DOMO BRANCH BIG BAND
Domo Branch brings an intentional curiosity to his sets. His versatility on the drums allows him to perform with a range of individualists, from Wynton Marsalis and Dianne Reeves to Taylor Eigsti and Terence Blanchard. Leading his acclaimed ensemble Branchin’ Out, the bi-coastal artist centers improvisation and expansion. Expect a high-energy evening of new music and classic tunes.
Dominick “Domo” Branch, drums/bandleader
Nathaniel Williford, Nicholas Mikhail, Alexandra Ridout, Geoff Gallante, trumpet | Nate Jones, Bruno Tzinas, Jack Kotze, Joe Giordano, trombone | Kevin Oliver Jr., Ginger Meyer, alto saxophone | Birsa Chatterjee, Ben Sherman, tenor saxophone | Jarien Jaminila, baritone saxophone | Ben Collins-Siegel, Dabin Ryu, piano | Jayla Chee, 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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Daily Dose Of Jazz…
Minor Hall was born in Sellers, Louisiana on March 2, 1897 and was the younger brother of Tubby Hall. He studied at New Orleans University until 1914, then began playing with Kid Ory in the middle of the decade. He played in various New Orleans ensembles, including the Superior Band, then moved to Chicago, Illinois in 1918. He briefly took his brother’s spot in Lawrence Duhe’s band before serving in the U.S. Army during World War I. By the time he returned, King Oliver was leading Duhe’s band, which Hall rejoined in 1921.
In 1926 he played with Jimmie Noone, then moved to California for an extended run with Mutt Carey’s Jeffersonians from 1927 to 1932. He played in the Winslow Allen Band during the Thirties, but took a hiatus from music for part of the decade. He served briefly in the Army again in 1942.
In 1945 he rejoined Ory in his Creole Jazz Band, becoming one of his most long standing members. He remained with Ory’s ensemble until 1956, when he retired on account of poor health, having never led his own recording date, though he recorded extensively with Ory and with Louis Armstrong in the 1940s.
Drummer Minor Hall, better known as Ram Hall, died in Sawtelle, California at the age of 61 on October 16, 1959.
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Daily Dose Of Jazz…
William Douglass was born on February 28, 1923 in Sherman, Texas. His extended family relocated to Los Angeles, California when he was six months old in an effort to escape Jim Crow laws. As a member of a musical family he took an early interest in music and when he heard drummer Gene Krupa performing Sing, Sing, Sing on the radio his path was set. He met and befriended Dexter Gordon while attending McKinley Junior High School in Los Angeles, at which point he first began playing drums.
At Jefferson High School, both he and Gordon began taking band under teacher Lloyd Reese, and took private keyboard instructions. Never taking private drum lessons, Bill eventually made the acquaintance of drummer Cozy Cole, who allowed him to watch him practice. What he learned by watching him and other drummers helped him evolve a style of his own.
While still in schoo he, Dexter and Lammar Wright, Jr. he began playing in Central Avenue night clubs. Eventually he began drumming for pianist Gerald Wiggins, along with double bass and tuba player Red Callender, until he and Callender left to form a trio with blind pianist Art Tatum.
In 1941 upon graduating from high school he enlisted in the United States Army and was assigned to the Black 10th Cavalry Regiment at Camp Lockett. This led to his start to seeing the world being stationed in Casablanca, Oran, Algiers, Naples and Rome. During these travels, Bill became drum major of his 28-piece ensemble, a position he attributed to his great height.
Leaving the service he went on to a stint with Benny Goodman, where he was at the time the only black member of the band. Bill eventually became part of the union struggle for integration and equality. Even as a working musician, Douglass expanded into teaching drums at Drum City. Among his students, were Ray Brown, Jr., Karen Carpenter, and Ella Fitzgerald.
Drummer and educator Bill Douglass, who was an active proponent of desegregation in the American Federation of Musicians, died on December 19, 1994.
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Requisites
Free For All ~ Art Blakey and The Jazz Messengers | By Eddie Carter
A few years ago, in a discussion of Miles Davis at Carnegie Hall, I stated that every record collector has a few titles in their library that mean the world to them. Free For All (Blue Note BLP 4170/BST 84170) by Art Blakey and The Jazz Messengers is one of those for me. I’ve listened to it countless times over the years whenever I was down or feeling sad, and it always makes me happy. Art Blakey was not only one of the most energetic drummers in jazz but also the leader of one of the best ensembles for over three decades. His group on this date had been together for three years: Freddie Hubbard on trumpet, Curtis Fuller on trombone, Wayne Shorter on tenor sax, Cedar Walton on piano, and Reginald Workman on bass. Free For All initially hit the stores in 1965, and my copy is the 1984 Pathé Marconi French Stereo reissue, sharing the original catalog number.
The title tune, Free For All by Wayne Shorter, starts briskly with the rhythm section’s introduction to the sextet’s aggressive theme. Wayne is up first and swings fiercely in a heated interpretation; then Curtis follows with a vigorously energetic solo. Lee takes over to give a high-octane reading, and Art adds an explosively swinging finale preceding the group’s rousing climax. Wayne Shorter’s Hammer Head slows the beat down to mid-tempo for the ensemble’s leisurely-paced melody. Shorter starts things off with a relaxing interpretation, and then Hubbard treats the listener to an exquisitely beautiful solo. Fuller follows with an excellent reading next, and Walton has the final say before the sextet returns to take the song out.
The Core by Freddie Hubbard is his tribute to the organization CORE (Congress of Racial Equality). It opens with the trio’s introduction ahead of the ensemble’s spirited melody. Wayne launches the first solo like a rocket soaring skyward. Freddie turns up the heat next; then Curtis seamlessly weaves his way through the third interpretation like a flow of electricity. Cedar offers the final adrenaline rush into the sextet’s theme reprise and the trio’s fadeout. Clare Fisher’s Pensativa is a beautiful ballad that Freddie arranged for this date. The group begins in a relaxed groove, setting the stage for Hubbard’s gorgeous opening solo. Shorter expresses so many feelings in the second statement; then Walton’s reading is a delight to hear until the theme returns and the rhythm section dissolves slowly into nothingness.
Alfred Lion produced Free For All, and Rudy Van Gelder was the recording engineer. The front cover displays a Mono catalog number, but this album is a Stereo release. The sound quality on this Pathé Marconi reissue has an amazing soundstage that brings the sextet to your listening room with stunning fidelity. Art Blakey worked with some of the best musicians during his lifetime, and The Jazz Messengers were the springboard for dozens of careers. He was one of the great teachers, and the music his groups made still brings pleasure to jazz fans worldwide. If you’re in the mood for an album that still sounds as fresh as the day it was released, I invite you to check out Free For All by Art Blakey and The Jazz Messengers the next time you’re out record shopping. It’s a great starting point to explore their comprehensive discography and an album filled with energy and fire that’s as good as it gets for those who enjoy hard bop!
~ Miles Davis at Carnegie Hall (Columbia CL 1612/CS 8612) – Source: Discogs.com © 2024 by Edward Thomas Carter
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