Daily Dose Of Jazz…

John Robichaux: The Forgotten King of New Orleans Dance Bands
Before there was Louis Armstrong, before jazz became the word on everyone’s lips, there was John Robichaux—a Creole musician born January 16, 1866, in Thibodaux, Louisiana, who quietly ruled New Orleans’ dance scene for nearly half a century.

A Multi-Instrumentalist’s Rise
Picture a young man learning brass bass, alto saxophone, and drums, then maturing into a 25-year-old bass drummer with the prestigious Excelsior Brass Band—one of New Orleans’ most respected musical institutions. But Robichaux wasn’t content to simply keep the beat. From 1892 to 1903, while still performing with the Excelsior, he was simultaneously leading his own ensembles and adding violin to his growing arsenal of instruments. The man believed in keeping busy.

The Bandleader New Orleans Trusted
Here’s what makes his story remarkable: Robichaux’s bands weren’t just popular—they were the bands to hire if you wanted class, precision, and professionalism. At one point in 1913, he was conducting a staggering 36-piece orchestra. Imagine coordinating that many musicians in the early 20th century, long before modern amplification or recording technology!

His reputation attracted New Orleans’ finest musicians—legends like guitarist Bud Scott, clarinetist Lorenzo Tio Jr., and cornetist Manuel Perez all played under his baton. When you could attract that caliber of talent, you weren’t just running a band—you were running an institution.

Forty-Six Years at the Top
For an astonishing 46 years, Robichaux was the most continuously active dance bandleader in New Orleans. Forty-six years! That’s longer than most entire careers, a testament to both his musical excellence and his business acumen in an incredibly competitive city.

When History Changed the Game
But history has a way of complicating even the greatest success stories. When Louisiana’s Black Code amendment passed in 1894, it reclassified Creoles of color, throwing Robichaux’s refined Creole orchestras into direct competition with the grittier Uptown Negro bands that played a rawer, more improvisational style. The musical landscape was shifting beneath his feet, gradually eroding the dominance he’d worked decades to build.

A Prolific Legacy
Still, Robichaux persisted with remarkable productivity. Over his career, he composed more than 350 songs and orchestral arrangements—a staggering output that speaks to both his creativity and work ethic. He remained primarily in New Orleans, occasionally touring with the traveling musical revue One Mo’ Time, but always returning to the city that made him.

The Bridge Between Eras
When John Robichaux died of natural causes in 1939, an entire era of New Orleans music died with him. He represents a crucial bridge between the city’s formal, European-influenced dance orchestras and the raw, revolutionary jazz that would soon conquer the world. His bands were where young musicians learned discipline, arrangement, and professionalism before they went off to create something entirely new.

History remembers the revolutionaries, but it often forgets the masters who created the foundation upon which revolutions are built. John Robichaux deserves better than footnote status—he deserves recognition as one of the architects of New Orleans’ musical golden age.

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Daily Dose Of Jazz…

Dave Weckl: The Drummer Who Redefined Fusion
Born on January 8, 1960, in St. Charles, Missouri, Dave Weckl discovered his calling early. During his years at Francis Howell High School, he was already making heads turn behind the drum kit. His passion led him to the University of Bridgeport in Connecticut, where he immersed himself in jazz studies and refined the technical prowess that would soon make him one of the most sought-after drummers in the world.

Conquering the Big Apple
Fresh out of college, Weckl plunged into New York City’s electric fusion scene—and the city immediately took notice. His combination of precision, power, and musicality quickly caught the attention of major artists. Before long, he was laying down grooves for an eclectic mix of superstars: Paul Simon, Madonna, George Benson, Michel Camilo, Robert Plant, and bassist Anthony Jackson. Each collaboration showcased a different facet of his versatility.

The Chick Corea Years
Weckl’s profile skyrocketed when he joined forces with keyboard legend Chick Corea in 1985. Over the next seven years, he became an integral voice in both Corea’s groundbreaking Elektric Band and the more intimate Akoustic Band. These weren’t just gigs—they were masterclasses in contemporary jazz fusion that cemented Weckl’s reputation as a drummer’s drummer.

During this prolific period, Weckl somehow found time to maintain a busy session schedule, appear with the star-studded GRP All-Star Big Band, and record four albums with the Manhattan Jazz Quintet. His calendar was a testament to both his work ethic and his universal appeal.

Finding His Own Voice
After departing from Corea’s band in the early 1990s, Weckl embarked on new adventures—recording and touring with the brilliant guitarist Mike Stern while simultaneously launching his solo career. Since 1990, he has released ten albums as a leader, seven of them featuring his own Dave Weckl Band, each one pushing the boundaries of contemporary jazz and fusion.

Evolution and Education
Never content to rest on his laurels, Weckl has also shared his knowledge through a popular series of instructional videos that have influenced countless aspiring drummers. But perhaps his most dramatic transformation came around 1996, when his studies with the legendary teacher Freddie Gruber prompted a radical reimagining of both his playing style and drum setup—proof that even masters never stop learning.

Still Behind the Kit
Today, Dave Weckl continues to perform, record, and tour, bringing his distinctive blend of technical brilliance and musical sensitivity to audiences around the world. For anyone who loves the sound of perfectly executed rhythm married to genuine artistry, a Dave Weckl performance remains an essential experience.

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JUSTICE MICHAEL

Drummer, producing and composing Justice Michael hits the stage with special guest Just grooving Band & DJ at TenAtl. Audiences are blown away by the rhythmic sounds that emit from this drummer, who makes his drum set seem like a natural extension of his limbs. Justice is known for his effortless deep pocket mixed with his own creative flare that hypnotizes  the crowd.  When he plays, it’s as simple as walking and talking to Justice.

Twenty two year old Justice graduated from the University of Miami’s Frost School of Music, with a Bachelor’s degree in Music.  His major was Musicianship, Artistry Development, and Entrepreneurship (M.A.D.E.) with a minor in Music Business and Entertainment Industry.

He won Amateur Night at the Apollo on three separate occasions.  Since then, Justice has been seen with his band, Anonymous DaBand, opening for jazz superstars such as Najee, Chrisette Michele, Pieces of a Dream, Bobby Caldwell, Lalah Hathaway and many more. With his growing experiences, Justice has become known in the drumming industry.  He has performed at the 2024 Atlanta Jazz Festival and recently secured endorsements with Amedia Cymbals, and Prentice Practice Pads.

Cover: $15.00 ~ Early Bird Until 1.12 | $20.00 ~ Week Of Tickets

CashApp: $justicemmusic | Venmo: @justicemmusic

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Daily Dose Of Jazz…

Jerry Granelli was born Gerald John Granelli on December 30, 1940 in the Mission District of San Francisco, California. Both his father and uncle played the drums and were passionate about jazz. He initially learned the violin for a year, before switching to drums. He spent a day with drummer Gene Krupa in 1948 and hanging out at the Blackhawk and Jimbo’s Bop City soaking in Ellington, Miles, Monk and Max Roach eventually led to him studying with Dave Brubeck drummer Joe Morello.

After two years with Morello he became a highly sought-after session player, Jerry eventually started playing, recording and touring with the Vince Guaraldi Band. He provides the unmistakable steady swing beats for the classic Charlie Brown “Peanuts” theme song.

In the Sixties he moved on to the Denny Zeitlin Trio with bassist Charlie Haden. A hugely successful recording and touring band, they tied with Miles Davis for Group of the Year in Downbeat magazine’s Critics and Readers Poll in 1965. Throughout the decade he performed with Jimmy Witherspoon, Mose Allison, Lou Rawls, John Handy, Sonny Stitt, Sly Stone, Ornette Coleman and Dewey Redman. His free-form improvisational trio held down the opening slot for comedian Lenny Bruce for three months in 1963, and shared bills with Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.

From the mid-70s through the 90s he focused on teaching, first at the Naropa Institute in Boulder, Colorado and then Seattle Washington’s Cornish Institute, the Conservatory in Halifax, Nova Scotia and the Hochschule der Kunst in Berlin, Germany.

During the 80s he toured and recorded in a trio with Ralph Towner and Gary Peacock, and began recording his own projects. From the Nineties until his death, Granelli lived in Halifax and became a Canadian citizen in 1999. In 2010, he released his first solo album, 1313, toured jazz festivals and theaters with his show Tales of a Charlie Brown Christmas, which retold how the Charlie Brown Christmas TV special almost never came to be.

Suffering from a fall in December 2020 that resulted in internal bleeding, he spent three months recuperating in an intensive care unit before being discharged. He died seven months later at the age of 89 on the morning of July 20, 2021, at his home in Halifax.

CALIFORNIA JAZZ FOUNDATION

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Requisites

Wheelin’ & Dealin’ ~ Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor | By Eddie Carter

This morning’s album from the library is an excellent 1957 jam session by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor. Wheelin’ & Dealin’ (Prestige PRLP 7131) is an outstanding album featuring an impressive team of musicians. The ensemble consists of John Coltrane and Paul Quinichette on tenor saxophones, Frank Wess on flute (tracks: A1, B1, B2) and tenor saxophone (track: A2), Mal Waldron on piano, Doug Watkins on bass, and Arthur Taylor on drums. The copy of this album that I own is the 2025 Worldwide Stereo audiophile reissue (Craft Recordings CR00862).

The album opens with Things Ain’t What They Used To Be by Mercer Ellington and Ted Parsons. Frank’s flute sets a welcoming tone for the sextet’s laid-back melody before moving into a relaxing first solo. Paul soars with graceful ease, then John follows him effortlessly with a mellow reading, then the saxophones revisit the sequence. Mal responds with a breezy interpretation, and Doug takes a quick walk, leading to the closing chorus. Wheelin’ by Mal Waldron takes off with the ensemble’s spirited theme. Coltrane leads the way with an energetic statement. Quinichette lets loose next, then Wess wails on the tenor saxophone. Waldron delivers a lengthy, vigorous performance. Taylor adds a brief footnote that leads to the ensemble reprising the theme and a rousing finish.

Side Two opens with Robbins’ Nest by Illinois Jacquet, Bob Russell, and Sir Charles Thompson, a tribute to DJ Fred Robbins. Frank, returning on flute, gently guides the ensemble through the melody, then enters like a cool breeze for the first solo. Paul then offers some down-home cooking; John makes every note count in a relaxed interpretation. Mal then keeps the mood easygoing, and Doug takes a brief walk before the closing ensemble. Mal Waldron’s Dealin’ starts with the sextet’s collective melody; Waldron leads with an inviting opening solo. Wess, on flute, produces a warm, fluid sound. Quinichette steps in for a few relaxing choruses, then Coltrane flows with fresh, creative ideas. Wess makes a short return on tenor sax, and Waldron has the last word before the group reunites to close the set.

The dynamic combination of Coltrane and Quinichette on tenor saxophones infuses the sextet with vibrant energy, establishing an engaging lead voice for the group. Coltrane, poised on the threshold of stardom, plays with deep emotion and a sense of adventurousness, while Quinichette’s silky, relaxed approach pays homage to Lester Young’s signature sound. Frank Wess further elevates the ensemble’s texture, seamlessly alternating between flute and tenor sax; his flute contributions, in particular, bring a light, breezy quality to the arrangements. Supporting them, the rhythm section of Waldron, Watkins, and Taylor lays down a consistent, swinging foundation, artfully mixing delicacy with spirited drive to enhance each soloist’s performance throughout the album.

Bob Weinstock supervised the first session, and Rudy Van Gelder was at the recording console. Kevin Gray did an excellent job mastering this audiophile reissue from the original tapes at Cohearant Audio. The sound quality truly shines, offering a spacious soundstage and vibrant clarity that makes you feel like the musicians are right in front of you. The record is pressed on 180-gram Virgin Vinyl and is silent until the music begins. If you’re craving a fantastic Hard-Bop album, I highly recommend checking out Wheelin’ & Dealin’ by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, and Arthur Taylor on your next record-shopping trip. It’s an outstanding album by the talented group that later became The Prestige All-Stars, and I believe it will become a beloved favorite in the libraries of both new and seasoned jazz fans for many years to come!

Things Ain’t What They Used To Be – Source: JazzStandards.com © 2025 by Edward Thomas Carter

Wheelin’ & Dealin’: 1957 | Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, Arthur Taylor

For the serious collector of jazz… #Jazz #Classic #Collectible #Music #Notorious

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