Daily Dose Of Jazz…
Winard Harper was born Hiram Winard Harper on June 4, 1962 in Baltimore, Maryland and started beating on cans at age three and his natural affinity was encouraged by his father. By age five he was making guest nightclub appearances with his older brother Danny’s band. It was his hearing of the Clifford Brown/Max Roach recording that sealed his inspiration to play jazz.
Harper’s first major gig was in 1982 with Dexter Gordon, followed by Johnny Griffin and then spent four years with Betty Carter. It was with the later that he learned much about the music business, preparing him to be a bandleader and giving him the inside track on bookings. This experience gave him the foundation to launch The Harper Brothers along with his brother Philip, and a few of the hottest young talents of the Nineties – Justin Robinson, Javon Jackson, Walter Blanding, Kioshi Kitagawa, Stephen Scott, Kevin Hayes, Michael Bowie and Nedra Wheeler.
The Harper Brothers recorded four albums prior to the dissolution of the band and Winard went on to record seven albums to date as a leader. He has played the sideman to Avery Sharpe, Ray Bryant, Abdullah Ibrahim, Pharoah Sanders, Clifford Jordan, Steve Turre, Joe Lovano, Frank Wess, Jimmy Heath and Wycliffe Gordon. Since the turn of the century the drummer, composer and bandleader continues to perform, tour and record with his own sextet.
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Rollins Plays For Bird ~ Sonny Rollins Quintet With Kenny Dorham and Max Roach | By Eddie Carter
On May 25, 2026, the jazz world lost a true legend, Sonny Rollins, who passed away at the age of 95. Today’s discussion is one of my favorites by the tenor saxophonist, which doesn’t get talked about as much. In 1956, he went into the Van Gelder Studios and recorded three albums: Saxophone Colossus, Tenor Madness, and this morning’s album submitted for your approval, Rollins Plays For Bird (Prestige PRLP 7095). In this tribute to Charlie Parker, the tenor saxophonist is joined by Kenny Dorham on trumpet, Wade Legge on piano, George Morrow on bass and Max Roach on drums. The copy I own is the 2021 Analogue Productions U.S. mono audiophile-remastered reissue, sharing the original catalog number from The Prestige Mono Series.
Side One gets underway with the side-long Bird Medley. Rollins and Legge’s introduction leads into I Remember You by Victor Schertzinger and Johnny Mercer. After establishing an easy groove in the melody, Sonny is the dominant presence here and plays in the opening solo with authority. He and Max have a brief conversation before Legge changes gears to My Melancholy Baby by Ernie Burnett and George A. Norton. Dorham takes the lead during the melody and the first solo, delivering a remarkably disciplined performance. The trumpet shares a brief spotlight with Roach, leading to Wade taking center stage as the trio shines on the melody of Old Folks by Willard Robison and Dedette Lee Hill. Wade opens with a charming solo, then he and Max exchange ideas briefly before the ensemble moves into the next song.
Rollins returns as the Bird Medley continues with They Can’t Take That Away From Me by George and Ira Gershwin. The quartet lets us know we’re in for a treat with a bright theme, then Rollins steps into the opening statement with a passionately playful solo. He again shares a well-executed conversation with Roach, before Dorham gets his second turn in the spotlight with Just Friends by John Klenner and Sam A. Lewis. The trumpeter is merry and playful on the melody, and glides with ease in the opening solo. Dorham and Roach get together again in a gentle swing ahead of the trio’s second appearance to present My Little Suede Shoes by Charlie Parker. Legge gets things off to a good start with an opening presentation that soothes the soul and eases the mind, preceding his short exchange of riffs with Roach into the close.
The medley’s longest tune, Star Eyes by Don Raye and Gene DePaul, concludes the first side. The rhythm section brings the song to life, segueing into the opening ensemble. Sonny’s with effervescent enthusiasm is sure to have your fingers snapping and toes tapping. Kenny follows with a solo that’s nearly a scene-stealer, then Wade takes over with a captivating presentation. Sonny, Max, and Kenny share their thoughts, driving straight into the theme’s reprise and fadeout. Side Two opens with the quintet’s leisurely introduction and theme of Kids Know by Sonny Rollins. Sonny steps out first with an almost stately solo. Kenny comes next with a relaxing reading that flows effortlessly, then Wade steps in with a laid-back statement. The front line shares a few moments with Max before the drummer wraps up everything ahead of the finale.
The group slows the pace down for I’ve Grown Accustomed To Your Face by Alan Jay Lerner and Frederick Loewe. The quartet opens with an intensely personal melody. Sonny’s opening solo is filled with sensitive warmth, and then Wade maintains the loveliness in the next performance with simple, effective empathy. Sonny punctuates the solos with a few final thoughts, leading to a restatement of the theme and a gentle ending. It’s a strong summation of an album that sparkles with marvelous music throughout, exciting, evocative solos, and exceptional performances by the Sonny Rollins Quintet. Bob Weinstock supervised the initial session, and Rudy Van Gelder managed the recording console. Kevin Gray mastered the reissue, and its sonics are sensational, with crystal-clear sound across the highs, midrange, and bass.
The front cover of this AP reissue is a deluxe high-gloss, tip-on album jacket. The vinyl is a 200-gram pressing by Quality Record Pressings and is dead silent until the music starts. Sonny Rollins was a celebrated jazz tenor saxophonist who is regarded as one of the most influential musicians in jazz history. Most self-taught, Rollins joined a high school band where he performed with classmates who would also become prominent jazz figures. Over his career spanning 70 years, Rollins released more than 60 albums as a leader and contributed to 26 releases as a sideman. He was called “the greatest living improviser,” and was the final surviving member among 57 iconic jazz musicians featured in the 1958 photograph, A Great Day in Harlem.
Throughout Rollins Plays For Bird, Sonny Rollins and company demonstrate remarkable technical skill and a profound appreciation for Charlie Parker’s influence. The album stands out not only as a heartfelt homage but also as a platform for each musician’s individual artistry. Sonny Rollins commands the session with confidence, Kenny Dorham contributes lyrical elegance, and Max Roach provides a steady, energetic foundation. If you’re already a fan or just beginning to discover his artistry, I invite you to check out Rollins Plays For Bird by the Sonny Rollins Quintet. It’s an overlooked gem, perfect for any time of day or when the house is quiet after a long day or week, and it should make a welcome addition to any jazz library!
~ Saxophone Colossus (Prestige PRLP 7079), Tenor Madness (Prestige PRLP 7047) – Source: Discogs.com ~ I Remember You, Just Friends, My Melancholy Baby, Old Folks, Star Eyes, They Can’t Take That Away From Me – Source: JazzStandards.com ~ I’ve Grown Accustomed To Your Face – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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Portraits at The Penthouse – Live in Seattle ~ Bill Evans –| By Eddie Carter
I was still in a mindset to hear another pianist-led release after listening to Mal Waldron, so I chose a Bill Evans album that has become a favorite in my household. Portraits at The Penthouse: Live in Seattle (Resonance Records HLP-2979) is the 8th album reissued by the Bill Evans estate and captures the pianist and his trio in performance over two May nights. The program consists of eight originals and two standards. Sharing the spotlight with Bill Evans are Eddie Gomez on bass and Joe Hunt on drums. The copy I own is the 2025 U.S. Record Store Day, Deluxe Edition, Limited Edition, mono audiophile pressing. Number 1849 of 5000.
The trio’s introduction welcomes the audience into the Penthouse’s intimate atmosphere. They then begin the first night’s set with a lively rendition of How My Heart Sings by Earl Zindars, the title tune from Bill’s 1964 release. Bill steps up first after the opening chorus for a jaunty statement, with an almost dance-like resilience. Eddie takes over, showing how he can build an outstanding solo, while Joe provides excellent support behind them into the reprise and close. ’Round Midnight by Thelonious Monk, Bernie Hanighen and Cootie Williams is one of jazz’s most beloved and recorded standards. The trio honors the classic by beginning the theme that gently glows like embers in a hearth. Evans opens with a graceful solo, radiating warmth and charm. Gomez responds with a tender, heartfelt statement, leading to a beautiful conclusion.
Up next is Come Rain or Come Shine by Harold Arlen and Johnny Mercer, which begins with Bill’s solo introduction, segueing into the ensemble’s medium melody. Bill gets things off to a good start in the opening statement with an infectious swing. Eddie comes in next and conveys his message with authority, preceding the trio’s theme restatement and soft climax. The second night’s set gets underway with Nardis by Miles Davis, and the trio begins by cruising comfortably on the opening melody. Eddie kicks off the opening solo with a lengthy, leisurely walk that swings easily. Bill comes in next and dines on a splendid performance, leading to the theme reprise and soft finale that receives a warm ovation from the club audience.
Earl Zindars’ second contribution to the album is his beautiful ballad, Elsa, which first appeared on “Explorations.” Bill has the stage to himself for the introduction, ahead of the lovely opening ensemble. Evans sets things in motion with a lyrical solo that builds to an effective climax. Eddie follows with one of his most thoughtfully sensuous interpretations, and Bill brings the trio back to the ending theme with a few final thoughts. The second side starts with Bill’s gorgeous introduction to Time Remembered by Bill Evans. The trio’s melody gets things going before stepping aside for Bill’s opening solo that gradually shifts from a gentle, understated mood to a livelier one. Eddie steps in next with a tender reading, until the groups return to the ending theme, with approving applause from the crowd.
Who Can I Turn To? by Leslie Bricusse and Anthony Newley debuted in the 1965 Broadway musical, “The Roar of the Greasepaint – The Smell of the Crowd.” Bill’s solo introduction adds emotional depth, leading to the trio’s lightly swinging theme. Eddie sets the tone with a wonderfully delicate interpretation, then Bill rolls ahead in the following solo before the trio’s closing chorus ends the song on a good note. The beat slows down again for Bill’s tender introduction to Detour Ahead by Lou Carter, Herb Ellis, and Johnny Frigo. The lightly swinging pace picks up for the group’s theme. Eddie is up first and walks with a lively bounce that’s easy to listen to. Bill then effectively illustrates a few melodic ideas, leading back to the out-chorus and the crowd’s approval.
A sprightly piano introduction by Evans sets the tone for Autumn Leaves by Jacques Prévert, Johnny Mercer, and Joseph Kosma. The trio’s melody dresses up this old favorite for Eddie’s opening statement, shared with Joe’s spirited brushwork. Bill follows with a short solo that sizzles with exhilaration ahead of the theme’s restatement and ovation from the audience. The ensemble’s theme returns, a bright-tempoed rendition of How My Heart Sings by Earl Zindars, beginning with a lively opening chorus. Bill leads the way in the first of two solos, and his first swings with scintillating skillfulness, matched by the steady support of Eddie and Joe. Eddie follows with energetic exuberance on the second statement, then the pianist cooks on a vigorously spicy comment before the group takes it out.
I Should Care by Sammy Cahn, Alex Stordahl, and Paul Weston brings the album to a close with a fun tune from the first few notes of the trio’s brisk theme. Eddie has the solo spotlight to himself in a happy, effervescent performance, which flows efficiently to the out-chorus and a very fulfilling finish. Zak Shelby-Szyszko was the album’s production manager. Zev Feldman produced Portraits at The Penthouse for release. Charlie Puzzo, Jr., and Zak Shelby-Szyszko were the associate producers. George Klabin was the executive producer, and Jim Wilke was the engineer. Matthew Lutthans mastered the album. It’s a good recording, but not perfect. The piano tends to be somewhat subdued and less forward in the mix compared to the bass. Occasionally, tape is noticeable, though it doesn’t persist throughout the album.
The record was pressed on 180-gram vinyl in a deluxe-edition gatefold and transferred from the original master tapes. Also included in this album is a 16-page booklet with rare photos by David Azoze and others, plus interviews with Joe Hunt, Eddie Gomez, and Bob James. Even though a few tracks may not have perfect sound quality, fans of Bill Evans seeking relaxing music after a busy day or week will find Portraits at The Penthouse to be an enjoyable live album with comforting moments and musical gems you’re sure to enjoy!
~ Explorations (Riverside RLP 351/RLP 9351), How My Heart Sings (Riverside RM 473/RS 9473) – Source: Discogs.com Autumn Leaves, Come Rain or Come Shine, I Should Care, ‘Round Midnight – Source: Jazz Standards.com ~ Detour Ahead, Nardis, Time Remembered, Who Can I Turn To? – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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Left Alone ~ The Mal Waldron Trio | By Eddie Carter
This morning’s album from the library is Mal Waldron, a jazz pianist, arranger, and composer who’s recording a dedication to Billie Holiday, Left Alone (Bethlehem Records (BCP 6045/BS 6045). Mal was born in New York City on August 16, 1925. Mal began his professional career after graduating from college in 1950. As the house pianist for Prestige Records, he appeared on numerous recordings and contributed compositions. He also performed with John Coltrane, Eric Dolphy, Jackie McLean and Charles Mingus. Waldron worked with several vocalists and was Billie Holiday’s pianist from April 1957 until her passing in July 1959. On this 1960 release, he’s joined by Jackie McLean on alto saxophone (track: A1); Julian Euell on bass; and Al Dreares on drums. The copy I own is the 1981 Japanese Stereo reissue (Trio Records PAP-23001).
The title tune, Left Alone by Billie Holiday and Mal Waldron, opens the album with a solemn introduction by the pianist, leading to Jackie’s entrance to deliver the melancholy theme. Mal leads off with a delicately tender performance, then Jackie responds with a reading conveying beauty and elegance, before the quartet’s affectionate closing chorus ends softly. Catwalk is a Mal Waldron creation, and Julian makes the initial introduction, segueing into the group’s melody. Waldron has the first say and gives a tasty treat, then Euell takes a delightful walk in the following solo. The pianist concludes the solos with a final thought before restating the theme into a soft finish.
The tempo slows down for the trio’s introduction to You Don’t Know What Love Is by Gene de Paul and Don Raye. Mal sketches a lengthy musical portrait as the song’s only soloist with a delicate touch, solidified by Julian’s and Al’s accompaniment ahead of an immensely satisfying finale. Another Mal Waldron original, Minor Pulsation, gets the second side started with a two-instrument conversation between piano and drums that leads into the lively theme. Waldron takes the wheel first and drives the opening solo aggressively. Dreares gets his first solo opportunity and fuels the finale with uptempo precision preceding the group’s return to take the song out the way it began.
The threesome tackles a swinging rendition of Sonny Rollins’ Airegin next. A solo introduction by the pianist leads tothe trio’s melody. Waldron goes first again and gives a vigorous presentation, then Euell follows with a jaunty walk in the second statement. The pianist and drummer share the song’s final spotlight in a spirited exchange of ideas before the ensemble’s brisk finale takes it out. The album closes with Mal Waldron sharing a heartfelt, reflective and tender remembrance of Billie Holiday, offering a glimpse of what she was really like to work with. Teddy Charles produced Left Alone, and Peter In was behind the dials of the recording console.
The album’s sound quality is excellent, possessing a gorgeous soundstage that draws the listener into the music. Mal Waldron, renowned for his contributions as a jazz pianist and composer, built an extensive discography over five decades. Between 1952 and 2002, he released over 100 albums as a bandleader and appeared on more than 80 recordings as a supporting musician. His creative output also includes film soundtrack compositions. If you appreciate jazz piano, I highly recommend checking out Left Alone by the Mal Waldron Trio the next time you’re searching for new music at your favorite record shop. It’s a thoughtful and captivating work from an exceptionally gifted and versatile artist, making it a worthy addition to any jazz library!
p>~ You Don’t Know What Love Is – Source: JazzStandards.com ~ Left Alone – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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Daily Dose Of Jazz…
Klaus Doldinger was born on May 12, 1936 in Berlin, Germany. By age eleven he entered a Dusseldorf conservatory originally studying piano and then clarinet, graduating in 1957. During his student years, he gained professional performing experience in 1953 with the German Dixieland band The Feetwarmers, recording with them in 1955. Later that same year he founded Oscar’s Trio, modeled on Oscar Peterson’s work.
During the 1960s Klaus worked as a tenor saxophonist, working with visiting American jazz musicians and recording in his own right. Doldinger is perhaps best known for his film scores to the acclaimed German U-boat film Das Boot and The Never Ending Story. He was an honored recipient of the Bavarian Film Awards in 1997.
Doldinger created a recurring jazz project Passport in 1971 that mirrors Weather Report and still enjoys huge success in Germany. He has worked with Johnny Griffin, Brian Auger, Ernst Stroer, Pete York and Michael Hornek among others. Saxophonist Klaus Doldinger died on the evening of October 16, 2025 at his home in Icking, Germany at the age of 89.
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