Daily Dose Of Jazz…
Alphonse “Al” Goyens was born October 1, 1920 in Wetteren, Belgium. He took piano lessons as a child but abandoned them at the age of twelve. In 1936, he bought a trumpet and began playing music again, teaching himself and playing with amateur bands. Completing a degree in industrial engineering, he was interned in Germany at the outbreak of the war and had to stop playing. Starting again he played too intensely, which paralyzed his lips, but overcame this situation through careful practice.
His return from captivity saw him a member of orchestras led by Henri Van Bemst and Jean Omer, making his first recordings with the latter. He then joined the orchestra of Léo Souris who played for the American army in Germany. Returning to Belgium, Al joined other musicians to form the Orchestre régulier du Cosmopolite , which gave him the opportunity to perform with major names of the jazz scene who were guests in Brussels.
In 1949 he and his orchestra again toured for the US Army, performing in Germany, the Azores, and the USA. Goyens led his orchestra for nearly a decade from 1949 featuring Jacques Pelzer, Bobby Jaspar, Francy Boland, Jean Warland, Freddy Rottier, and occasionally Don Byas and Kenny Clarke.
Once again he went on to work for the US Armed Forces and later with an international orchestra in Spain and the United States. Al later arranged and played in the Brussels Big Band. His favorite trumpeters were Clifford Brown, Dizzy Gillespie, and Clark Terry but his playing was more reminiscent of Harry Edison.
Trumpeter, arranger and orchestra leader Al Goyen played flugelhorn, and bugle, who never recorded as a leader, appreciated the sound of the muted trumpet, died on January 30/31, 2008 in Forest/Vorst, Belgium.
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Requisites
Focus ~ Bill Hardman | By Eddie Carter
This morning’s discussion is a terrific album by Bill Hardman. Focus (Muse Records MR 5259) is his fourth release as a leader, and a hidden gem in his catalog. Bill was born and raised in Cleveland, Ohio, where his jazz journey began playing with Tadd Dameron while in high school, and after graduating, with Tiny Bradshaw. His first recording with Jackie McLean in 1956 marked the beginning of a career that, although not widely known, earned deep respect in jazz circles for his exceptional trumpet and flugelhorn performances. On this album, Bill’s trumpet is joined by Slide Hampton on trombone (tracks: A2, A3, B1, B3), Junior Cook on tenor sax, Walter Bishop Jr. on piano, Mark Elf on guitar (B2), Stafford James on bass, and Leroy Williams on drums. My copy is the 1980 U.S. stereo release.
Side One is off to the races with Avila & Tequila by Hank Mobley. Leroy opens with a spirited introduction, accompanied by Walter and Stafford, setting the stage for the ensemble’s collective theme. Bill soars through the opening solo energetically. Junior’s following statement is brimming with dynamic energy. Walter maintains the vigorous momentum next, and Leroy charges the finale in a short workout, culminating in the theme’s reprise and fadeout. The sextet eases into the medium melody of Cubicle by Walter Bishop Jr. Bill gets into a good groove on the lead solo. Slide has an outstanding moment before Junior takes over to put his ideas into practice. Walter wraps it up before the restatement and exit.
Up next is Bill Lee’s Too Little, Too Late. The sextet’s medium-tempo introduction and melody start things off. Bill gets things going with a relaxing interpretation, then Slide moves with unhampered ease in the following solo. Junior jumps into a short, articulate statement next, and Walter wraps things up with a satisfying conclusion, preceding the closing chorus. The title tune, Focus by Tadd Dameron, changes the direction to begin the second side with the ensemble’s upbeat introduction and theme in unison. Slide steps up first to give a lively solo. Junior glides over the rhythm section with agility and skillful confidence next, then Bill attacks the following reading with virile lyricism. Walter continues conveying happy thoughts on the piano, and Stafford takes a short walk leading to the ending theme.
My One and Only Love by Robert Mellin and Guy Wood begins with Walter’s introduction, setting the mood for Bill’s tender melody with Junior shadowing him as it unfolds. Junior tells a touching story in the opening statement, then Mark delivers notes of great beauty in his only solo spotlight. Bill follows with a passionately haunting interpretation preceding his return to the gentle ending theme and soft climax. Minority by Basheer Qusim takes off like a race car with Leroy leading the sextet into a speedy melody. Bill goes to work first with a spirited solo, then Junior cooks at the right temperature. Slide infuses the following reading with riveting urgency. Walter builds the following statement exquisitely, and Leroy shines in a short workout before the melody’s restatement and finale.
Fred Seibert produced Focus, and the recording engineer was Fred Miller. The album is a joy to listen to, with a superb soundstage that brings the musicians to the sweet spot in your listening room with stunning fidelity. Bill Hardman recorded only five albums as a leader, but his discography as a sideman is extensive, including with Art Blakey and The Jazz Messengers, Lou Donaldson, Charles Mingus, and Horace Silver. He also co-led a group with Junior Cook but ultimately remained little known to the general public. He died on December 6, 1990, from a brain hemorrhage at age fifty-seven. If you’re a hard bop fan, I invite you to check out Focus by Bill Hardman on your next vinyl hunt. It’ll reward you with many hours of listening pleasure, especially if you’re a fan of jazz trumpet!
~ Jackie’s Pal (Prestige PRLP 7068) – Source: Discogs.com
~My One and Only Love – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Matt Lavelle was born on April 11, 1970 in Paterson, New Jersey and began his music career with Hildred Humphries, a swing era veteran who played with Count Basie and Billie Holiday.
Playing in ensembles led by Sabir Mateen since 2002, three years later Matt began study with Ornette Coleman. He has been a member of the Bern Nix Quartet since 2010 and recorded with Giuseppi Logan the same year.
In 2011 he created the 12 Houses Orchestra. Lavelle is also a visual artist inspired by his Grandfather Fritz Kluber. He is author of the Substack No Sound Left Behind. Matt published a book titled New York City Subway Drama and Beyond, in 2011. In 2013 he published a short story titled The Jazz Musician’s Tarot Deck.
He has recorded nineteen albums as a leader, and another forty-five as a sideman with Nix and Logan as well as Sumari, Eye Contact, Daniel Carter, Bern Nix, Giuseppi Logan, Matana Roberts, William Hooker, Francois Grillot, Steve Swell, Sabir Mateen, Ras Moshe, Assif Tsahar, William Parker, Charles Waters, Barry Chabala, Earth People, Allen Lowe, D3, Julie Lyon, Tom Cabrera, The Cooperative Sound, Stars Like Fleas, Eric Plaks, and Pete Dennis.
Trumpeter Matt Lavelle, who also plays flugelhorn, alto and bass clarinet, continues to perform, record and tour.
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Daily Dose Of Jazz…
Herbert Joos was born on March 21, 1940 in Karlsruhe, Germany. He learned trumpet first by self-study and then by a private teacher. He studied double bass from 1958, but then turned to flugelhorn, baritone horn, mellophone, and alphorn.
Since the mid-1960s, he has been a member of Modern Jazz Quintet Karlsruhe, from which the group Fourmenonly was created with Wilfried Eichhorn and Rudolf Theilmann. Afterward, he was a member of various modern and free jazz formations with Bernd Konrad, Hans Koller, Adelhard Roidinger and Jürgen Wuchner among others. He played at festivals and in the Free Jazz Meeting Baden-Baden of the SWF at a flugelhorn workshop with Kenny Wheeler, Ian Carr, Harry Beckett and Ack van Rooyen and made a name for himself with his solo recording, The Philosophy of the Flugelhorn in 1973.
He led his own wind trio, quartet and orchestra. He achieved more recognition in the 1980s as a member of the Vienna Art Orchestra, which he influenced. Since the 1990s he has participated in the SüdPool project. He has appeared as a duo with Frank Kuruc as well as in Patrick Bebelaar’s groups, for Michel Godard, Wolfgang Puschnig, Clemens Salesny and Peter Schindler. He also played with the Orchestre National de France.
In 2017, he was awarded the Jazzpreis Baden-Württemberg for his life’s work. Instead of a speech after the laudations, he thanked in a short phrase, and played a concert with a sixteen piece orchestra.
Herbert Joos, who produced drawings, book illustrations and paintings, died on December 7, 2019 after surgery in a Baden-Baden, Germany hospital.
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Daily Dose Of Jazz…
Bobby Carcassés was born on August 29, 1938 in Kingston Jamaica where his Cuban grandfather worked as a diplomat. Upon moving to Villa Clara, Cuba at the age of four he grew up surrounded by Cuban rhythms, listening to Benny Moré, Conjunto Casino & Roberto Faz. He acquired a love for an eclectic spectrum of music from the opera star Enrico Carusso and Mexico’s Jorge Negrete to jazz royalty Sarah Vaughan, Buddy Rich and Stan Getz.
By the 1950’s he was involved with some of the best vocal quartets in Cuba and while playing for many years at The Tropicana the center of Cuban Jazz, he began to experiment with bebop and scat vocals. During the Sixties he traveled to Europe, spending a year in Paris where he played with Kenny Clarke and Bud Powell.
Returning to Cuba he worked in the Teatro Musical where he met three of the future founders of Irakere: Chucho Valdes, Carlos Emilio Morales and Paquito D’ Rivera. Over the next ten years he played in the best night clubs in Havana, Cuba as well as acting in Cuban cinema, Tv and essentially starting to form his own Jazz group.
In 1980 he organized the first Jazz Plaza Festival in Havana, inviting Dizzy Gillespie, Ronnie Scott, Charlie Haden, Airto Moreira, Tania Maria, Steve Coleman and many others. After his own group played these festivals. he traveled to Canada, England, France and the USA where he performed with Tito Puente, Eddie Palmieri, Patato Valdés and many others on the Latin Jazz scene.
Trumpeter Bobby Carcassés, who also plays piano, bass, percussion, and flugelhorn, as well as writing his own pieces, continues to perform, record and create art that has been exhibited globally.
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