Daily Dose Of Jazz…
Lowell Dwight Dickerson was born in Los Angeles, California on December 26, 1944 and grew up in the city where his influences were Horace Silver, McCoy Tyner, Kenny Barron, and Bud Powell, among others. He became active on the local jazz scene in the 1960s.
In the early Sevenites he appeared on the Chicago, Illinois tenor titan Gene Ammons’ Free Again album on Prestige, and the latter part of the decade found him being featured on a few LPs by baritone saxophonist Nick Brignola. In the 1980s Dickerson started recording as a leader when he provided his debut album, Sooner or Later, for Discovery. In 1992,
Dickerson recorded Dwight’s Rights which features Red Holloway on tenor sax for the small Night Life label. He has played as a sideman in the 1990s with saxman Rickey Woodard, singer Michael Martin and Albert “Tootie” Heath. The early 2000s saw him featured on singer David Coss’ Simple Life album.
Pianist Dwight Dickerson, who occasionally sings and plays a variety of genres ranging from hard bop, funk and soul jazz, to modal post-bop, continues to perform and record at 80.
More Posts: bandleader,history,instrumental,jazz,keyboard,music,piano
Daily Dose Of Jazz…
Ronald Edward Cuber was born on December 25, 1941 in Brooklyn, New York. In 1959 he was playing tenor saxophone when he joined Marshall Brown’s Newport Youth Band at eighteen, but switched to the baritone. His first notable work was with Slide Hampton in 1962 and then went with Maynard Ferguson the following year until 1965. George Benson recruited him for a year in ‘66 to 1967.
As a leader he was known for hard bop and Latin jazz, the latter with Eddie Palmieri, As a sideman he played outside the genre with B. B. King, Paul Simon, Eric Clapton, J. Geils Band, and one of his most spirited performances is on Dr. Lonnie Smith’s 1970 Blue Note album Drives. He was also a member of the Saturday Night Live Band.
Ronnie played with Frank Zappa on the live album Zappa in New York, which was recorded in 1976. He went on to gain membership in the Lee Konitz nonet from 1977 to 1979.He was a member of the Mingus Big Band from its inception in the early 1990s until his death. He performed as an off-screen musician for the movie Across the Universe.
Baritone saxophonist Ronnie Cuber, who also played soprano and tenor saxophones, clarinet and flute, died at the age of 80 on October 7, 2022 in his New York’s Upper West Side studio from internal injuries sustained after a fall that could not be treated due to overwhelming Covid patients at the start of the pandemic.
More Posts: bandleader,clarinet,flute,history,instrumental,jazz,music,saxophone
Jazz Poems
ROSE SOLITUDE
For Duke Ellington
I am essence of Rose Solitude
my cheeks are laced with cognac
my hips sealed with five satin nails
i carry dream and romance of new fools and old flames
between the musk of fat
and the side pocket of my mink tongue
Listen to champagne bubble from this solo
Essence of Rose Solitude
veteran from texas tiger from chicago that’s me
i cover the shrine of Duke
who like Satchmo like Nat (King) Cole
will never die because love they say
never dies
I tell you from stair steps of these navy blue nights
these metallic snakes
these flashing fish skins
and the melodious cry of Shango
surrounded by sorrow
by purple velvet tears
by cockhounds limping from crosses
from turtle skinned shoes
from diamond shaped skulls and canes
made from dead gazelles
wearing a face of wilting potato plants
of grey and black scissors
of bee bee shots and fifty red boils
yes the whole world loved him
I tell you from suspenders of two-timing dog odors
from inca frosted lips
nonchalant legs
i tell you from howling chant of sister Erzulie
and the exaggerated hearts of a hundred pretty
women
they loved him
this world sliding from a single flower
into a caravan of heads made into ten thousand
flowers
Ask me
Essence of Rose Solitude
chickadee from arkansas that’s me
i sleep on cotton bones
cotton tails
and mellow myself in empty ballrooms
i’m no fly by night
look at my resume
i walk through the eyes of staring lizards
i throw myneck back to floorshow on bumping goat skins
in front of my stage fright
i cover the hands of Duke who like Satchmo
like Nat (King) Cole will never die
because love they say
never dies
JAYNE CORTEZ
from Jazz Poems ~ Selected and Edited by Kevin Young
More Posts: book,classic,collectible,history,jazz,library,poet
Daily Dose Of Jazz…
Tatsuya Takahashi was born on December 24, 1931 in Tsuruoka, Yamagata, Japan.
In the early 1950s Tatsuya played on US military bases and later in the decade moved to Tokyo, Japan. He worked with Keiichiro Ebihara from 1961, and by 1966 was leading his own ensemble, Tokyo Union, which remained active until 1989.
The 1970s saw him playing at the Monterey and Montreux Jazz Festivals. After leaving Tokyo Union, Takahashi worked in jazz education, and in 1996 founded a new ensemble, Jazz Groovys.
Saxophonist Tatsuya Takahashi died on February 29, 2008 in Tokyo, Japan.
More Posts: bandleader,history,instrumental,jazz,music,saxophone
Requisites
What Is This Thing Called Soul? ~ The Cannonball Adderley-Nat Adderley Quintet | By Eddie Carter
I revisited a few of my mom’s cherished albums a few nights ago. The first of them, this morning’s record from the library submitted for your approval, inspired today’s discussion. What Is This Thing Called Soul? (Pablo Live 2308-238) is a concise retrospective of three live performances by The Cannonball Adderley-Nat Adderley Quintet during their 1960 European Tour in Paris, France, Gothenburg, and Stockholm, Sweden. Released in 1984, the personnel for this live album are Nat Adderley on cornet, Cannonball Adderley on alto sax, Vic Feldman on piano, Sam Jones on bass, and Louis Hayes on drums. My copy is the original U.S. Stereo release.
Side One opens with Victor Feldman’s Azule Serape; the quintet sets things in motion with the effortlessly swinging melody. Cannonball is up first with a finger-snapping flight of pure joy. Nat provides the toe-tapping compliment in the following statement. Victor continues grabbing the listener in the third reading before the ensemble reassembles to take the song out, leaving the audience exhilarated. Cannonball takes a moment to announce the second tune, Big P, by Jimmy Heath, which turns the heat up significantly, beginning with Sam’s bass introduction to the group’s spirited theme. Cannonball is off to the races first with an inexhaustible flow of ideas. Nat follows with a solo full of energy ahead of the vigorous reprise and finale.
Cannonball quickly mentions Nat before presenting the next song, the cornetist’s One For Daddy-O, his tribute to the Chicago disc jockey, Daddy O-Daylie. The rhythm section starts with a relaxing introduction to the group’s laid-back theme. Cannonball’s opening solo is pleasant and friendly. Nat is as carefree as a day at the beach in the following reading preceding the out-chorus and ending. The second side opens with what Cannonball describes as a soul piece, The Chant by Victor Feldman. The ensemble starts the song with a happy melody, then steps aside for Cannonball’s funky opening statement. Nat emerges next with an enthusiastic performance; then Victor contributes an impressive interpretation before the quintet restates the theme.
What Is This Thing Called Love? by Cole Porter is a classic jazz standard from the thirties, or as Cannonball describes it in his introduction, What Is This Thing Called Soul? The quintet kicks off the melody vigorously; Cannonball then cooks up a storm in the opening statement so hard that the listener might need to check that their speakers aren’t on fire. Nat comes sailing in next and continues cruising down the road rapidly. Victor states his case in a furiously swinging solo, and then Louis engages in a heated exchange with Cannonball until the theme’s reappearance and climax. The ensemble launches into the melody of Cannonball’s Theme, where the saxophonist thanks the audience and reintroduces the group before the song ends as quickly as it began.
Cannonball and Nat Adderley produced What Is This Thing Called Soul? There’s no mention of who recorded these concerts, but I’m happy to say the album’s sound quality is excellent, allowing the listener to feel like they’re part of the French and Swedish audiences. My mom always loved Cannonball’s rapport with the crowd on his live albums, and his playing always possessed a soulful groove that got your fingers and toes tapping from the first note to the last. If you’re already a fan of both brothers and enjoy live hard-bop, I offer for your consideration What Is This Thing Called Soul? by The Cannonball Adderley-Nat Adderley Quintet on your next record hunt. It’s an overlooked but enjoyable album you won’t regret adding to your library!
~ What Is This Thing Called Love? – Source: JazzStandards.com
© 2024 by Edward Thomas Carter
More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,saxophone,trumpet