Daily Dose Of Jazz…
Don M’Orton was born on February 10, 1942. Having landed the gig as the resident reedman at the famous Boston, Massachusetts Lincs Jazz Club , in Europe during the 70s and 80’s he played with many British jazz musicians like Digby Fairweather and Roy Williams among others. He also played with many visiting Americans as well, including Thomas Jefferson, Wingy Manone, Alton Purnell, Al CAsey and Benny Waters, the latter with whom he played several tours.
By the mid 1990’s he was off again first to London and then Europe, the Middle East, the USA and the Caribbean. He had a trio in London with bassist Paul Godfrey and Ray Dempseywho was replaced by Cedric West on guitar. New York City saw him meet up with Al Casey again and played alongside him and tenor saxophonist George Kelly.
He went on to play with Michael Boothman and Kysufusion in Trinidad, before returning to the East Midlands. Since returning to the UK, Don has spent much of his time composing new tunes which vary from ballads to jazz tunes, including Caribbean and Latin American rhythms, and arranging material for his bands.
Tenor saxophonist Don M’Orton is still active as a player, performing regularly with the Red Hot Chillies, Dave Gladdish’s Irregulars, and the Big Wheel Quartet, in addition to his own swing trio.
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Please Send Me Someone To Love ~ Phineas Newborn Jr. | By Eddie Carter
Phineas Newborn Jr. was an exceptional pianist and one of my favorite musicians growing up. The first album I encountered by him as a teenager is this morning’s selection from the library. Please Send Me Someone To Love (Contemporary Records S7622) hit the stores in 1969 and is an excellent trio album. It was his fourth release for Lester Koenig’s label and is a companion to Harlem Blues, released six years later in 1975. Both albums were recorded during the same sessions, with the superb rhythm section of Ray Brown on bass and Elvin Jones on drums. My copy is the 1969 U.S. deep groove Stereo release.
The first side opens with Percy Mayfield’s Please Send Me Someone To Love, featuring a smooth, slow-tempo melody. Phineas delivers a dreamy solo, evoking a sense of longing and comfort, resulting in one of the album’s most beautiful moments. Ray and Elvin’s gentle accompaniment leads the trio back to the theme and a quiet, reflective conclusion. Rough Ridin’, an upbeat piece by Ella Fitzgerald, Hank Jones, and Bill Tennyson follows with an energetic melody by the ensemble. Phineas showcases his joyful groove with impressive skill as the only soloist, culminating in the group’s lively finish.
Come Sunday by Duke Ellington is a beautiful ballad that starts with Phineas’ tender solo introduction and flows seamlessly into the trio’s lovely melody. The pianist shines as the centerpiece, delivering an attractive, elegant interpretation with great warmth before a soft and gentle ending. Ray’s bass steers the course into Brentwood Blues by Phineas Newborn Jr., setting the stage for the ensemble to swing effortlessly through the melody. Phineas initiates the opening statement, articulating each note and verse with clarity. Ray then takes a brief, soulful walk to the closing chorus and climax.
Side Two starts with He’s A Real Gone Guy by Nellie Lutcher. Elvin’s Latin-flavored introduction breathes life into the track briskly, setting the stage for the trio’s lively theme. Phineas takes the lead with a vigorous interpretation, and Elvin’s electrifying brushwork fuels the finale, bringing the trio’s ending theme to a dynamic close. Black Coffee by Sonny Burke and Paul Francis Webster opens with a profoundly moving piano introduction by Phineas, transitioning into an intimately soft melody. His beautiful performance is anchored by the solid foundation laid by Ray and Elvin ahead of a lovely finale.
Little Niles is a jazz waltz by Randy Weston that is a tribute to his son. The trio’s version is delightfully vibrant, with Ray and Elvin’s introduction effortlessly shifting into the melody. Phineas showcases his impeccable technique during the song’s only solo, leading smoothly to the reprise and the song’s close. Stay On It, by Count Basie and Tadd Dameron, secures a swinging makeover with Phineas’ solo introduction. The trio’s lively opening chorus follows, with Ray and Elvin providing a solid foundation, allowing Phineas to deliver a remarkable interpretation in the song’s only solo, leading to the trio’s exit.
Lester Koenig was the producer and recording engineer for Please Send Me Someone To Love. The album’s impeccable sound quality creates the illusion that the trio is performing live in your listening room. If you seek an outstanding trio album, I wholeheartedly recommend Please Send Me Someone To Love by Phineas Newborn Jr. It is an excellent addition to any jazz library, serving as a perfect introduction for new listeners to his music and a delight for seasoned collectors and fans. This album also pairs beautifully with Harlem Blues and is a must-have for any jazz enthusiast of piano trios!
~ Harlem Blues (Contemporary Records S7634) – Source: Discogs.com
~Come Sunday – Source: JazzStandards.com
~Black Coffee, Little Niles, Please Send Me Someone To Love – Source: Wikipedia.org
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Ernest “EC3 Coleman III was born a second generation musician in Naples, Italy on February 9, 1963 to Ernest and Rebecca Coleman. His father, Ernest Jr. was a jazz musician who played tenor saxophone and was a great arranger and composer.
He studied at the Naval Conservatory of Music in Norfolk, Virginia and was awarded a special honor for being the youngest student to graduate from this conservatory. Moving to Los Angeles, California after his tour with the Navy Band, EC began his true musical quest performing for Guys & Dolls, Ain’t Misbehavin, and A Chorus Line.
Getting the call to work with Loretta Holloway in Las Vegas, Nevada he opened for Jay Leno, Bill Cosby, David Brenner, Yakov Smirnoff, Whoopi Goldberg, Don Rickles and many many more. Coleman took over as Loretta’s musical director and traveled around the world. For twelve years.
He eventually got called to play with jazz bassist Al McKibbon. Excited to get the call, he auditioned and got booked for The Bourbon Street Review show. For three years this was his training ground. Al being like a second father to him, they lived together for many years and this was where he attained most of his great knowledge of music.
When the show closed Billy Higgins was there to offer EC work with saxophonist Azar Lawrence and for the next year and a half they were on the road. A move to Las Vegas, Nevada saw him working with Frank Sinatra’s pianist and conductor Vincent Falcone. Meeting jazz pianist Kevin Toney led him to play with Kevin bassist Brad Bobo.
He went on to work with Kenny Burrell, Russell Malone, Lorendo Alameida, Lorez Alexandria, John Clayton, George Cables, Herman Riley, Charlie Owens, Frank Sinatra, Vic Damone, Diahann Carroll, Pudgy, and the orchestras of Caesar Palace, Harrah’s Tahoe and Reno, and The Las Vegas Symphony.
Since then he embarked on a solo career as a leader, recording eight albums and producing thirteen records for Misha, Wendy C, Wendy B, Rayshun Lamarr, Zac Williams, Fabian, and Troy “Sol” Edler.
Drummer, producer and bandleader Ernest “EC3” Coleman continues to expand the language of his musical talent.
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Daily Dose Of Jazz…
Terry Vosbein was born in New Orleans, Louisiana on February 8, 1957. He received his Masters in Composition from James Madison University and his Doctorate in Composition from the Cleveland Institute of Music. He has composed works for orchestra, wind ensembles, chamber ensembles and choirs. He has written works for jazz bands of all sizes and his compositions have been performed all over the world.
His latest release with the Knoxville Jazz Orchestra is titled Fleet Street and is infused with a sense of humor, adding a special dimension that is too often missing in contemporary big band writing. His 2009 Progressive Jazz album also with the Knoxville Jazz Orchestra has garnered critical acclaim.
He has been awarded seven residencies and a fellowship at University College in Oxford, where he composed Masque for Cello and Orchestra. Terry also teaches music composition at Washington and Lee University in Lexington, Virginia.
For over twenty-five years Vosbein was an active jazz bassist and arranger, performing and arranging for a variety of ensembles, including the Glenn Miller Orchestra and the Atlanta Pops. He has performed in a wide range of genres from country western twang to big band swing, disco and country club wallpaper, and continues to play a never ending assortment of jazz combos and studio sessions.
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Daily Dose Of Jazz…
Chris Minh Doky was born on February 7, 1969 in Copenhagen, Denmark of Vietnamese-Danish heritage. He started playing at a young age and as a teenager was discovered by guitarist Mike Stern. He quickly became a sought-after collaborator, joining the bands of the Michael Brecker Quartet, Brecker Brothers, David Sanborn, Ryuichi Sakamoto, and the Mike Stern Band. These collaborations shaped his artistry and connected him to the traditions of jazz.
As a leader, Chris has released numerous albums to widespread acclaim, earning both gold and platinum awards as well as a Grammy nomination. He has established himself as a pioneering voice in contemporary music with projects like The Nomads and New Nordic Jazz.
His passion is a love for the bass and a relentless drive to create new music. His desire to share it with the world pushes his artistry to transcend genres. As a composer Doky’s work include soundtracks for films and collaborations with the ballet companies of Royal Danish Ballet and Twyla Tharp.
Chris was knighted in 2010 by Queen Margrethe II of Denmark due to being recognized for his contributions to the arts. Bassist Chris Minh Doky continues to explore new musical landscapes, blending Nordic serenity with American soul, and redefining the bass as a solo instrument.
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