Jazz Poems

MAY 12

From The Daily Mirror

A book could be written on the moment swing turned into bop the moment Lester Young, Roy Eldridge, and Teddy Wilson gave way to Bird, Dizzy, Miles, Bud and Monk in fact it would be a great movie at least the sound track would be “beyond category” as Duke Ellington would have put it the life of a jazz musician (about which I know so little) is the life for me I felt on the afternoon Jamie and I visited his father who sat at the piano and talked and played I was tongue-tied and wanted him to play a song as if Helen Merrill were there and her voice and his fingers were about to have an intimate talk

DAVID LEHMAN | 1948

from Jazz Poems ~ Selected and Edited by Kevin Young

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Daily Dose Of Jazz…

Charles E. Clark was born on March 11, 1945, in Chicago, Illinois and studied bass with Wilbur Ware. He embarked on a professional career in 1963 and went on to play with Muhal Richard Abrams in his Experimental Band between 1966 and 1968, recording with the ensemble on the album Levels and Degrees of Light.

He was a founding member of the Association for the Advancement of Creative Musicians. Clark played live with Joseph Jarman in the late 1960s, sometimes employing percussion, koto, and cello as well as bass. He recorded on Jarman’s Delmark Records releases, Song For in 1966 and again on As If It Were the Seasons in 1968.

With the death of Clark and pianist Christopher Gaddy, Jarman disbanded his ensemble and joined the Art Ensemble of Chicago.

Double-bassist Charles Clark, who during his extremely short career never recorded as a leader, died April 15, 1969 in Chicago.

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Daily Dose Of Jazz…

Ofer Assaf was born on March 10, 1976 in Israel and went to the Thelma Yellin High School of the Arts dividing his time between his two passions: music and dance, and started training as a professional ballet dancer at the age of eight before switching to a full-time jazz career. He won the Israeli National Competition in Jazz and Contemporary Music for young musicians in 1991. He went on to become a member of the Air Force and IDF Orchestras of the Israeli Army, played with the Jerusalem Symphony Orchestra, and a diverse array of national TV and radio shows. He has performed with leading Israeli musicians and was a member of the Tel Aviv Big Band in the mid-1990’s.

Moving to New York City in 1997 he entered The New School University’s jazz program and also studied with tenor saxophonist Billy Harper, bassist Reggie Workman, pianist Richie Beirach, trumpeter Jimmy Owens and percussionists Bobby Sanabria. Upon graduation in 2002, Ofer performed with Wayne Shorter and Herbie Hancock at Carnegie Hall as part of the JVC Jazz Festival.

A recipient of scholarships and awards from the Eubie Blake National Jazz Institute and the America-Israel Cultural Foundation, he was pre-nominated for the Grammy Awards in the “Best Jazz Instrumental Album” category in 2009 for his debut album Tangible Reality for Summit Records. With the Bernie Worrell Orchestra he was awarded “Best Funk/Fusion/Jam Song of the Year” at the 12th annual Independent Music Awards in 2013.

Tenor saxophonist, composer and educator Ofer Assaf continues to perform and conduct workshops around the world.

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Requisites

Repetition ~ Clifford Jordan Quartet | By Eddie Carter

This morning’s record from the library, Repetition (Soul Note SN 1084), is a delightful album by the Clifford Jordan Quartet. Clifford Jordan began playing the piano at a young age, then picked up the tenor sax at thirteen. Early in his career, he played with Max Roach and Sonny Stitt and was a member of a few rhythm and blues groups. He later moved to New York City, recorded three albums for Blue Note, and toured overseas in Africa and Europe. Jordan recorded thirty-six albums as a leader and was featured on many others as a sideman; his most appearances were with Art Farmer, Charles Mingus and Cedar Walton. The superb rhythm section accompanying him on this album is Barry Harris on piano, Walter Booker on bass, and Vernel Fournier on drums. My copy is the 1984 Italian Stereo release.

Side One kicks off with a trip to Third Avenue by Clifford Jordan. The trio sets a lively pace with their introduction before the saxophonist joins in for the melody. Clifford’s initial statement bursts with joyful exuberance, followed by Cedar’s swift and swinging interpretation. A delightful conversation between the leader and Vernel culminates in a reprise of the theme and a satisfying conclusion. Fun is a collaborative creation by Jordan, Harris, Booker, and Fournier. Vernel starts with a short, lively introduction preceding the quartet’s vivacious theme. Clifford sets the stage by diving into an energetic first solo. Barry takes a high-spirited interpretation next, and then Vernel shines in a short statement, leading to an abrupt yet perfect closing chorus.

The tempo slows down for Neal Hefti’s Repetition, a beautiful song where the trio’s introduction begins at a mid-tempo beat before the saxophonist completes the theme. Clifford is up first and whets the listener’s appetite for the following solo. Barry demonstrates how the right choice of notes can tell a compelling story preceding the closing chorus and a climatic finish. The pace remains at a moderate level for Thelonious Monk’s Evidence. The foursome dives straight into the theme, then Barry gets the nod for a first solo as refreshing as a cool breeze on a hot day. Clifford contributes to the outdoorsy feeling with a bluesy statement, and Walter wraps up the solos with an attractive portrait before the group exits.

The second side begins with a melody of Nostalgia by Fats Navarro and Casbah by Tadd Dameron. The quartet embarks on a lovely theme that would fit perfectly in a love story. Walter takes the opening solo and caresses each note delicately. Barry follows with a statement that is equally skillful and caring, and then Clifford closes with a warm, relaxed reading into the restatement of the theme and a velvety climax. The ensemble pays a House Call by Clifford Jordan next. Vernel’s drums introduce the song, segueing to the quartet’s melody. Vernel, Barry, and Walter each have a short word ahead of Clifford, who shares a conversation with Barry. The pianist takes over for a lengthy solo before the theme returns.

Clifford Jordan’s Quit ‘n Time ends the album on an upbeat note, with the rhythm section’s introduction leading to the foursome’s brisk theme. Clifford launches the opening statement with ease and mastery. Barry follows with a display of extreme agility. The leader returns to engage in a lively exchange with Vernel before the drummer gets the final spotlight until the quartet takes the song out. Giovanni Bonandrini produced Repetition, and Dave Baker was the man behind the dials of the recording. This is a beautiful pressing, and the album has a stunning sound. The vibrant soundstage allows the musicians to come alive in your listening room as if playing before you. The record is also silent until the music starts.

Clifford Jordan performed throughout the seventies, eighties, and nineties and was one of the best tenor saxophonists in the annals of jazz. Whether in the studio or when performing live, his music has given jazz fans great pleasure over the years. He led a big band and regularly performed at Eddie Condon’s in Greenwich Village and 52nd Street. He died from lung cancer at age sixty-one on March 27, 1993. If you’re a Clifford Jordan fan or enjoy the tenor sax’s sound, I invite you to consider Repetition by the Clifford Jordan Quartet on your next record hunt. It’s an outstanding album that has aged well, scores on all accounts, and no library should be without it!

© 2025 by Edward Thomas Carter

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Daily Dose Of Jazz…

Mayuto Correa was born March 9, 1943 in São Gonçalo, Rio de Janeiro, Brazil and began playing in local bands from the age of twelve when he became a member of the big band Rapazes da Alvorada. At age 16 he formed the ensemble Samba Show with musicians from Niterói and made several recordings for the CBS label with them.

In the 1960s Correa was the artistic director of Pontifical Catholic University of Rio de Janeiro where he wrote and directed several plays. During this time, he also made several recordings in Brazil and worked as the musical director for the shows of Maria Bethânia, Elza Soares, and Eliana Pittman as well as playing in Roberto Carlos’s ensemble RC-7 and performing in Chacrinha’s television shows.

Leaving Brazil for Mexico in 1969 he worked with the Brazilian bossa nova group Tamba 4 before moving to the United States. Establishing himself as a musician in Los Angeles, California in the early 1970s, Mayuto became a vital session player in hundreds of major and minor albums taped in the city by 1977.

Some of the artists he recorded with are Howard Roberts, Charles Lloyd, Nat Adderley, Cannonball Adderley, Cal Tjader, Miriam Makeba, Gábor Szabó, Gato Barbieri, Kenny Burrell, Moacir Santos, Donald Byrd, Henry Mancini, Jon Lucien, Freddie Hubbard, and Richard “Groove” Holmes, among numerous others.

During that period he toured with many of the artists and became the record producer for the Argentine group Arco Iris. He returned to Brazil in 1972 when he toured with Carlos Santana and again in 1979 when he appeared on the Rede Globo television show Sexta Super.

Among his compositions is the soundtrack for the 1979 documentary Homeboys depicting Chicano youth gang culture in East Los Angeles, California. In the later years of his career, Correa performed with his bands Mayuto & Genuises 2000, Mayuto & The Dream Team Big Band, and Mayuto & Samba Pack.

Mayuto Correa continues to perform, record and tour.

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