Requisites

Neo/Nistico ~ Sal Nistico | By Eddie Carter

This morning’s choice from the library is another recent acquisition that introduced me to tenor saxophonist, Sal Nistico. Salvatore was born on April 2, 1938, in Syracuse, New York, and began playing the alto sax, before switching to tenor in 1956. He also played baritone sax for a few years. Sal was a member of Count Basie’s and Woody Herman’s bands and also played with Nat Adderley, Chet Baker, Don Ellis, Curtis Fuller, Dusko Goykovich, Johnny Griffin, The Jazz Brothers Band, Buddy Rich, and Stan Tracey to name a few. Neo/Nistico (Bee Hive Records BH 7006) finds him leading a world-class sextet, Ted Curson on flugelhorn (tracks: A1, B3), trumpet (tracks: B1, B2), Nick Brignola (tracks: A1, B2) on baritone sax, Ronnie Matthews on piano, Sam Jones on bass, and Roy Haynes on drums. My copy used in this report is the original 1978 Mono release.

Side One takes off with Anthropology by Dizzy Gillespie and Charlie Parker set at a blistering pace with both saxes backed by Roy presenting the melody. Nick applies searing heat to the opening statement, then Ted gives a high-energy reading that ascends to an exciting climax. Sal sizzles like a firecracker about to explode on the third solo, and Ronnie stirs it all together in an exhilarating statement preceding the front-line’s exchange and ensemble’s abrupt close. The beat slows down for You Don’t Know What Love Is by Gene de Paul and Don Raye. The quartet opens with a sensuous theme. Nistico begins the first reading with a delicately elegant conversation. Matthews begins the second statement with a soothing, almost seductive quality that’s beautifully tender. Nistico swings briefly on a robust return culminating in a gorgeous ending.

The quartet continues with a brisk workout of Be My Love by Nicholas Brodsky and Sammy Cahn. It was written in 1949 for Mario Lanza who sang it in the 1950 film, The Toast of New Orleans. The trio makes a feisty introduction to Sal’s lively theme and enthusiastic lead solo. Ronnie follows with a jubilant reading, then Sam cuts into the next statement like a hot knife through butter.  Roy engages in a satisfying exchange with Sal that doesn’t stop swinging until the upbeat ending.  Blues For K.D. is a Nistico original written to honor trumpeter Kenny Dorham that charges out of the gate on a vigorous melody. The leader is up first and delivers a torrid solo, then Curson ignites a mighty fire with his trumpet.  Matthews keeps the flame burning next, and Haynes does some heavy cooking on the closer amid an interchange of ideas with all three soloists.

Sal’s Bambu is a festive tune he composed while playing around on the piano in Europe. It’s a danceable mix of Afro-Calypso and Latin that’s highly rhythmic, infectious, and fun. The solo order is Brignola, Curson, Matthews, Haynes, and all four soloists invite us to party with them until an abrupt halt. Fee-Fi-Fo-Fum by Wayne Shorter was first recorded by its composer on Speak No Evil (1966). The quintet starts with a stroll on the opening chorus at a leisurely tempo. Nistico starts the first solo conveying a light mood that’s joyously carefree and happy.  Curson begins the next reading with an easy-going attitude, building steadily into an enjoyable groove. Matthews adds a great finishing touch with a briskly efficient finale cooking over a mild flame from Jones and Haynes ahead of the quintet’s closing chorus.

Neo/Nistico was produced by Joe Neumann, founder of Bee Hive Records, and engineered by Fred Norsworthy. I was very impressed with the record’s sound quality. It has an excellent soundstage with crystal-clear highs, a sharp midrange, and solid bass. Sal’s career as a musician lasted nearly three decades, and he spent a lot of time performing in Europe. He passed away on March 3, 1991, at age fifty-three. If you’re a fan of the tenor sax, Post-Bop, or are just discovering him as I have, I offer for your consideration, Neo/Nistico by Sal Nistico, an album of six performances that sparkle and swing from start to finish.  I’m very happy I found it and have it in my library.  After one audition, I’m sure you’ll feel the same!

~ Speak No Evil (Blue Note BLP 4194/BST 84194) – Source: Discogs.com ~ Anthropology, You Don’t Know What Love Is, Be My Love – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Daily Dose Of Jazz…

Paul Jackson was born in Oakland, California on March 28, 1947 and began playing bass at the age of nine. By age 14, he performed with the Oakland Symphony Orchestra and went on to study at the San Francisco Conservatory of Music.

He recorded five albums as a leader, eleven albums with Herbie Hancock, five with The Headhunters. He played on recording sessions with Sonny Rollins, Stanley Turrentine, Azteca, Eddie Henderson, Harvey Mason, The Pointer Sisters, Santana, Shawn Phillips, Stomu Yamashta between 1972 and 1977.

Electric bassist Paul Jackson passed away on March 18, 2021 at age 73 in a hospital near Tokyo, Japan, ten days before his 74th birthday.

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Daily Dose Of Jazz…

Miriam Klein was born on March 27, 1937 in Basel, Switzerland and gained fame as a singer for the first time when she appeared on the scene in Paris, France with Pierre Michelot, Don Byas and Art Simmons in the 1950s. After education at the music school in Vienna, Austria she returned to Switzerland and has sung in the group of her husband Oscar Klein since 1963.

In the 1960s and 1970s, she gained international fame when she released her 1973 album Lady Like. The album was dedicated to Billie Holiday and performed with Roy Eldridge, Dexter Gordon and Slide Hampton. She also recorded music with Albert Nicholas in 1971 and Wild Bill Davison in 1976.

In 1977, Miriam worked with Fritz Pauer’s trio and in 1978 with Roland Hanna and George Mraz in her album By Myself. In 1981/82, she toured with Kenny Clarke, Hanna and Isla Eckinger. In 2001, she took part in My Marlin, the album of her son David Klein. Vocalist Miriam Klein remains active.

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Daily Dose Of Jazz…

Austin Percy Brice Jr. was born on March 25, 1923 in New York City. He started his professional career began around the end of World War II, when he played with Benny Carter, Mercer Ellington, Luis Russell, and Eddie Cleanhead Vinson. Playing frequently in Harlem during the early 1950s he worked with Tiny Grimes, Oscar Pettiford, Tab Smith, Lucky Thompson, and Cootie Williams. In addition to leading sessions at Minton’s Playhouse, he also played with Billy Taylor from 1954 to 1956, George Shearing between 1956 to 1958, sharing screen time in the film  The Big Beat, and Kenny Burrell 1958–59.

He played behind Sarah Vaughan on tour from 1959 to 1961, then became Harry Belafonte’s drummer for most of the 1960s, but he also worked with Ahmad Jamal, Carmen McRae and Mary Lou Williams in that decade. He led a group called the New Sounds in the early 1970s, and worked with Sy Oliver and Illinois Jacquet.

Though he led a group that was active in the ’70s, the somewhat anti-jazz vibe lent to the drummer’s decision to concentrate on Broadway orchestra work, settling in for long runs on two hot shows, Eubie and Bubbling Brown Sugar. He was also active accompanying the tap group the Copasetics. He was a first~ call musician for jazz festivals and recording sessions.

The repertoire of the Percy Brice Duo with Tom Smith features songcraft from the ’20s through the ’50s. Drummer and bandleader Percy Brice, also known by his nickname Big P, passed away in November 2020 at the age of 97.

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Conversations About Jazz & Other Distractions

Conversations About Jazz Features 

Drummer Gayelynn McKinney on March 25 

HHM Digital invites you to join us for Conversations About Jazz & Other Distractions with host Carl Anthony on Thursday, March 25 at 7:30 pm (EST). His special guest will be acclaimed drummer Gayelynn McKinney. They will discuss the role of drummers and the messages they convey, McKinney’s career and sample some of her music. This free virtual program will stream on Hammonds House Museum’s Facebook and YouTube channels. Please consider making a donation via our website or during the show to support our programming. For more information about this and upcoming virtual events visit hammondshouse.org.

Gayelynn McKinney is one of the most accomplished drummers to come out of Detroit. Her father was the legendary Jazz pianist and composer, Harold McKinney, who once played with Billie Holliday. Her mother was a noted singer. McKinney began playing drums at the age of two in her dad’s basement, started taking lessons at age eight and had a drum set by age nine. In 10th Grade, she played drums in the Jazz band and saxophone in the Concert band. After graduating college, she and bassist, Marion Hayden, formed Straight Ahead Jazz Band – originally an all-female group – which continues to perform across the U.S. and internationally.

Here are a few highlights of McKinney’s career so far: Opening for Nina Simone in Switzerland (1990), Straight Ahead Jazz Band signs with Atlanta Records and begins decades of touring (1991), Performs at the Detroit Jazz Festival with Aretha Franklin (2004), Tours with Martha Reeves (2008), Performs with Freda Payne at Bird’s Basement in Australia (2019). For more information: gayelynnmckinney.com.

Hammonds House Museum is generously supported by the Fulton County Board of Commissioners, Fulton County Arts and Culture, the City of Atlanta Mayor’s Office of Cultural Affairs, The Community Foundation for Greater Atlanta, The National Performance Network, AT&T and WarnerMedia.

Hammonds House Museum’s mission is to celebrate and share the cultural diversity and important legacy of artists of African descent. The museum is the former residence of the late Dr. Otis Thrash Hammonds, a prominent Atlanta physician and a passionate arts patron. A 501(c)3 organization which opened in 1988, Hammonds House Museum boasts a permanent collection of more than 450 works including art by Romare Bearden, Robert S. Duncanson, Benny Andrews, Elizabeth Catlett, Jacob Lawrence, Hale Woodruff, Amalia Amaki, Radcliffe Bailey and Kojo Griffin. In addition to featuring art from their collection, the museum offers new exhibitions, artist talks, workshops, concerts, poetry readings, arts education programs, and other cultural events throughout the year.

Located in a beautiful Victorian home in Atlanta’s historic West End, Hammonds House Museum is a cultural treasure and a unique venue. During the COVID-19 pandemic, they continue to observe CDC guidelines, but look forward to welcoming in-person visitors soon!  For more information about upcoming virtual events, and to see how you can support their mission and programming, visit their website: hammondshouse.org.

MEDIA: For artwork to go with this release here’s our Dropbox: http://bit.ly/HammondsHouseMuseum.  For more information, contact Karen Hatchett at Hatchett PR, karen@hatchettpr.com. 

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