RONNIE SCOTT’S ALL STARS

It has been named jazz’s greatest year. There was definitely something in the air in 1959, and it wasn’t just NASA: Castro took over Cuba, Buddy Holly died in a plane crash, Pan Am started regular flights around the world, and NASA sent 7 astronauts into space.

Ronnie Scott’s, of course, was founded in 1959. The idea of opening a jazz club along the lines of the intimate and bustling venues of New York’s 52nd Street was hatched by two ardent jazz fans who happened to be very much part of a burgeoning modern jazz movement of the late fifties: tenor saxophonist Ronnie Scott who had since the late forties, wowed the bebop brigade in a series of bands commencing with the nine-piece which featured his business partner to be and fellow saxophonist Pete King.

Three greats of jazz died – Lester Young, Billie Holiday and Sidney Bechet but born out of so much world turmoil were a spate of jazz masterpieces.

In March, Miles Davis created the definitive jazz album in A Kind of Blue. In May, Charles Mingus released an album called Mingus Ah Um – possibly his definitive album. Also in May, Ornette Coleman’s album The Shape of Jazz To Come became ‘the genesis of avant-garde jazz’, and John Coltrane recorded Giant Steps from May to December.

What Miles did for harmonic shifts, The Dave Brubeck Quartet did for rhythmic innovations with Time Out, challenging the acceptable 4/4 and 3/4 time signatures and even creating the hit Take Five with their 5/4 time signature.

Having spent eight months in the Miles Davis Quintet, Bill Evans released Portrait in Jazz in December with Paul Motian and Scott LaFaro, often regarded as one of the greatest jazz trios.

In the show, you can expect to hear a sample of music from all of these genre-defining jazz classics performed by the unmatched Ronnie Scott’s All Stars.

Line-up

Freddie Gavita ~ trumpet
Alex Garnett ~ saxophone
James Pearson ~ piano
Sam Burgess ~ bass
Sebastian de Krom ~ drums

Tickets: £35 ~ £55 | $40.96 ~ $64.36

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BERNARD LINNETTE INTERACTIVE

Drummer Bernard Linnette is a force of nature behind the kit, blending precision, groove, and creativity in every performance. With roots in both jazz and R&B, he has built a reputation for his ability to drive a band with thunderous power while also bringing subtle nuance to more intimate settings. His career has taken him to stages across the country, where his dynamic playing consistently captivates audiences and earns the admiration of fellow musicians.

Beyond his technical mastery, Linnette is celebrated for his versatility and collaborative spirit, making him a sought-after accompanist for both seasoned artists and rising stars. Whether laying down a swinging rhythm, crafting complex polyrhythms, or igniting the stage with high-energy solos, he embodies the heartbeat of the music. With every performance, Bernard Linnette proves why he is one of the most compelling drummers working today.

The Band: Bernard Linnette, Drums | Frank Lacy, Trombone | Chanda Leigh Adeogba, Vocal | James Robertson, Saxophone | Derrick White, Trombone | Louis Herivaux, Piano | Tommy Sauter, Bass

Cover: $42.00

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Daily Dose Of Jazz…

Joseph G. Cocuzzo was born on September 17, 1937 in Boston, Massachusetts and raised in a family of enthusiastic amateur musicians. He began playing drums as a small child, later studied extensively, and played in many bands in and around his home town.

In the late 1950s he was residing in Chicago, Illinois where he joined the big band led by Ralph Marterie before moving on to the Woody Herman band. By the early Sixties he worked with Don Ellis, Les and Larry Elgart, Gary McFarland and Tony Bennett. The mid-70s saw Joe returning to Bennett for a five-year engagement, then he was with Harry James before beginning a decade-long spell with Rosemary Clooney.

The subtle skills he displayed with Bennett and Clooney found him in demand as a singer’s accompanist and he also worked with Vic Damone, Julius LaRosa, Susannah McCorkle and Sylvia Syms. Throughout this period and on through the new millennium, Cocuzzo was in frequent demand for recording sessions, appearing on albums by many artists including Buddy De Franco and Dick Sudhalter.

During his time with Clooney Cocuzzo had begun writing song lyrics, and he went on to collaborate with several composers, notably the Brazilian Ivan Lins. A smooth and swinging player, always aware of the subtly supportive role required by many leaders, especially singers, Cocuzzo was a member of New York Swing.

Drummer and songwriter Joe Cocuzzo, who never recorded as a  leader but has 77 recordings as a sideman, died on  July 31, 2008 in New Jersey.

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STANTON MOORE TRIO

Born and raised in New Orleans, Stanton Moore is a dedicated drummer and performer. As a founding member of the Grammy-nominated funk band, Galactic, Moore’s infectious style has allowed him to collaborate with luminaries Irma Thomas, Joss Stone, Tom Morello, George Porter Jr, Dr. Lonnie Smith and the Preservation Hall Jazz Band.

Driven and inspired by the thriving music scene of his hometown, which includes such greats as Professor Longhair, Doctor John, James Black and The Meters, Moore’s name is now mentioned amongst the Big Easy masters. When not touring with his award-winning band Galactic, he plays straight ahead jazz with his trio.

Cover: $35.65

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Requisites

Bird Songs ~ Sphere | By Eddie Carter

Sphere initially came together to celebrate the music of Thelonious Monk; however, the quartet soon expanded its repertoire to include original albums as well. I first heard “I Didn’t Know What Time It Was” on WNOP, Cincinnati’s then-jazz station, and I immediately purchased the album right after work. Listening to it again a few nights ago inspired me to share my thoughts this morning. Bird Songs (Verve Digital 837 032-1), the quartet’s sixth release, is an excellent showcase of the underrated artistry of tenor saxophonist Charlie Rouse. Also on board are Kenny Barron on piano, Buster Williams on bass, and Ben Riley on drums, as the quartet celebrates the legacy of Charlie Parker. My copy of this album is the 1988 U.S. digital stereo release.

Side One opens with the quartet’s introduction and theme to Red Cross. Kenny sparkles with inventive runs and unexpected turns in the opening statement. Charlie follows, paying homage to Bird’s rhythmic playfulness, driven by Buster and Riley’s groundwork into the group’s rousing closing chorus. I Didn’t Know What Time It Was by Richard Rodgers and Lorenz Hart is a beloved jazz standard that was a staple in Parker’s repertoire. Williams and the rhythm section set the scene elegantly. Rouse enters next with a smoky, reflective melody, before taking flight in the first solo. The trio’s brief, tasteful interlude clears the way for Barron’s swinging interpretation. After a second trio interlude nudges the tempo forward, Rouse returns for the reprise, and the song gently fades out with the trio’s subtle touch.

The ensemble moves into Dewey Square next, with the rhythm section’s introduction paving the way for Charlie todeliver the melody. Buster begins the solos with a delightfully spirited walk, then Charlie steps into the second statement with a passionately frisky tone that’s crisp, well-structured and executed vivaciously. Kenny tackles the closing reading with youthful zest that’s right on the beat. Ben adds a concise comment during the theme’s reprise and exit. Moose The Mooche shifts the energy upward to begin Side Two with the quartet’s brisk introduction and theme. Rouse fires off the first solo with an infectiously cheerful solo. Barron leaves a memorable mark in the second reading, then Riley takes the spotlight next with youthful vigor. Barron places a few inserts during the theme’s restatement.

Barbados showcases Parker’s take on the calypso rhythm, infused with a bebop twist. The quartet’s melody is joyous, setting the stage for Charlie’s opening solo, which captures the tune’s Caribbean sunlight. Buster walks with a buoyant swagger next, then Kenny weaves a zesty spell with uplifting confidence. Ben evokes the gentle ebb and flow of island waves, carrying the quartet to the closing chorus. The ensemble’s brisk, buoyant introduction to Ah-Leu-Cha leads to an exuberant melody. Rouse draws on his robust tone and melodic inventiveness in the first solo. Barron opens the following reading with playful fragments derived from the central theme. Williams steps forward last, threading a stream of flawlessly constructed musical thoughts until the quartet reconvenes for the melody’s return and climax.

The album’s closer, Quasimodo, slows the pace one final time, for the group’s medium theme. First up is Kenny, who unfolds his solo gradually, with lines marked by crisp articulation and a deft touch. The baton then passes to Charlie, who enters with a relaxed warmth and expressiveness. He listens and responds to the rhythm section, ahead of the theme’s restatement and finale. Joanne Klein and Sphere produced the album, with Richard Seidel serving as executive producer. Rudy Van Gelder was behind the recording dials, and the album was recorded directly to two-track digital using the Sony 3402 DASH Reel-to-Reel Recorder. The album’s sound quality possesses a superb soundstage that emerges from your speakers as if the musicians are positioned directly in front of your sweet spot.

Bird Songs was the final recording Charlie Rouse made with the quartet, as he sadly passed away from lung cancer eight months later, on November 30, 1988, at the age of 64. The ensemble delivers a tight and cohesive performance throughout, and this is truly one of those thoughtfully crafted sessions that invites listeners to return again and again. For anyone who treasures bebop, I enthusiastically suggest adding Bird Songs by Sphere to your library during your next visit to the record store. The album serves as a stirring homage to Charlie Parker, with four remarkable musicians breathing new life into his legacy, creating an experience rich in pure joy, surprise, and profound artistry!

~ I Didn’t Know What Time It Was – Source: JazzStandards.com

~ Postscript Excerpt: DASH – The Digital Audio Stationary Head standard is a reel-to-reel digital audio tape format introduced by Sony in early 1982 for high-quality multitrack studio recording and mastering, as an alternative to analog recording methods. Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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