Daily Dose Of Jazz…

Mark Finkin was born to deaf parents in New York City on October 9, 1949 and has been making music since he was five. He started playing at Carnegie Hall at the age of seven and went on to study at Music and Art High School in New York City and later went on to the Midwest to study at The College of Emporia for music. He moved to Maui, Hawaii where he studied composition and piano at The Atlantic University.

Returning to New York City after several years on the island, he recorded with Boris Midney, a Soviet alto saxophonist who took Mark and his group Windmill under his wing. Performing in the New York, New Jersey area he relocated to Florida. While in Florida he honed his craft and recorded and performed with Music of the Spheres who fused laser light and sound to the Miami Space and Transit Planetarium.

Once again Mark returned to New York to settle in Saratoga Springs where he has been performing in and around the Capital district. He has played with Barry Manilow, Alexis Cole, Sherry Saba, Michael Panza, Larry Levine, Mike Wick, Sharron Edwards and Ron Mayfield to name a few.

Finkin’s talent lies beyond jazz as he has written the music for the local production of Popeye Canfield, is the pianist for the inspirational Christian group Revealer, and has played piano at The Lodge in Saratoga Springs for the last six years during the Saratoga, New York racing season.

Pianist Mark Finkin continues to perform, compose and record with Las Manos and his daughter Alexis Cole.

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Jazz Poems

FOR OUR LADY

billie if someone

had loved u like u

shud have been loved

ain’t no tellen what

kind of songs

u wud have swung

gainst this country’s wite mind

or what kind of lyrics

wud have pushed us from

our blue / nites

yeh billie

if some blk / man

had reallee

made u feel

permanentlee warm

ain’t no tellen

where the jazz of yo/songs

wud have led us.

SONIA SANCHEZ

from Jazz Poems ~ Selected and Edited by Kevin Young

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Daily Dose Of Jazz…

Clarence Williams was born on October 8, 1898 in Plaquemine, Louisiana to Dennis, a bassist, and Sally Williams. He ran away from home at age 12 to join Billy Kersands’ Traveling Minstrel Show, then moved to New Orleans, Louisiana. He first worked shining shoes and doing odd jobs, but soon became known as a singer and master of ceremonies.

By the early 1910s, he was a well-regarded local entertainer also playing piano, and was composing new tunes by 1913. Williams was a good businessman, working arranging and managing entertainment at the local Black vaudeville theater. He played at various saloons and dance halls around Rampart Street, and in the clubs and houses in Storyville^.

He started a music publishing business with violinist/bandleader Armand J. Piron in 1915, which by the Twenties was the leading Black owned music publisher in the country. He toured briefly with W. C. Handy, and set up a publishing office in Chicago, Illinois before settling in New York City in the early 1920s. During the decade he and his blues singer/actress wife Eva Taylor moved to the borough of Queens with the intention of creating a community of black artists.

He was one of the primary pianists on scores of blues records recorded in New York during the 1920s. He supervised the 8000 race series recordings for the New York offices of Okeh phonograph company in the 1920s. He also recorded extensively, leading studio bands for OKeh, Columbia, Vocalion, Bluebird and occasionally other record labels.

As a producer he participated in early recordings by Louis Armstrong, Sidney Bechet, Bessie Smith, Virginia Liston, Irene Scruggs, his niece Katherine Henderson, and others. Most of his recordings were songs from his publishing house.

In 1943, he sold his extensive back-catalogue of tunes to Decca Records for $50,000 and retired. He bought a bargain used-goods store, the Harlem Thrift Shop.

Pianist, composer, promoter, vocalist, theatrical producer, and publisher Clarence Williams, died on November 6, 1965 in Queens, New York.

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Daily Dose Of Jazz…

Yoshiaki Miyanoue  was born in Setagaya, Tokyo, Japan on October 7, 1953. At the age of 10 he took up the guitar. In his last year of junior high school he heard a record by Wes Montgomery and became interested in jazz. During his years at Musashino High School he formed a band and after graduating he joined the New Group Trio with organist Joe Davis and drummer Jerry Eddy. They landed a residency at the N.C.O Club at Yokota Air Base in Yokosuka, Japan for three years. At the same time, he had his own quartet and played at jazz night clubs and bars in Tokyo.

1977 saw him traveling to New York City to develop his artistic strength and maturity. After returning home, Yoshiaki made his national debut, releasing the album Song for Wes for King Record, with Philly Joe Jones as a guest drummer, who was in country with Bill Evans. Thereafter he has released one album after another totalling seventeen to date. Among the guest performers were Jimmy Smith, Dr. Lonnie Smith, and Andrew Simpkins.

In 1981 Miyanoue put together his own group and named it Smokin’. To this day the group has played at night clubs in Tokyo and toured all over the nation. They have appeared on several television and radio music programs while playing at jazz concerts and festivals overseas.

Guitarist Yoshiaki Miyanoue, who was influenced by Wes Montgomery and plucks the strings with his thumb, continues to perform and record.

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Requisites

In The Vanguard ~ Bobby Hutcherson | By Eddie Carter

This morning’s discussion arose because I’ve been listening intensely to several great vibraphonists in my library recently, leading me to an underrated live album by Bobby Hutcherson. In The Vanguard (Landmark Records LLP-1513) hit the stores in 1987 and documents excerpts of his performance over two December nights the year before at the Village Vanguard. Bobby was the first artist Orrin Keepnews signed for his new record label; this was his third release. The quartet consists of Bobby Hutcherson on the vibraphone and marimba, Kenny Barron on piano, Buster Williams on bass, and Al Foster on drums. My copy is the original U.S. Stereo album.

The opener, Little Niles by Randy Weston, is a jazz waltz. The quartet gets things off to a spirited start with their melody. Bobby opens the soloing with an infectiously swinging groove. Kenny keeps the lyricism intact with a compelling case ahead of the theme’s restatement and close. Estaté by Bruno Martino and Bruno Brighetti is up next. Williams and Hutcherson set the song in motion with a pretty introduction. Barron and Foster enter next to add sensitive warmth to the gorgeous melody. Bobby’s opening solo is beautiful; then Kenny articulates his ideas tenderly while Buster and Al hold everything together into the quartet’s graceful climax.

Well, You Needn’t by Thelonious Monk and Mike Ferro opens with Bobby’s introduction before the ensemble’s theme takes off quickly. Bobby is out of the gate first with an exhilarating reading. Kenny steps up next to play with exciting urgency. Buster and Al share a moment in the closer, preceding the foursome’s return with a quick resolution. Side Two starts with Some Day My Prince Will Come by Frank Churchill and Larry Morey. The ensemble establishes the song with a quaint melody that moves upward for Hutcherson’s opening solo. Barron turns in an exquisite performance next, and Williams provides a superbly conceived finale, one of the album’s highlights before the reprise and ending.

Witchcraft by Cy Coleman and Carolyn Leigh begins with a two-instrument dialogue between Bobby and Buster, segueing into the quartet’s lovely melody. Bobby kicks off the solos with a stream of imaginative ideas. Kenny takes the reins, gliding to the rhythm section’s buoyant beat ahead of the song’s conclusion. I Wanna Stand Over There by Bobby Hutcherson is off to the races during the quartet’s upbeat theme. Barron comes right out of the gate, bristling with energy. Hutcherson follows with a hard-driving interpretation; then Foster provides the album’s final fireworks in a short solo ahead of the theme’s restatement and climax.

In The Vanguard is a digital recording produced by Orrin Keepnews and Tom Mark, the recording engineer. George Horn mastered the album, and Danny Kopelson provided the digital transfer, editing and sequencing at Fantasy Studios. The album’s sound quality is exceptional, capturing the live energy and ambiance of the Village Vanguard. The listener becomes a part of the audience as the musicians perform with crystal-clear fidelity. Despite its high-quality performance and recording, this album is often overlooked in Bobby Hutcherson’s discography. But please don’t let that discourage you from checking out In The Vanguard by Bobby Hutcherson the next time you’re out record shopping. It’s a jazzy treat for your ears and an absolute pleasure to listen to, especially if you enjoy live jazz albums!

Postscript: Estaté is listed on the Side One label and back album cover with two composers, Bruno Martino, and Bruno Brighetti. I have no idea why this happened, but they are the same man, Bruno Martini. He was an Italian composer, pianist, singer, and songwriter. Estaté was his best-known composition; many jazz musicians and vocalists have recorded it since its first appearance in 1960. Martino’s career lasted fifty-five years; he died on June 12, 2000, at age seventy-four.

~ Bruno Brighetti, Bruno Martino – Source: Discogs.com

~ Some Day My Prince Will Come – Source: JazzStandards.com

~ Little Niles, Witchcraft – Source: Wikipedia.org

© 2024 by Edward Thomas Carter

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