bassist Marc Buronfosse presently leads a quartet with musicians Benjamin Moussay, Jean Charles Richard and Antoine Banville.
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The Jazz Voyager
Crossing the country once again and heading to California to catch a rare performance of Nilson Matta and Jovino Santos Neto with Ami Molinelli. The club they will be hanging out at is located at 222 Healdsburg Avenue in Healdsburg 95448.
The club is 222 which was disclosed to me by a jazz fan. The space is a performing arts center presenting various world-class events in the areas of jazz, film, poetry, choral music, and more. They are committed to embracing innovation and developing performances for the 21st century while strengthening the interaction between artists, audiences and the community.
Two Brazilian musicians, multi~Grammy nominee Matta and three-time Latin Grammy nominee Neto, both with successful international careers, join forces to present a new project with original music and new interpretations of pieces by renowned Brazilian composers.
Matta is known for his work with Trio da Paz, Don Pullen African Brazilian Connection, Joe Henderson, Yo Yo Ma, and Nilson Matta’s Brazilian Voyage. Neto is a master pianist, flutist, composer, arranger, and conductor from Rio de Janeiro. They are joined by percussionist Ami Molinelli as a special guest, enriching the contagious rhythm of the dynamic duo for this rare collaboration.
The center’s number is 707-473-9150. For more information on days and time of sets visit https://notoriousjazz.com/event/nilson-matta-jovino-santos-neto.
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Daily Dose Of Jazz…
Kenn Smith was born Kenneth Lamont Smith on April 27, 1962 in Chicago, Illinois.
As a child of the 60s and Seventies living on the WestSide of his hometownhe first heard the sounds of Motown, Soul, Funk, Country, Jazz and Rock. His school was shows like Hee Haw and Midnight Special, his parents’ record collection, and a neighborhood filled with amateur and professional musicians.
When the family moved to the SouthSide in 1975, Smith began his guitar studies at age 13 with a visit to the local music store purchasing two Mel Bay books. Three years later the family moved to the western suburbs of Maywood, Illinois. At 16 he began classical guitar studies with guitarist Bruce Walters, and later continued studies at Jack Cecchini Studio.
While attending Proviso East High School, he played electric and classical guitar as well as timpani in the Proviso Township Orchestra, electric guitar and bass in the Proviso East High School jazz band, where he received the Louis Armstrong Award for Outstanding Jazz Improvisation during his senior year.
1982 saw Kenn beginning his career teaching guitar at Robinson’s Music Academy in Maywood, as well as performing with local funk and fusion bands. This he did while attending Columbia College of Chicago, studying music management and production. In 1987 he enrolled at the American Conservatory of Music where he studied jazz guitar and composition. In between those years of teaching, performing and study, he became an avid fan of progressive rock and fusion, developing skills as a guitarist, bassist and composer.
In 1986, he began his career as a freelance guitarist and bassist, performing on Chicago’s jazz, blues and rock scene. But it wasn’t till 1989 his professional career took off, working as a guitarist at the Chicago Cotton Club. It was here he later formed his first jazz trio and opened for jazz greats Shirley Horn, Stanley Turrentine, Freddy Cole, and Art Porter. As a jazz side man he played with other jazz greats, Jodie Christian, Guy Fricano, Johnny Frigo, Bobby Broom, Najee and many others.
He would go on tour with the Chi-Lites, start his own label Kenn Smith Music, has written, produced and recorded eight albums, as well as authored an instruction book for electric bass and numerous articles for online magazines such as Mel Bay Bass Sessions, and Bass Musician Magazine.
Guitarist, bassist, composer, educator and journalist Kenn Smith, who is well versed in many styles of music, continues to explore his music.
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The Jazz Voyager
Staying in the northern part of the States, the Jazz Voyager is returning to New York City and heading to Broadway to a well known venue called Smoke. It’s an intimate jazz spot where Buster Willaims will be unveiling his latest album.
Opened in 1999 by co-founders Paul Stache and Frank Christopher, the jazz and supper club is currently owned by Stache and his wife and partner Molly Sparrow Johnson. Located at 2751 Broadway 10025 on the Upper West Side of Manhattan in New York City, it’s at the junction of 106th. The venue hosts local and renowned jazz artists and has launched an associated record label, Smoke Sessions Records.
Bassist Buster Williams brings with him the talents of alto saxophonist Bruce Williams, Stefon Harris on vibraphone, pianist George Colligan and drummer Lenny White. This engagement is his celebration of the release of his new album, Unalome.
The club’s number is 212-864-6662. For more information on days and time of sets visit https://notoriousjazz.com/event/buster-williams-something-more-2.
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Requisites
Barry Harris At The Jazz Workshop | By Eddie Carter
This morning’s subject is one of my favorite albums from the library. Barry Harris at The Jazz Workshop (Riverside RLP 326/RLP 1177) is a 1960 live date capturing the pianist in performance with two-thirds of Cannonball Adderley Quintet’s rhythm section, Sam Jones on bass, and Louis Hayes on drums. It was his debut on the label and his second release as a leader. My copy is the 1976 Riverside Original Recording Series Japanese Stereo reissue (SMJ-6123) by Victor Musical Industries. The album opener, Is You Is or Is You Ain’t My Baby by Louis Jordan and Billy Austin, begins with the trio cruising comfortably in the melody. Barry swings easily into the opening solo; then Sam enhances the appeal of the song’s lyrics in a splendid performance before Barry reappears to end the song softly.
Up next is Curtain Call, the first of three tunes by Barry Harris. After the trio states the theme, the pianist takes off for a speedy ride in the opening statement. Louis comes in next to have a short conversation with Harris leading to the closing chorus. The ensemble infuses Star Eyes by Gene de Paul and Don Raye with an infectious Latin-flavored melody and ending theme. In between them, Barry illustrates his melodic ideas efficiently while Sam and Louis collaborate tastefully in support. Charlie Parker’s Moose The Mooche begins with the trio’s easy-going theme. Harris sets the mood with a cheerful opening solo. Jones takes over for some leisurely walking, and Hayes puts his best foot forward in an exchange with Harris preceding the song’s climax.
Side Two gets underway with Lolita, a pretty song by Barry Harris with a toe-tapping tempo that gives the pianist the spotlight for the song’s only solo. Barry offers a smartly paced performance with exquisite accompaniment by Sam and Louis preceding a gorgeous finale. Morning Coffee, the leader’s third original, is what many of us drink to begin our day. Hayes introduces this tune, segueing into the ensemble’s lively melody. Harris kicks off the solos with an enjoyable romp; Sam contributes to the fun in the second reading. Louis sparkles in an exchange with Harris ahead of the exit. Don’t Blame Me by Jimmy McHugh and Dorothy Fields is a ballad highlight for Barry, who gives a sensuously beautiful performance supplemented by the gentle accompaniment of Sam and Louis, leading to a gorgeous ending.
Woody ‘n’ You by Dizzy Gillespie takes off briskly from the trio’s melody. Harris gets busy immediately on the opening statement; next, Jones takes an enthusiastic walk with the bass. Hayes gets the last word and heightens the group’s energy in a vigorous exchange with Harris before the conclusion and appreciative applause from the club crowd.
Orrin Keepnews produced Barry Harris at The Jazz Workshop, and Wally Heider was the recording engineer. Victor Musical Industries has done an excellent job remastering this reissue. The sound quality is gorgeous, transporting the listener to the club among the audience. If you’re a fan of Barry Harris or enjoy a good jazz trio, I highly recommend checking out Barry Harris at The Jazz Workshop the next time you’re out vinyl shopping. It’s a superb concert recording by one of the best pianists in jazz and is worthy of a spot in your library!
~ Don’t Blame Me, Star Eyes, Woody ‘n’ You – Source: Discogs.com ~ Is You Is or Is You Ain’t My Baby, Moose The Mooche – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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