KATE MCGARRY QUARTET

A jazz vocalist who has brought authenticity and vitality to every song regardless of genre. As an educator she has taught at the Manhattan School of Music and the California Jazz Conservancy.

She has seven compact discs, three Grammy nominations, and Downbeat Magazine 2016 Critic’s Poll #1 Rising Star Female Vocalist.

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Requisites

The Sound Of The Wide Open Spaces ~ James Clay and David “Fathead” Newman | By Eddie Carter

This morning’s album from the library brings together two Texas tenor saxophonists for the first of two recordings together. The Sound of The Wide Open Spaces (Riverside RLP 12-327/RLP 1148) is a 1960 release that marks the debut of James Clay and the second album by David “Fathead” Newman. The album’s title refers to the vast landscape of the Lone Star state. This hard bop blowing session allows both musicians to have a superb showcase in which to work. Wynton Kelly on piano, Sam Jones on bass, and Arthur Taylor on drums complete the quintet. My copy is the 1986 U.S. Original Jazz Classics Stereo reissue (Riverside OJC-257).

The quintet starts Side One with the opening ensemble to Wide Open Spaces by Babs Gonzales. David gets right down to business first. James takes the baton and gives an exhilarating interpretation; then Wynton comes in for a spirited reading. Clay and Newman return to share an energetic exchange ahead of the closing chorus. The front line eases up on the gas to begin They Can’t Take That Away From Me by George and Ira Gershwin. James steps into the opening statement with extreme confidence. David returns the compliment on the following reading, and then Wynton closes things out with masterful ease, leading to the theme’s reprise and ending.

Side Two begins with the rhythm section’s introduction to Some Kinda Mean by Keter Betts ahead of the front line’s laid-back theme. James is up first and moves leisurely through the opening solo. David is equally easygoing in the following reading. Wynton’s carefree interpretation precedes the theme’s restatement and the trio’s climax. James switches to the flute for the Johnny Burke, Bob Haggart standard, What’s New? The trio opens gently ahead of David’s tender melody. James leads the way with an emotionally sensitive statement. Wynton comes in next for a beautiful reading, and David delivers a gorgeous finale leading to the polite ending.

Figger-ration by Babs Gonzales takes off with the rhythm section’s quick introduction to the front line’s brisk melody. David is off to the races in the opening solo, then James takes a vigorous romp next. Wynton illustrates his agility in the following interpretation. Sam takes a short walk leading to a vigorous exchange by both horns ahead of the reprise and close. Julian “Cannonball” Adderley produced The Sound of The Wide Open Spaces and Jack Higgins was the recording engineer. The sound quality of this OJC reissue is exceptional, with an excellent soundstage allowing the instruments to come through your speakers vibrantly, as if the musicians are playing in front of your sweet spot, providing an immersive experience for the listener.

The Sound of The Wide Open Spaces by James Clay and David “Fathead” Newman is an overlooked, but wonderful album that, in my opinion, is a perfect place to start if you’re beginning your journey into either musician’s discography. Its got good tunes with great solos by five remarkable musicians who together have created an album that should appeal to any jazz collector and become a welcome addition to any jazz fan’s library!

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Daily Dose Of Jazz…

David Bryan Benoit was born in Bakersfield, California on August 18, 1953. He studied piano at age 13 with Marya Cressy Wright and continued his training with Abraham Fraser, who was the pianist for Arturo Toscanini. He attended Mira Costa High School and went on to focus on theory and composition at El Camino College, studying orchestration and later took film scoring classes at UCLA. He went on to study music conducting and worked with Jeffrey Schindler, Music Director for the UC Santa Barbara symphony orchestra.

He began his career as a musical director and conductor for Lainie Kazan in 1976, before moving on to similar roles with singer/actresses Ann-Margret and Connie Stevens. His GRP Records debut album, Freedom at Midnight in 1987, led his roster of top ten albums he has released. He has recorded tribute albums to pianist Bill Evans, Peanuts creator Charles Schulz and Leonard Bernstein’s West Side Story. Collaborators included the chorus group Take 6, guitarist Marc Antoine and trumpeter Chris Botti.

Benoit has arranged, conducted, and performed music for Russ Freeman and the Rippingtons, Kenny Loggins, Michael Franks, Patti Austin, Dave Koz, Kenny Rankin, Faith Hill, David Lanz, Cece Winans, David Pack, David Sanborn, The Walt Disney Company and Brian McKnight.

Pianist David Benoit, who has three Grammy nominations, has performed three  times at the White House, and has a morning program on jazz radio station KKJZ in Long Beach, California, continues to perform and record..

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Daily Dose Of Jazz…

Everette Harp was born August 17, 1961 in Houston, Texas and was the youngest of eight children. His mother played the organ and gospel music was one of his earliest influences. He started playing jazz in middle school at Marshall Junior High under the tutelage of drummer Buddy Smith. He attended the High School for Performing and Visual Arts in Houston, then North Texas State University as a music major in the early 1980s.

He worked as an accountant for a short time, and played in local bands, most notably a jazz/funk group called The Franchise which released a 1987 album locally with the first recording of Harp’s There’s Still Hope. 1988 saw him moving to Los Angeles, California and touring briefly with Teena Marie, then Anita Baker.

Two years later George Duke signed him to a contract with Capitol Records to record with his group 101 North. Bruce Lundvall of Blue Note Records signed Harp to a solo contract before the group album was released. Harp’s album was produced by Duke and released by Blue Note in 1992.

Harp appeared at the Montreux Jazz Festival, would go on to appear on The Arsenio Hall Show, on Sax by the Fire, and perform on the theme songs for Entertainment Tonight and Soul Train and shared the stage with President Bill Clinton at the Arkansas Ball in 1992.

Harp has worked with Stanley Clarke, Natalie Cole, Neil Diamond, Aretha Franklin, Wayne Henderson, Al Jarreau, The Jazz Crusaders, Billy Joel, Chaka Khan, Kenny Loggins, Bobby Lyle, Peter Maffay, Marcus Miller, Chante Moore, Dianne Reeves, Eros Ramazzotti, Brenda Russell, Joe Sample, and Luther Vandross.

Saxophonist Everette Harp, who received his first nomination in 2015 for a Grammy Award for Best Contemporary Instrumental Album, continues to perform, compose and record.

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Daily Dose Of Jazz…

Armand John “A.J.” Piron was born on August 16, 1888 in New Orleans, Louisiana to Octave Louis Piron and Marie Jeanne Zeringue. At home he spoke English and French patois, and grew up steps from Claiborne Avenue, which at that time was a bustling, tree-lined center of commerce and community life. His father, a shoemaker, was also a musician and music teacher and played in the Philharmonic Orchestra. He taught his sons Milford, Albert, and Armand how to play.

At the age of seven Piron had an accident that damaged one of his legs. For the next five years while he recovered, he devoted himself to practicing the violin. This could be the reason he didn’t join the numerous New Orleans marching bands popular at that time. Instead became a dance and concert band musician and at age twelve he made his musical debut by joining a band his father led that included some of his students and his brothers.

In 1903 A.J. began playing in the Bloom Philharmonic. In 1908 he played for the Peerless Orchestra. Then in 1913 he played in the large, legendary orchestra organized by John P. Robichaux for the Carnival ball of the Elves of Oberon. That same year he played at the Rose Bud Theater on Dryades Street, sometimes with Papa Celestin’s Tuxedo band. He also played in the Olympia Band with Sydney Bechet, Kid Ory, Louis Keppard, and Clarence Williams, among others.

After touring briefly with W.C. Handy in 1917, Piron started an orchestra which included Lorenzo Tio, Steve Lewis, John Lindsay, and Peter Bocage. The theme song of the orchestra was The Purple Rose of Cairo, written by Piron and Steve Lewis. In 1923, Piron took his band to New York City.

Violinist A.J. Piron, who led dance bands during the 1910s through the 1930s, died on February 17, 1943 in New Orleans.

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