Daily Dose Of Jazz…
Ron Jefferson was born on February 13, 1926 in New York City and began as a tap dancer before taking up the drums. He quickly became a fixture on the postwar bop scene collaborating, touring and/or recording with Lester Young, Coleman Hawkins, Charles Mingus, Freddie Redd, Teddy Edwards and Roy Eldridge to name a few.
He also spent a number of years as a sideman with Oscar Pettiford, and working with Charlie Rouse and Julius Watkins forming the Jazz Modes in 1957. After two years the trio split up and Ron signed on with Les McCann prior to moving to Los Angeles in 1962. It was there he cut his debut album as a leader titled “Love Lifted Me” on the Pacifica label.
In addition to playing behind Groove Holmes, Zoot Sims, Carmell Jones and Joe Castro, Ron also toured with Roland Kirk’s “Jazz and People’s Movement”, spent a number of years in Paris working with Hazel Scott, taught music for the U.S. Embassy and in 1976 he cut “Vout Etes Swing!” for the Catalyst label.
Upon returning to New York, Jefferson hosted the cable TV series Miles Ahead with fellow musician John Lewis. Despite a steady work schedule, he never attained the visibility or renown of many of his contemporaries, and after a brief illness drummer Ron Jefferson died in Richmond, Virginia on May 7, 2007.
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Daily Dose Of Jazz…
Bob Moses: The Drummer Who Helped Invent Jazz Fusion
Rakalam Bob Moses was born on January 28, 1948, in New York City, arriving just as bebop was transforming into something even more adventurous. He studied drums throughout his childhood, absorbing the rhythmic complexity of modern jazz, and by the time he was a teenager in 1964, he was already playing professionally with the wildly creative multi-instrumentalist Rahsaan Roland Kirk—a baptism by fire that would shape his fearless approach to rhythm.
Pioneering Fusion Before It Had a Name
In 1966, Moses and guitarist Larry Coryell did something revolutionary: they formed the jazz-fusion group Free Spirits, blending jazz improvisation with rock energy and electric instruments at a time when most jazz purists considered such combinations heretical. This was two years before Miles Davis’ In a Silent Way, two years before Tony Williams Lifetime—Free Spirits were genuine pioneers, exploring territory that barely had a map.
The following year, 1967, Moses began a fruitful collaboration with vibraphonist Gary Burton, with whom he would record throughout the 1970s. Burton’s innovative approach to the vibraphone and his openness to musical experimentation made him the perfect partner for Moses’ exploratory drumming.
Finding His Voice as a Leader
Moses released his first album as a leader, Bittersuite, in 1975—a deeply personal statement that showcased his compositional abilities alongside his drumming. This was followed by Devotion in 1979, further establishing him as not just a sideman but a creative force with his own vision.
During this fertile period, he was also a member of Compost, an adventurous ensemble featuring saxophonist Harold Vick, percussionist Jumma Santos, bassist Jack Gregg, and the great drummer Jack DeJohnette. The group explored Afro-Cuban rhythms, modal jazz, and free improvisation—a melting pot that reflected Moses’ wide-ranging musical interests.
A Collaborator’s Collaborator
Moses became the drummer of choice for some of the most forward-thinking musicians of the era. He worked extensively with saxophonist Dave Liebman’s Open Sky ensemble, guitarist Pat Metheny (during his early, more experimental period), pianist Hal Galper, keyboardist Gil Goldstein, bassist Steve Swallow, Swiss bandleader George Gruntz, and the brilliant guitarist Emily Remler—each collaboration revealing different facets of his musical personality.
What united all these partnerships was Moses’ ability to provide both solid grounding and adventurous color, to swing hard when needed but also to explore texture, space, and unconventional rhythmic structures.
Prolific Leadership
From the 1980s into the new millennium, Moses continued recording prolifically as a leader for Gramavision, Amulet, Navarre, Sunny Side, and Jazzwerkstat record labels. Many of these releases received significant critical acclaim, recognized for their compositional depth, rhythmic sophistication, and willingness to take chances.
Unlike some drummers who lead albums that are merely showcases for technique, Moses’ recordings are genuine compositions—thoughtfully constructed pieces that happen to feature exceptional drumming rather than drum solos searching for a musical context.
Still Creating, Still Teaching
Today, Moses continues performing alongside bassist John Lockwood, bassist Don Pate, and keyboardist John Medeski with the noted spiritual jazz guitarist Tisziji Muñoz—explorations that connect to jazz’s mystical, transcendent possibilities.
He also teaches at the prestigious New England Conservatory, where he passes on decades of hard-won knowledge to the next generation of drummers and improvisers. For Moses, teaching isn’t just about technique—it’s about opening young musicians’ ears to possibilities they haven’t yet imagined.
A Legacy of Fearless Exploration
From teenage prodigy playing with Roland Kirk to jazz-fusion pioneer with Free Spirits, from sensitive accompanist with Gary Burton to visionary bandleader with dozens of albums under his own name, Bob Moses has spent over six decades refusing to be categorized, refusing to play it safe, and refusing to believe that drums are merely a timekeeper.
He’s proven that the drum kit can be a melodic instrument, a textural palette, a conversational partner, and a compositional tool—all while never losing sight of the fundamental groove that makes jazz music move and breathe.
That’s not just a career—that’s a lifetime of pushing boundaries and expanding what’s possible behind the kit.
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Daily Dose Of Jazz…
Jimmie Smith: The Drummer Who Played with Everyone Who Mattered
James Howard Smith was born on January 27, 1938, in Newark, New Jersey, and from the beginning, he was serious about the drums. From 1951 to 1954, while still a teenager, he studied at the Al Germansky School for Drummers—a specialized institution that emphasized both technique and musicality. His dedication paid off with acceptance to the legendary Juilliard School in 1959, where he refined his classical training and expanded his musical vocabulary.
But Smith wasn’t destined for the orchestral world, jazz was calling, and New York City was waiting.
The New York Years: A Who’s Who Education
Smith began his professional career in New York around 1959, and what followed was an apprenticeship that reads like a masterclass in post-bop jazz. Throughout the 1960s, he worked with saxophonist Jimmy Forrest, organist Larry Young, the groundbreaking vocal trio Lambert, Hendricks & Ross, saxophonist Pony Poindexter, blues shouter Jimmy Witherspoon, pianist Gildo Mahones, organists Jimmy McGriff and Groove Holmes—each gig teaching him something new about swing, time, and the art of musical conversation.
His longest and perhaps most formative association came with the incomparable pianist Erroll Garner, with whom he played until 1975. Working with Garner—whose rhythmically complex, orchestral approach to the piano demanded both flexibility and rock-solid time—was like earning a PhD in musical sensitivity.
Heading West
In 1975, Smith relocated to California, where his career took on new dimensions. The West Coast jazz scene of the 1970s through the 1990s was vibrant and diverse, and Smith found himself performing and recording with an almost absurd roster of talent: saxophonist Sonny Criss, vocalist Bill Henderson, singer Ernestine Anderson, pianist Phineas Newborn, guitarists Barney Kessel and Herb Ellis, and saxophonist Al Cohn—just to name a few.
Each collaboration revealed Smith’s remarkable adaptability. He could swing hard with horn players, provide delicate brush work behind vocalists, and drive a guitar trio with just the right combination of propulsion and restraint.
In 1993, he toured Japan with organist Jimmy Smith, no relation, and guitarist Kenny Burrell, a dream trio that brought classic soul-jazz to enthusiastic audiences abroad.
One Legendary Night in Montreux
One of drummer Jimmie Smith’s most celebrated performances took place at the 1977 Montreux International Jazz Festival, where he shared the stage with an all-star lineup that still seems impossible: saxophonist Benny Carter, trumpeter Miles Davis, vibraphonist Milt Jackson, trumpeter Dizzy Gillespie, and pianist Count Basie.
Imagine being the drummer holding down the rhythm section for that constellation of legends—multiple generations of jazz royalty, each with their own distinct style and expectations. Smith rose to the occasion, proving he belonged in that rarefied company.
As a Leader
While Smith spent most of his career as the ultimate supporting player, he did step forward as a leader on select occasions. He recorded From the Heart for the Tokyo Sound City label and the superb Rockin’ in Rhythm with bassist Ray Brown and pianist Hank Jones for Concord Records—a trio session that showcased his musical intelligence and his ability to create space for his equally accomplished bandmates.
The Drummer’s Drummer
Jimmie Smith represents a particular kind of jazz musician that’s increasingly rare: the complete professional who could walk into any musical situation, read the room or the chart, and deliver exactly what was needed. No ego trips, no showboating—just deep listening, impeccable time, and the kind of musical generosity that makes everyone else sound better.
From Newark to Juilliard, from Greenwich Village clubs to Montreux’s grand stages, from New York to California and across the Pacific to Japan, Jimmie Smith spent his career doing what he loved most: sitting behind the drums and making great music with great musicians.
And really, what better legacy could a jazz musician ask for than to be known as someone every bandleader wanted on the gig, someone who made the music swing, and someone who understood that sometimes the greatest artistry lies not in the spotlight, but in making the spotlight shine brighter on everyone else?
That’s Jimmie Smith—a drummer’s drummer, a musician’s musician, and one of the unsung heroes who helped keep the jazz tradition alive and swinging for over four decades.
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Requisites
The Jazz Messengers at The Café Bohemia, Volume 2 | By Eddie Carter
Submitted for your approval this morning, we’re returning to the little jazz club at 15 Barrow Street to see The Jazz Messengers at The Café Bohemia, Volume 2 (Blue Note BLP 1508). Returning to the stage are Kenny Dorham on trumpet, Hank Mobley on tenor saxophone, Horace Silver on piano, Doug Watkins on bass, and Art Blakey on drums. The copy I own is the 1978 King Record Company Japanese mono reissue, sharing the original catalog number. Just as he did to start the evening, Art once again greeted the audience, encouraging any latecomers to settle in and enjoy themselves as The Jazz Messengers got things rolling.
The opening selection, Sporting Crowd, is a lively Hank Mobley original that’s off to the races with Blakey and the rhythm section’s rocking introduction, leading into the ensemble’s swinging, cohesive theme. Kenny kicks off his opening statement with a brass bite in a fiery performance that displays his impeccable chops. Hank launches into a scintillating solo that builds intensity before passing the spotlight to Horace, who impresses in an energetic interpretation. Art has the last word and delivers an electrifying display before the ensemble returns to take the song out.
Art introduces the 1944 jazz standard, Like Someone In Love by Jimmy Van Heusen and Johnny Burke. It first appeared in the film “Belle of the Yukon,” and Blakey would re-record it in 1960, but it remained shelved until 1967, when it was released as the title track of The Jazz Messengers album. The ensemble lovingly honors this beloved tune with a relaxing melody. Kenny retakes the lead, delivering a fine example of delicacy and sensitivity. Hank brings the second solo off in charming style, then Horace wraps up with an easygoing reading before the melody’s reprise and warm applause from the audience.
Art turns the microphone over to Kenny Dorham, who gets the spotlight to himself when he introduces Yesterdays, the beautiful 1933 ballad by Jerome Kern and Otto Harbach. It first appeared in the Broadway musical, “Roberta,” that year and was featured again in the 1935 film. Over the past ninety years, it’s become a beloved jazz standard, cherished and reinterpreted by countless artists. The trumpeter’s performance is a model of thoughtful sensitivity as he delivers a melody of serene beauty. As the song’s only soloist, his interpretation shines with gentle sensitivity, each phrase rendered with graceful elegance and culminating in a thoughtful, reflective conclusion.
Avila and Tequila by Hank Mobley injects renewed energy into the quintet with an uptempo beat, with Art’s Latin-inspired, lively, lengthy percussive introduction leading into the vigorous melody. Hank launches into a searing opening statement that creates a lot of heat. Kenny follows him closely, keeping the fires burning in a robust performance. Horace continues cooking hard with a brisk interpretation, inspiring Doug and Art to propel the beat to a vibrant, swinging peak. The drummer rounds out the solos with a brisk workout, joined by Mobley, Silver, and Watkins, before the ensemble comes together for the swift reprise and enthusiastic ovation.
The album closes with I Waited For You, a 1946 ballad by Dizzy Gillespie and Gil Fuller that hasn’t been over-recorded. Hank opens with a delicately pretty introduction, leading into Kenny’s heartwarming melody. The trumpeter continues embracing a touch of refined artistry in the opening statement. Hank follows, gently navigating the song’s nostalgic beauty in the following interpretation. Horace provides the song’s exclamation point in a beautifully crafted finale, exquisitely conceived and presented, leading into the quintet’s breathtaking climax and a slow fadeout as the group reprises their theme.
Alfred Lion produced The Jazz Messengers at Café Bohemia, Volume 2, along with its companion, while Rudy Van Gelder took care of the recording during the group’s live performance. The King Japanese mono reissue offers fantastic sound quality—clean and lively. It’s truly a delightful listening experience from The Jazz Messengers, showcasing some of the finest in Hard-Bop, just as its companion does. If you’re new to jazz or a longtime fan of the group, I wholeheartedly recommend adding The Jazz Messengers at Café Bohemia, Volume 2 to your library. It’san album that promises a rich and enjoyable musical journey.
~ Like Someone In Love, Yesterdays – Source: JazzStandards.com © 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Jeff “Tain” Watts: The Drummer Who Redefined What’s Possible Behind the Kit
Ever wonder how a classical timpanist becomes one of jazz’s most explosive and innovative drummers? Jeff “Tain” Watts’ journey is the answer—and it’s a masterclass in fearless evolution.
From Orchestral Precision to Jazz Freedom
Born January 20, 1960, Watts started his musical life studying classical percussion at Pittsburgh’s Duquesne University, where he focused primarily on orchestral timpani—all precision, discipline, and controlled power. But then came Berklee College of Music, where everything changed.
Suddenly he was immersed in jazz, studying alongside future stars like Branford Marsalis, guitarist Kevin Eubanks, saxophonist Greg Osby, and even rockers-to-be like Aimee Mann and guitarist Steve Vai, plus fellow drummer Marvin “Smitty” Smith. The competitive, creative energy of that environment was electric, and Watts absorbed it all.
The Marsalis Years Launch a Career
In 1981, Watts joined Wynton Marsalis’ quartet, and the results were immediate and spectacular—three Grammy Awards with that ensemble alone. His drumming was different: polyrhythmic complexity, startling dynamics, classical precision married to jazz swing. He wasn’t just keeping time; he was participating in every conversation happening on the bandstand.
When he left Wynton’s group in 1988, the work kept pouring in: sessions and tours with guitarist George Benson and pianist/vocalist Harry Connick Jr., the thunderous pianist McCoy Tyner. Then in 1989, he joined Branford Marsalis’ quartet, beginning a musical partnership that continues to this day—a relationship built on mutual respect, creative trust, and the kind of telepathic communication that only comes from thousands of hours on stage together.
Hollywood Comes Calling
A three-year Los Angeles stint brought Hollywood into the mix. Watts became the Tonight Show drummer under Jay Leno, bringing jazz sensibility to America’s living rooms every weeknight. Then he stepped in front of the camera as the character Rhythm Jones in Spike Lee’s classic film Mo’ Better Blues. Not many musicians can say they’ve conquered both sides of the entertainment industry with equal authority.
Back to New York, Forward in Music
Returning to New York in 1995, Watts joined saxophonist Kenny Garrett’s powerhouse band while maintaining his connection with Branford and constantly expanding his collaborator list to read like a who’s who of modern jazz: pianist Danilo Pérez, saxophonist Michael Brecker, vocalist Betty Carter, pianist Kenny Kirkland, saxophonist Courtney Pine, pianist Geri Allen, harpist Alice Coltrane, saxophonist Steve Coleman, pianist Gonzalo Rubalcaba, saxophonist Ravi Coltrane, pianist George Cables—the list goes on and on.
The Story Behind “Tain”
Oh, and that nickname “Tain”? Pianist Kenny Kirkland gave it to him while they were touring through Florida, passing a Chieftain gas station. Kirkland started calling him “Chief,” which morphed into “Tain,” and it stuck. Sometimes the best stories are the simplest ones.
A Remarkable Distinction
Watts won a Best Instrumental Solo Grammy in 2010 for “Dark Key Music,” but perhaps his most remarkable distinction is this: he’s the only musician to appear on every single Grammy Award-winning jazz record by both Wynton and Branford Marsalis. That’s not luck—that’s being essential.
Composer and Visionary
As a composer, Watts brings the same creativity and innovation to writing that he does to drumming, contributing most of the original compositions on his own albums as a leader. His music is as thoughtful and complex as his playing—proof that the mind driving those hands is always working, always searching.
Never Standing Still
From classical timpani to redefining modern jazz drumming, from network television to intimate club dates, from sideman to bandleader to composer, Jeff “Tain” Watts proves that the best musicians never stop evolving, never stop pushing boundaries, and never, ever play it safe.
The drums chose him. Classical music trained him. Jazz liberated him. And we’re all the richer for it.
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