ALLAN HARRIS BAND
The musical odyssey of Allan Harris visits a wide range of influences, including swinging jazz, rich R&B, sumptuous balladry, wailing rock, rumbling blues and even a playful touch of Brazilian music.
With a deeply resonant baritone/tenor voice that is soulful, richly expressive and flawless in both intonation and phrasing, Harris displays a total command and fluency while on stage.
Show Times: 7:00 pm & 9:30 pm
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DJANGO FESTIVAL ALL~STARS
Hot Gypsy Jazz
The Django Festival Allstars, from France, tour the US 2x a year, playing at America’s top halls and clubs including Carnegie Hall and Rose Hall. The Allstars have performed at SF Jazz, Newport Jazz Festival, Montreal Festival, Kennedy Center, Aspen, Taos, Vale, and Moody Festivals, and Birdland for 22 years, all to great acclaim!
Django’s unmistakable cool and jumpin’ jole de vivre have made him an icon for an unlikely range of luminaries from Carlos Santana to Eric Clapton, guitar greats! Jimi Hendrix named his “big band of gypsies” in tribute, and Willie Nelson adopted his influence in “country-swing.”
The Django Festival Allstars, have grown into a brilliantly cohesive group of star musicians who’ve taken America by storm, performing at top concert halls and festivals to standing ovations. The Django Festival Allstars bring this music to ‘today’ combining known standards and original music… intoxicating!
Show Times: 7:00 pm & 9:30 pm
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JOE FARNSWORTH/MARK WHITFIELD TIME TO SWING QUARTET
Joe Farnsworth/Mark Whitfield TIME TO SWING Quartet
One of the most highly regarded jazz drummers on the scene today, Joe Farnsworth is known for his blazing speed, precision, musical, and melodic playing.
Joe Farnsworth~drums,
Mark Whitfield~guitar,
Peter Washington~bass
Julius Rodriguez~piano
Streaming Pass ~ $10.00
Shows: 7:30 & 10:00 pm each night
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Requisites
Blue Lights, Volume 1 ~ Kenny Burrell | By Eddie Carter
I became a fan of guitarist Kenny Burrell at an early age, enjoying him on Houseparty (1958), The Sermon (1959), Midnight Special (1961), Back At The Chicken Shack (1963), Organ Grinder’s Swing (1965), All Day Long, and All Night Long (1957), and Steamin’ (1963). He steps into the spotlight this morning with a superb 1958 album, Blue Lights, Volume 1 (Blue Note BLP 1596/BST 81596). It’s a straight-ahead blowing session anchored by a superlative supporting cast, Louis Smith on trumpet, Tina Brooks, Junior Cook (tracks: A1, A2, B2) on tenor sax, Duke Jordan (tracks: A1, A2), Bobby Timmons (tracks: B1, B2) on piano, Sam Jones on bass, and Art Blakey on drums. My copy used in this report is the 1996 Toshiba-EMI Limited Japanese Mono reissue sharing the original catalog number.
Side One begins with Yes Baby, an easy-going blues by Kenny Burrell. The sextet’s relaxing melody gets things off to a good start. Kenny goes to work first with a solo as smooth as satin, then Tina comes in for a deliciously mellow statement. Louis takes a carefree drive next, followed by Junior and Duke who gather good notes during their turns. Sam delivers the payoff by walking leisurely into the ensemble’s slow fading closing chorus. Scotch Blues by Duke Jordan gives the group an extremely fun tune to play with a Scottish flavor in the opening and ending theme. The solo order is Burrell, Brooks, Smith, Cook, Jordan, and Blakey. Each musician develops their readings cheerfully sustained by the rhythm section’s infectiously laid-back vibe.
Autumn In New York by Vernon Duke starts Side Two offering Burrell in a quartet setting with Bobby Timmons taking over the piano duties. Kenny begins with a brief solo introduction that evolves into the ensemble’s attractive melody. Burrell is the song’s only soloist and presents a beautifully elegant reading ahead of the quartet’s thoughtfully polite ending. The album concludes with Caravan, an uptempo swinger by Duke Ellington, Irving Mills, and Juan Tizol. It begins briskly with the opening chorus. Smith is off to the races quickly, then Cook and Brooks follow with two examples of splendid solo work. Burrell simply sizzles on the next reading ahead of Timmons’ fingers flying over the keys. Blakey has the last word preceding the sextet’s reprise and disappearance in a fadeout.
Blue Lights, Volume 1 was produced by Alfred Lion and Rudy Van Gelder was the recording engineer. Toshiba-EMI Limited has done a wonderful job with this reissue’s remastering. The soundstage is stunning, and the musicians jump out of your speakers as if they’re playing in front of you. The vinyl is also flat and silent until the music starts. Kenny Burrell is one of those rare musicians who play with a distinctive blend of explosive and punchy rhythms. His discography as a leader and sideman is extensive and his career has lasted seven decades. Here, he’s completely at ease and perfectly at home playing the blues. If you’re a fan of jazz guitar and only know his album, Midnight Blue, I invite you to check out Blue Lights, Volume 1 by Kenny Burrell. It’s an album of great jazz that doesn’t disappoint, and I’ve already added its companion, Blue Lights, Volume 2 to my Want and Wishlist!
~ All Day Long (Prestige PRLP 7081/PRST 7277), All Night Long (Prestige PRLP 7073/PRST 7289), Back At The Chicken Shack (Blue Note BLP 4117/BST 84117), Blue Lights, Volume 2 (Blue Note BLP 1597/BST 81597), Houseparty (Blue Note BLP 4002/BST 84002), Midnight Blue (Blue Note BLP 4123/BST 84123), Midnight Special (Blue Note BLP 4078/BST 84078), Organ Grinder’s Swing (Verve Records V-8628/V6-8628), Steamin’ (Prestige PRLP 7278/PRST 7278), The Sermon (Blue Note BLP 4011/BST 84011) – Source: Discogs.com ~ Autumn In New York, Caravan – Source: Discogs.com © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
James Archibald McLin was born in Brooksville, Florida on June 26, 1908. He started on piano before picking up the banjo, then later the guitar. He played locally in Florida before relocating to New York City in 1928. He played both guitar and banjo in the early 1930s for James P. Johnson, Ward Pinkett, and Roy Eldridge.
Later in the decade he recorded with Willie “The Lion” Smith, Buster Bailey, Midge Williams, and Billie Holiday. In the early 1940s he worked with Sidney Bechet, Dave Nelson, and Claude Hopkins, then played trombone and mellophone in a military band while serving in the United States Navy during World War II. After his discharge he worked again with Hopkins and played guitar for The Ink Spots.
Banjoist and guitarist Jimmy McLin transitioned on December 15, 1983 in St. Petersburg, Florida.