Daily Dose Of Jazz…

Rachel Gould was born Rachel Field on June 25, 1953 in Camden, New Jersey. She studied cello and classical singing at Boston University. Upon moving to Germany in 1975 she established herself as a jazz musician, formed her own quartet and toured Europe. In 1979 she appeared in London, England with Chet Baker and recorded the much acclaimed album All Blues.

In the early 1980s, she performed at numerous European festivals, and worked with groups led by Ack van Rooyen, Lou Blackburn, Ferdinand Povel, Bobby Burgess, Michel Herr, Tom Nicholas, Dieter Reith and Erwin Lehn. In 1983 Gould sang for quite a while in the United States and, in New York City, with Woody Herman, Sal Nistico and Jake Hanna.

Upon her return to Germany, she presented the band Breath & Bones at the Leverkusen Jazz Festival. She continued her work in Germany from 1984 onwards, consisting mainly of teaching as a lecturer at the conservatories in Maastricht, Cologne, Mainz and Hamburg. Then in 1987 she travelled to the Swiss Jazz School.

She went on to work with Joe Haider and Benny Bailey. Gould played with Riccardo Del Fra on the 1989 album A Sip of Your Touch, and with his band on a live album at the 1991 Montreux Jazz Festival.

Since 1991, vocalist Rachel Gould has continued to perform in addition to working as a lecturer in jazz singing at the Royal Conservatory of The Hague.

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On The Bookshelf

JAZZ COVERS | JOAQUIN PAULO 

This striking collection of jazz record covers shows the designs that defined a sound. Containing covers from the 1940s to the early 1990s, each reproduction is accompanied with essential background information. Spanning photographic and illustrative works, these album artworks match music and design in a remarkable history of jazz.

Part design history, part trip down musical memory lane, this anthology of jazz album artwork is above all a treasure trove of creative and cultural inspiration. Spanning half a century, it assembles the most daring and dynamic jazz cover designs that helped make and shape not only a musical genre but also a particular way of experiencing life.

From the 1940s through to the decline of LP production in the early 1990s, each chosen cover design is distinct in the way it complements the energy of the album’s music with its own visual rhythms of frame, line, text, and form. To satisfy even the most demanding of music geeks, each record cover is accompanied by a fact sheet listing performer and album name, art director, photographer, illustrator, year, label, and more.

Joaquim Paulo is a consultant for major labels and directs a number of radio stations in Portugal. He started collecting vinyl at the age of 15, and flew to London, Paris, New York, and São Paulo to enrich his collection of over 25,000 LPs. He lives and works in Lisbon and dedicates his free time to recovering old and rare recordings.

The Editor

Julius Wiedemann studied graphic design and marketing and was an art editor for newspapers and design magazines in Tokyo before joining TASCHEN in 2001. His titles include the Illustration Now! and Record Covers series, as well as the infographics collection and books about advertising and visual culture.

Jazz Covers

Taschen: Hardcover, 11.5 x 11.5 in., 9.21 lb, 552 pages

ISBN 978-3-8365-8525-5

Edition: Multilingual (English, French, German)

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Daily Dose Of Jazz…

Terrence Mitchell Riley was born in Colfax, California on June 24, 1935 and grew up in Redding, California. In the 1950s, he began performing as a solo pianist and studied composition at San Francisco State University, the San Francisco Conservatory, and the University of California Berkeley, studying with Seymour Shifrin and Robert Erickson.

Befriending minimalist omposer La Monte Young, together they performed Riley’s improvisatory composition Concert for Two Pianists and Tape Recorders in 1959–60. Riley later became involved in the experimental San Francisco Tape Music Center, working with Morton Subotnick, Steve Reich, Pauline Oliveros, and Ramon Sender. Throughout the 1960s, he also traveled frequently in Europe, taking in musical influences and supporting himself by playing in piano bars. He also performed briefly with the Theatre of Eternal Music in New York in 1965-1966.

His most influential teacher was Pandit Pran Nath, a master of Indian classical voice who also taught La Monte Young, Marian Zazeela, and Michael Harrison. Riley made numerous trips to India over the course of their association to study and accompany him on tabla, tambura, and voice. In 1971 he joined the Mills College faculty to teach Indian classical music. Riley also cites John Cage and “the really great chamber music groups of John Coltrane and Miles Davis, Charles Mingus, Bill Evans, and Gil Evans as influences on his work.

His long-lasting association with the Kronos Quartet began around 1980 and throughout his career Terry composed 13 string quartets for the ensemble. in addition

Organist, pianist, saxophonist and tamburist Terry Riley, who teaches both as an Indian raga vocalist and as a solo pianist, continues to perform live.

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Daily Dose Of Jazz…

Sahib Shihab was born Edmund Gregory on June 23, 1925 in Savannah, Georgia. Schooled in New York from age 3, he first played alto saxophone professionally for Luther Henderson at 13. He studied at the Boston Conservatory, and played in and around New York with Art Blakey, Gigi Gryce, Benny Golson, Thelonious Monk, Oscar Pettiford, Dizzy Gillespie. He toured with the bands of Fletcher Henderson, Buddy Johnson, Roy Eldridge, Andy Kirk, Duke Ellington, Count Basie and the original 17 Messengers of Blakey.

During the late 1940s, Shihab played with Thelonious Monk, and on July 23, 1951 he recorded with Monk that was later issued on the album Genius of Modern Music: Volume 2. During the decade he recorded with Art Blakey, Kenny Dorham and Benny Golson. The invitation to play with Dizzy Gillespie’s big band saw his switch to baritone saxophone.

Between 1952 to 1955 he toured with Illinois Jacquet in Europe, as well as with Coleman Hawkins and Sarah Vaughn and toured with Dakota Stanton from 1956 to 1958. He was one of the musicians who showed up for the Art Kane photograph A Great Day In Harlem. Closing out the Fifteies he toured Europe with Quincy Jones, and subsequently settled in Scandinavia in 1960, married and raising a family. Shihab, disillusioned with racial politics in the United States, decided around this time to move to Europe. 

As an educator he worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. He composed and arranged for Swedish and Danish radio orchestras. He went on to perform with bassist Niels-Henning Ørsted Pedersen and together with pianist Kenny Drew, he ran a publishing firm and record company. Through the Sixties he joined the Kenny Clarke/Francy Boland Big Band and remained a member of the band during its 12 years existence.

Returning to the United States in 1973 he toured with Quincy Jones and The Brothers Johnson. He returned to Copenhagen, Denmark three years later, where he produced albums for Metronome Records, along with Kenny Drew. The album is titled Brief Encounter, and features the voices of Debby Cameron and Richard Boone. At decade’s end he started a record company with Kenny Drew called Matrix and spent his remaining years between New York and Copenhagen, performed in partnership with Art Farmer and led his own jazz combo called Dues.

Hard bop baritone, alto, and soprano saxophonist and flautist, composer, arranger, producer and educator Sahib Shihab, who beginning of 1986 was a visiting artist at Rutgers University, died from cancer on October 24, 1989, in Nashville, Tennessee at age 64.

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Requisites

Three Quartets ~ Chick Corea | By Eddie Carter

Chick Corea embarks on a captivating exploration of jazz through the lens of Baroque, Classical, Impressionist, and Romantic traditions in Three Quartets (Warner Bros. BSK 3552). He began learning the piano at the age of four and later took up the drums by the age of eight. Corea also became proficient with other keyboards and the vibraphone. His professional career began when he performed with Mongo Santamaria in 1962. Over the years, he contributed to several landmark jazz albums and collaborated with numerous artists. He also formed several groundbreaking groups, including Circle, the Chick Corea Akoustic and Elektric Bands, Five Peace Band, Origin, The New Trio, and Return to Forever. These ensembles cemented his reputation as one of jazz’s most innovative, revered, and versatile musicians.

The pianist is joined by an ensemble of highly skilled musicians: Michael Brecker on tenor sax, Eddie Gómez on double bass, and Steve Gadd on drums. Corea not only composed but also arranged all the songs, and my copy of the album is the 1981 U.S. Stereo release. Side One gets underway with the trio’s effervescent introduction to Quartet No. 1, setting the stage for an adventurous melody powered by the foursome’s rock-inspired rhythm. Michael’s entrance amplifies the energy aggressively in the opening statement. Eddie has the spotlight next and takes an invigorating stroll, then Chick’s closing interpretation comes vibrantly alive, leaving the listener’s ears sizzling, ahead of the song’s closing moments.

Quartet No. 3 takes matters a step further in terms of character and expression. The ensemble’s introduction is slow and deliberate, gradually building momentum as the melody unfolds. Brecker opens with a bold statement that explores the edges of avant-garde jazz and post-bop. Gómez comes in for a brief interlude, then Corea delivers one of his most inventive solos. Gómez shines once more in an excellent reading before Brecker guides the quartet into the out-chorus. Quartet No. 2 (Part 1) is a ballad that’s dedicated to Duke Ellington, beginning with a lengthy piano introduction, which develops into Michael’s tender theme. Eddie starts things off with a graceful solo, then Chick makes a polite point next. Michael wraps things up with a sweet-toned delivery in the lead-up to the tranquil climax.

The closer, Quartet No. 2 (Part II), dedicated to John Coltrane, welcomes us to Gadd’s crisp introduction, which segues into the group’s upbeat theme. Corea launches into the opening statement with swift and electrifying lines. Gómez steps in next with a nimble reading. Brecker follows with a fiery performance, before Gadd steps in for a brief workout. Corea returns for a short solo, leading to a thrilling finish. Chick also wore the producer’s hat on this date, and Bernie Kirsh was behind the recording dials, as well as handling the mixing. The album possesses a superb soundstage, with no harshness in the highs, midrange, or low end, allowing the quartet to come through your speakers with a clarity that will make you feel like they are in your listening room.

Expressing what “Three Quartets” means to me is no easy task. I first encountered the album at the Record Theatre in Norwood while living in Cincinnati, Ohio. It played a crucial role in helping me navigate through a profoundly difficult period in my life. Each time I revisit it, I discover something new and extraordinary in its depths. Chick Corea received an impressive seventy-two Grammy Award nominations, and he won the award twenty-seven times. He was also honored as a Down Beat Hall of Famer and a NEA Jazz Master. On his seventy-fifth birthday, he performed alongside more than twenty groups at the Blue Note Jazz Club in Greenwich Village. Corea passed away at seventy-nine in Tampa, Florida, on February 9, 2021, due to a rare form of cancer.

If you’re a long-time fan of Chick Corea or just starting to explore the incredible body of work in his catalog, “Three Quartets” should be considered the next time you’re visiting your favorite record shop. It’s a rewarding and thought-provoking listening experience, showcasing the pianist’s exceptional artistry and the collective brilliance of his Ensemble!

© 2025 by Edward Thomas Carter

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