Daily Dose Of Jazz…
Harvie S was born Harvie Swartz on December 6, 1948 in Chelsea, Massachusetts. He learned piano as a child and did not begin playing bass until 1967, when he was nineteen years old. He attended Berklee College of Music and played in and around Boston, Massachusetts with Al Cohn, Zoot Sims, Mose Allison, and Chris Connor.
Moving to New York City in 1972 he worked with Jackie Paris, Thad Jones, Gil Evans, Lee Konitz, Barry Miles, David Friedman, Double Image, David Matthews, Steve Kuhn and Paul Motian. He has recorded extensively as a duet with Sheila Jordan, and has released numerous albums as the leader of his own ensembles, including Urban Earth and the Harvie S Band.
He has recorded fiteen albums as a leader, co-led two sessions with Sheryl Bailey, thirteen as a sideman, and has performed and produced music exclusively as Harvie S since 2001. He has recorded with Alan Broadbent, Sinan Alimanović, Art Farmer, Urbie Green, Jackie and Roy, Eric Kloss, Steve Kuhn, Anders Mogensen and Roseanna Vitro. In 2008, he released a duo album with pianist Kenny Barron, Now Was The Time, on HighNote/Savant Records.
Double bassist Harvie S has been a member of the Westchester Jazz Orchestra since 2007 and continues to produce, compose, arrange and educate.
More Posts: arranger,bandleader,bass,composer,educator,history,instrumental,jazz,music
Jazz Poems
GOD PITY ME WHOM (GOD DISTINCTLY HAS) God pity me whom (god distinctly has) that weightless svelte drifting sexual feather of your shall i say body’s?follows truly through a dribbling moan of jazz whose arched occasional steep youth swallows curvingly the keenness of my hips; or, your first twitch of crisp boy flesh dips my height in a firm fragile stinging weather, (breathless with sharp necessary lips)kid female cracksman of the nifty,ruffian-rogue, laughing body with wise breasts half-grown, lisping flesh quick to thread the fattish drone of I Want a Doll, wispish-agile feet with slid steps parting the tousle of saxophonic brogue. E. E. CUMMINGSfrom Jazz Poems | Selected and edited by Kevin Young
More Posts: book,classic,collectible,history,jazz,library,poet
Daily Dose Of Jazz…
Cory Weeds was born and raised in Burnaby, British Columbia on December 5, 1975. His interest in jazz began in secondary school, and then chose to pursue his post-secondary education by attending Capilano University and the University of North Texas.
>At the age of 26, Weeds purchased a jazz club which would become the Cellar Jazz Club. The venue was selected by DownBeat named Cellar to its list of the world’s greatest jazz clubs. Thirteen years later in 2014 the Cellar Jazz Club shuttered its doors.
Remaining vital in the jazz community of Vancouver, British Columbia he books musicians at Frankie’s Jazz Club and the Shadbolt Centre for the Arts in Burnaby.
In 2023, Cellar Music Group was awarded their first Grammy Award for Best Large Jazz Ensemble Album. The Grammy was awarded to Steven Feifke and Bijon Watson’s Generation Gap Jazz Orchestra for their album Generation Gap Jazz Orchestra.
Weeds has performed alongside musicians including Christian McBride, Joey DeFrancesco, Peter Bernstein, Eric Alexander, Mike LeDonne, and Joe Farnsworth.
Alto and tenor saxophonist and impresario Cory Weeds, who is the founder and owner of the Cellar Music Group record label, continues to perform and record.
More Posts: history,impresario,instrumental,jazz,music,saxophone
Requisites
Smokin’ In Seattle: Live at The Penthouse ~ Wynton Kelly Trio and Wes Montgomery | By Eddie Carter
I’ve been a fan of The Wynton Kelly Trio and Wes Montgomery since I was eleven and first heard Full House and Smokin’ at The Half Note. So, I was extremely happy to pick up a copy of Smokin’ In Seattle-Live at The Penthouse (Resonance Records HLP-9029), their 1966 live date over two nights from the Seattle, Washington jazz club. Jim Wilke of radio station KING-FM hosted a weekly half-hour program from The Penthouse, and he’s our Master of Ceremonies for the two sessions. The personnel for both dates are Wynton Kelly on piano, Wes Montgomery (tracks: A3 to A5, B3 to B5) on guitar, Ron McClure on bass, and Jimmy Cobb on drums. My copy is the 2017 US Mono audiophile release.
Jim Wilke kicks off Side One by welcoming the crowd and introducing the trio who opens with There Is No Greater Love by Isham Jones and Marty Symes. The group swings effortlessly through the melody, setting up Wynton’s spirited first solo. Ron comes in next for a lively presentation. Wynton and Jimmy share a brisk conversation in the closing statement leading to the song’s climax. Not a Tear by Rudy Stevenson begins deceptively like a ballad before the beat moves upward to an aggressive theme. Kelly has the song’s only solo and stretches out in a marvelous interpretation preceding the theme’s restatement.
Wes Montgomery joins the group on his original tune, Jingles. The quartet takes off on an upbeat theme. Wes goes right to work on an enthusiastic interpretation that bounces along into the foursome’s energetic finale. Up next is the poignantly beautiful standard by Bob Haggart and Johnny Burke, What’s New? The group also gives a pretty rendition of this tune on Smokin’ at The Half Note. Kelly begins with a politely touching introduction, segueing into the song’s gorgeous melody. Montgomery delivers a very personal performance in the song’s only solo ahead of the foursome’s gentle ending.
The first side ends on an upbeat note with the guitarist’s Blues In F. The group lays an impressive blueprint on the opening chorus. Wes has the solo spotlight to himself and delivers an exciting flow of ideas that sadly fade out due to the program’s time constraints. Mr. Wilke starts Side Two with his introduction to The Wynton Kelly Trio, who play The Theme, briefly starting their first number, Sir John, by Blue Mitchell. After the trio states the melody, Kelly gets his teeth into a brilliant opening statement. McClure lets his bass do the talking in the following solo before the pianist makes a few final comments, leading to the theme’s reprise.
If You Could See Me Now by Tadd Dameron and Carl Sigman is also on Smokin’ at The Half Note. The trio works together beautifully from the start of Wynton’s lush introduction. As the song’s only soloist, Kelly reveals the warmth and tenderness anchored by Ron’s and Jimmy’s support. West Coast Blues is a Montgomery original from Movin’ Wes. It comes to life with the guitarist’s introduction, segueing into the foursome’s easygoing theme. The song’s only solo belongs to Wes, and he delivers the goods to an infectious beat that is sure to have the listener tapping their feet ahead of the close.
O Morro Não Tem Vez by Antonio Carlos Jobim and Vinícius De Moraes is a beautiful Brazilian song and a highlight of the album Goin’ Out of My Head. Jimmy gets things going with a percussion introduction that blossoms into a lovely melody. Wes gets to stretch out and delivers a gorgeous performance preceding the foursome’s return for the theme’s restatement and climax. The album and set concludes with Oleo by Sonny Rollins. The ensemble starts things off with a zesty melody, then steps aside for Wes to take charge of the song’s only statement that concludes with a slow dissolve into nothingness.
Zev Feldman and George Klabin produced Smokin’ In Seattle. Jim Wilke was the original recording engineer, and Bernie Grundman mastered the album. The record was pressed on 180 grams of audiophile vinyl, and the album’s sound quality is quite good for a sixties live recording. The listener is transported to the club audience as the musicians are performing. The record is also incredibly quiet until Jim Wilke speaks. If you’re a fan of The Wynton Kelly Trio and Wes Montgomery, I offer, for your consideration, Smokin’ In Seattle the next time you’re out record-shopping. The music is simply amazing, and this is an album you shouldn’t miss for a spot in your library!
~ Full House (Riverside RLP 434/RS 9434), Goin’ Out of My Head (Verve Records V-8642/V6-8642), Movin’ Wes (Verve Records V-8610/V6-8610), Smokin’ at The Half Note (Verve Records V-8633/V6-8633) – Source: Discogs.com ~ If You Could See Me Now, Oleo, There Is No Greater Love, What’s New? – Source: JazzStandards.com
© 2023 by Edward Thomas Carter
More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,piano
Daily Dose Of Jazz…
Joseph William Thomas was born on December 3, 1902 in New Orleans, Louisiana. His first professional gig was in his home city with trombone player Joe Harris in 1923. Soon after that, he worked with Jack Carey, Chris Kelly, and Kid Rena. He recorded with Charles Derbigny in 1941, but the recordings were not publicly released until the 1960s, by which time Thomas had become a figure in the Dixieland revival movement.
He led his own ensemble at New Orleans’s H&J Tavern for much of the 1940s, then in 1951, he became a sideman for Papa Celestin. He worked with this ensemble for years, including after Papa French and Eddie Pierson had taken over as leader.
Other associations in the 1950s and 1960s included work with Freddie Kohlman, Punch Miller, the Olympia Brass Band, and on Swedish television with Sweet Emma Barrett in 1968. In the 1970s he worked with the Legends of Jazz, replacing Joe Darensbourg.
Clarinetist and vocalist Joe Thomas, also known as Brother Cornbread and was closely associated with the New Orleans jazz scene, February 18, 1981 in New Orleans at 78.