Daily Dose Of Jazz…
Warren Daly was born on August 22, 1943 in Sydney, Australia. Early in his career, he visited the United States where he worked with distinguished artists, among them Buddy De Franco.
He co-founder of the Daly-Wilson Big Band with trombonist/arranger Ed Wilson in 1968. In 1975 with corporate sponsorship, the band toured internationally including the Soviet Union. With the band splitting up, Warren formed the Warren Daly Big Band.
In the 1991 Queen’s Birthday Honours, Daly was awarded the Medal of the Order of Australia (OAM) “for service to music as band leader and drummer”.
Drummer Warren Daly continues to perform and record.
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The Jazz Voyager
Hitting the jetway to board yet another plane, this Jazz Voyager is going to be on a fourteen hour flight to Tokyo, Japan. The destination is Blue Note Tokyo and again will stay in the same hotel with the same walk to the club. More exploration of this wonderful city until it is the appointed hour to become part of the audience.
The night promises to be electric as three-time Grammy-winning and six time nominated vocalist Cécile McLorin Salvant who takes the Billboard Critics Poll often will take the mic. The French-American singer has released seven albums and brings her unique style and a band featuring pianist Sullivan Fortner, bassist Yasushi Nakamura and drummer Kyle Poole for a three day residency from Wednesday to Friday.
With a cover of ¥ 8,800 | $59.24, the evening is eagerly anticipated. The Blue Note Tokyo is located at 6 Chome-3-16 Minamiaoyama Minato City 107-0062. For more information contact the venue at https://www.bluenote.co.jp/jp.
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Daily Dose Of Jazz…
Frank Parker was born on August 18, 1919 in New Orleans, Louisiana and began drumming at the start of his career in show business at the age of 5. He gained experience playing with various bands in New Orleans, including The Gin Bandits. He performed as a member of Kid Clayton’s band before relocating to Los Angeles, California. There he hooked up with Teddy Buckner at the Beverly Caverns and the Johnny Otis Band.
Returning home in 1949, Parker played alongside such notables as Fats Domino, Joe Phillips, Roy “Good Rocking” Brown, and Paul Gayten. Nearly ten years later he went on the road with Ray Charles, which was followed up by a spot with the Louis Jordan Band. In 1959 he was back in Los Angeles working with Lou Rawls among others.
By 1970, Parker was working once more on Bourbon Street with Thomas Jefferson, George Finola, Papa French, Santo Pecora, and Wallace Davenport. During his later years, he performed with Laverne Smith at Marriot and Fairmont hotels, toured with One Mo’ Time in 1979, a stage hit about black vaudeville in the early days of jazz. A year later he was playing drums for Percy Humphrey and the Preservation Hall Band.
He ultimately retired in 1990 after suffering a stroke. Just a few months after The Louisiana Jazz Federation presented him with a lifetime achievement award, drummer Frank Parker died on January 23, 2001 in his hometown.
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The Jazz Voyager
Thanks to the fates who had me buy a roundtrip ticket to New York’s JFK to head back into the city for a night at Birdland. The Jazz Voyager will be heading down to the Broadway District for the second set of the Oscar Peterson Centennial Celebration. However, it’s Harlem during the day to hit a couple of favorite spots, wander through the art galleries and see the evolution of the city.
This evening, Grammy-winning bassist John Clayton is joined by pianist Makoto Ozone and drummer Jeff Hamilton in celebration of their friend, colleague and mentor, Oscar Peterson. This is their first ever musical meeting at Birdland and will be performing his catalogue as well as their own compositions and beloved standards.
The cover charge ranges from $45.76 to $56.06 and this night promises to be something special.
Birdland is located at 315 W 44th St, New York, NY 10036. For more information contact the venue at https://www.birdlandjazz.com.
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Requisites
Indestructible! ~ Art Blakey and The Jazz Messengers | By Eddie Carter
For over three decades, Art Blakey made an indelible mark on jazz, both as a dynamic drummer and a visionary band leader. His creative drive propelled The Jazz Messengers to the forefront of the jazz world, earning them international acclaim as one of the genre’s premier ensembles. By 1964, the group was facing a turning point: Wayne Shorter was preparing to leave for the Miles Davis Quintet, and both Cedar Walton and Reggie Workman were set to embark on solo careers. This week’s featured album from the library is Indestructible (Blue Note BLP 4193/BST84193), Blakey’s final session for Blue Note. Intriguingly, the album wasn’t released until 1966, making its debut with a powerful, unforgettable presence.
Art is accompanied by Lee Morgan on trumpet, Curtis Fuller on trombone, Wayne Shorter on tenor sax, Cedar Walton on piano, and Reggie Workman on bass. My copy of the album is the 1985 Toshiba-EMI Limited Japanese stereo reissue utilizing the original catalog number. The Egyptian, by Curtis Fuller, which opens the first side, sets the tone with a relaxed, mid-tempo beat. The trio’s lengthy conversation leads to the front line’s irresistibly catchy melody. Curtis goes to work first, establishing a laid-back mood, then Wayne provides the song’s most dventurous solo, which nearly steals the spotlight. Lee injects a burst of energy into a swinging improvisation next. Finally, Cedar wraps up things with a superb statement, leading to the ensemble’s ending theme and fadeout.
Curtis Fuller’s Sortie opens with a blues-inspired introduction, drawing the ensemble into a smooth, medium-tempo melody. Lee begins the opening solo impressively, then Wayne executes a soulful, down-home statement. Curtis steps in with a lively, toe-tapping reading next, after which Cedar presents his ideas on the final performance perfectly until the group comes to a graceful closing chorus and gentle fade. On the second side, Calling Miss Khadija by Lee Morgan starts with Reggie, Cedar, and Art, setting the lively mood for the track’s vivacious theme. Lee ignites the opening statement with his energetic playing. Wayne continues the momentum with swinging, expressive lines. Curtis then delivers a solo rooted in blues, leading into Cedar’s scintillating reading, followed by Art’s brief but memorable presentation, before the ensemble’s closing chorus softly dissolves.
When Love Is New by Cedar Walton is a gorgeous ballad that begins with the ensemble’s unified introduction, then gives way for Wayne to shape the beautiful melody and a sprightly, breezy lead solo. Lee follows with an easy swing in his tone and a steady sureness until the saxophonist returns to pilot the group back to the closing chorus and a soft summation. Mr. Jin by Wayne Shorter showcases his knack for weaving an intricate, adventurous melody with an
Oriental flavor. Art sets the tone for the ensemble’s precise interplay, then Wayne steps up first with ample room to stretch out on the opening statement. Lee responds to the saxophonist with bright, lively phrases, leading back to the sextet’s theme reprise and the trio’s slow fadeout.
The chemistry among the musicians on Indestructible is truly remarkable. Art Blakey created a space where creativity flourishes and daring improvisation thrives. This approach yields performances with vibrant energy, yet remains disciplined and refined. Every member of the ensemble is given room to shine individually without ever losing their unmistakable coherence. Lee Morgan’s trumpet stands out with vibrant flair, while Curtis Fuller’s trombone adds a rich, soulful layer. Wayne Shorter’s tenor saxophone brings an alluring, mysterious edge. At the heart of the ensemble, Cedar Walton and Reggie Workman provide a steadfast and fluid foundation of rhythms and harmonies, completing what stands as one of the finest incarnations of the Jazz Messengers under Art’s leadership.
Alfred Lion produced the album, and Rudy Van Gelder was behind the recording console. The sound quality of this Toshiba-EMI reissue is absolutely stunning, with a superb soundstage that transports the listener to the studio as the musicians play. If you’re already a fan of Art Blakey and The Jazz Messengers, or simply in the mood for some hard bop to unwind after a long day, I highly recommend checking out Indestructible on your next record-shopping trip. It’s an outstanding album that promises countless hours of rewarding listening. Additionally, as Art Blakey’s swan song for the label and the three departing members, it is sure to be cherished by both newcomers and seasoned fans alike!
© 2025 by Edward Thomas Carter
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