Daily Dose Of Jazz…
Red Balaban was born Leonard Balaban on December 22, 1929 in Chicago, Illinois. Moving the family to New York, he completed his early education at the Ethical Culture School. After graduating from Milford Academy in Connecticut, he graduated from Brown University.
Moving south to the panhandle, he raised breeding cattle on a farm in Bonifay, Florida and as a musician, he was a sideman, bandleader, and club owner. He played in regional ensembles from the 1950s, Red went on to hold a regular gig from 1966 at the Dixieland jazz club Your Father’s Mustache in New York City.
Balaban worked extensively as a sideman, for musicians such as Wild Bill Davison, Eddie Condon, Gene Krupa, Dick Wellstood, and Kenny Davern. He co-led Eddie Condon’s house band with Ed Polcer from 1975, and noted musicians in this outfit included Vic Dickenson, Warren Vache, and Connie Kay, before the club closed in the mid-1980s.
Tubist and sousaphonist Red Balaban, who also played banjo, stand-up bass, slide trombone, ukulele, and rhythm guitar, passed away after a brief illness seven days past his 84th birthday on December 29, 2013 in Milford, Connecticut.
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Daily Dose Of Jazz…
Skeeter Best was born Clifton Best was born on November 20, 1914 in Kinston, North Carolina. From 1935 to 1940 he played in Philadelphia, Pennsylvania recording with Slim Marshall and Erskine Hawkins. In 1940, he joined the Earl Hines Orchestra, playing with him until he joined the U.S. Navy in 1942.
After his Naval discharge, he played with Bill Johnson from 1945 to 1949. He toured East Asia with Oscar Pettiford in 1951 and 1952, forming his own trio in during the decade. He did a critically acclaimed session with Ray Charles and Milt Jackson in 1957 called Soul Brothers.
In 1958, he recorded with Mercer Ellington and taught in New York City. He also recorded with Harry Belafonte, Etta Jones, Nellie Lutcher, Milt Hinton, Osie Johnson, Paul Quinichette, Jimmy Rushing, Sonny Stitt, Charles Thompson, and Lucky Thompson.
From 1959 to 1980 he recorded twenty-six albums as a sideman with Eugenie Baird, Aretha Franklin, Bennie Green & Paul Quinichette, Lionel Hampton, Erskine Hawkins, Earl Hines, Marva Josie, Mahalia Jackson, Milt Jackson, Ray Charles, Etta Jones, Frankie Laine, Buck Clayton, Ellis Larkins, Howard McGhee, The Modern Jazz Sextet, Mel Powell, Ike Quebec, Freddie Roach, Jimmy Rushing, Charles Thompson, Lucky Thompson, Cootie Williams. Guitarist Skeeter Best passed away on May 27, 1985, New York City.
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Daily Dose Of Jazz…
Luiz Floriano Bonfá was born on October 17, 1922 in Rio de Janeiro, Brazil. He studied with Uruguayan classical guitarist Isaías Sávio from the age of 11 and these weekly lessons entailed a long, harsh commute by train, 2 1/2 hours one way and on foot from his family home in Santa Cruz. Given his extraordinary dedication and talent for the guitar, Sávio excused the youngster’s inability to pay for his lessons.
He first gained widespread exposure in Brazil in 1947 when he was featured on Rio’s Rádio Nacional, then an important showcase for up-and-coming talent. In the late 1940s Bonfá was a member of the vocal group Quitandinha Serenaders. Some of his earliest compositions such as Ranchinho de Palha, O Vento Não Sabe, were recorded and performed by Brazilian crooner Dick Farney in the 1950s and his first hit song was De Cigarro em Cigarro recorded by Nora Ney in 1957.
Farney introduced Luiz to Antônio Carlos Jobim and Vinicius de Moraes, the leading songwriting team behind the worldwide explosion of Bossa Nova. He collaborated with them on de Moraes’ anthological play Orfeu da Conceição, which several years later gave origin to Marcel Camus’ film Black Orpheus. For the film he wrote Samba de Orfeu and Manhã de Carnaval, the latter of which Carl Sigman wrote English lyrics and titled the song A Day in the Life of a Fool, which has been among the top ten standards played worldwide, according to The Guinness Book of World Records.
As a composer and performer, Bonfá was at heart an exponent of the bold, lyrical, lushly orchestrated, and emotionally charged samba-canção style that became a highly visible ambassador of Brazilian music in the United States beginning with the famous November 1962 Bossa Nova concert at New York’s Carnegie Hall.
Bonfá worked with American musicians such as Quincy Jones, George Benson, Stan Getz, and Frank Sinatra, recording several albums while in U.S. Also of note is his “The Gentle Rain”, with lyrics by Matt Dubey, and “Sambolero”.
Composer and guitarist Luiz Bonfá, who recorded some five dozen albums, passed away from prostate cancer at 78 in Rio de Janeiro on January 12, 2001.
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Requisites
Big Blues ~ Art Farmer & Jim Hall | By Eddie Carter
This next choice from the library I acquired after hearing a selection on SiriusXM’s Real Jazz channel. The album is titled Big Blues (CTI Records CTI 7083), released in 1979 and the two men co-leading this enjoyable date are Art Farmer on flugelhorn and Jim Hall on guitar. Rounding out the ensemble are Mike Mainieri on vibes, Mike Moore on bass, and Steve Gadd on drums. My copy used in this report is the 2017 ORG Music Stereo Audiophile reissue (ORGM-2019).
The song that initially sparked my interest leads off the first side, Benny Golson’s 1956 contemporary jazz classic, Whisper Not! It’s one of his most recorded compositions and also became a beloved vocal after Leonard Feather added lyrics in 1962. The quintet jointly creates a mellow melody with a blues beat to begin the song. Jim makes his guitar sing first with a relaxed casualness and steady rhythm. Art gets into an infectious laid-back groove next moving upward with bright chops and impeccable prowess. Mike takes over for the finale with an astonishing drive and intensity preceding the reprise and gentle coda.
The 1969 jazz standard, A Child Is Born by Thad Jones closes the first side starting gently with a brief introduction and tender theme by the rhythm section. Farmer starts the soloing with a ravishingly beautiful, muted performance, followed by Hall who delivers passionately elegant lines on the next interpretation. Mainieri gives a delicately gentle and evocative presentation recalling the spirit and imagination of the song’s composer into the serenely beautiful climax. Big Blues by Jim Hall starts the second side with a spirited midtempo opening chorus by the ensemble and the solo order is the same as on Whisper Not. Jim takes the lead here, showing us his versatility with charming articulation. Art follows, using the mute to deliver skillful assertion on the next reading. Mike’s closing statement is captivating from the moment it starts, expressing joy into the reprise and fadeout. Pavane For A Dead Princess by Maurice Ravel ends the album and was written as a solo piano piece in 1899. The song’s original title is Pavane pour une infante défunte (Pavane for a Dead Infanta) and the ensemble begins the introduction and melody at a slow tempo fitting the original composition. Farmer steps up first, back on the open horn, beginning as he did on the theme, then raises the temperature to midtempo before returning to a softer mood for the close. Mainieri pulls out all the stops on the next reading with a sparkling presentation. Hall takes the final bow with a gorgeous performance preceding the reprise and graceful fadeout.
Big Blues was originally produced by Creed Taylor and engineered by David Palmer who worked at Electric Lady Studios, and Joel Cohn who’s worked on many CTI albums. This reissue was mastered from the original analog tapes by Bernie Grundman and pressed on 180-gram Audiophile vinyl at Pallas Group in Germany. As was the case of many of the classic CTI Records, the sound quality is first-rate with an excellent soundstage across the highs, midrange, and low end that won’t disappoint the listener in their favorite spot to listen to music. Art Farmer and Jim Hall recorded together four other times, Interaction (1963), Live at The Half Note, To Sweden With Love (1964), and Panorama-Live at The Village Vanguard (1997). Each is highly recommended, and I feel the same can be said for Big Blues. I invite you to make time for this one on your next vinyl hunt, it’s an enjoyable album of Contemporary Jazz with extraordinary chemistry, and exceptional performances you won’t soon forget!
~ Interaction (Atlantic 1412/SD 1412); Live at The Half Note (Atlantic 1421/SD1421); Panorama-Live at The Village Vanguard (Telarc Jazz CD-83408); To Sweden With Love (Atlantic 1430/SD 1430) – Source: Discogs.com
~ Whisper Not, A Child Is Born ~ Source: JazzStandards.com
~ Pavane For A Dead Princess ~ Source: Wikipedia.org
© 2020 by Edward Thomas Carter
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Daily Dose Of Jazz…
Bill DeArango was born William Louis DeArango on September 20, 1921 in Cleveland, Ohio. A self-taught on guitar, while attending Ohio State University, he played with Dixieland bands at night. After serving in the Army from 1942–44, he moved to New York City and worked first with Don Byas and Ben Webster.
A year later, Bill was playing on an album with Sarah Vaughan, Charlie Parker, and Dizzy Gillespie. Working as a sideman with Eddie “Lockjaw” Davis, Ike Quebec, Slam Stewart, he then led his own band with Terry Gibbs.
In 1947, DeArango returned to Cleveland and performed locally for two decades, recorded an album with pianist John Williams in 1954. By the 1960s had opened up a guitar store, taught guitar lessons, and late in the decade, he managed the rock band Henry Tree. Performing regularly in the Seventies at Cleveland’s Smiling Dog Saloon working with Ernie Krivda and Skip Hadden, mixing hard rock and free jazz.
His next recording was on the album Another Time/Another Place by Barry Altschul, then 298 Bridge Street by Kenny Werner, and Names by Jamey Haddad. In 1993, he released his second solo album, Anything Went, with Joe Lovano.
He entered a nursing home in 1999 and suffered dementia until his death seven years later, although he continued performing locally until late 2001. Guitarist William DeArango passed away on December 26, 2005 in his hometown.
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