Daily Dose Of Jazz…
Frederick Walker was born in St. Louis, Missouri on July 16, 1942. He received his high school equivalency from the United State Armed Forces Institute, then went on to study criminal justice for two years from 1873 to 1975 at St. Louis Community College.
In 1980, Fred founded Star City/St. Louis Records and produced two 45 releases with the Nightwind Band titled Later For That and Why Can’t We. He eventually formed Star City Enterprise encompassing Star City Productions, Star City/St. Louis Records and Saxy Jazz.
His Star City Productions deals with the production of recorded music and the small studio offers digital recording capabilities, CD label production, graphic design and other services related to the production of recorded sound. It also offers copyright registration assistance, music society membership, ISRC encoding and much more.
Soprano and alto saxophonist Fred Walker continues to perform, record and grow his company with new individuals and groups signing on.
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On The Bookshelf
Jazz historian Reginald Carter and jazz photographer Lenny Bernstein present an introduction to the young lions of jazz. Most of these musicians have decided to forgo post-1960s jazz developments, instead mining the treasures of the bop/hard-bop masters. The profiles include a short biography, photo notes, a wonderful black-and-white photograph, recent interview excerpts, and a select discography.
The artists’ thoughts on the upswing in jazz’s popularity and on balancing performing, composing, and recording, provide an overall sense of where these musicians find themselves within the jazz culture.
Arranged according to instrumental groupings, the book features such musicians as Terence Blanchard, Roy Hargrove, Wynton Marsalis, Nicholas Payton, Wallace Roney, Branford Marsalis, James Carter, Joshua Redman, Bobby Watson, Don Byron, Craig Handy, Steve Turre, Bill Frisell, Russell Malone, Geri Allen, Cyrus Chestnut, Marcus Roberts, Christian McBride, Reginald Veal, Cindy Blackman, Jeff “Tain” Watts, and vocalists Dee Dee Bridgewater and Kevin Mahogany.
In this compendium we see those forty musicians who have individually taken the music to its evolutionary continuance.
Daily Dose Of Jazz…
Luciano Milanese was born on Juy 15, 1950 in Genoa, Italy. Little is known about his family life during his early years, however, he learned to play the bass during his formative years. Over the course of his continual career he went on to play in Italy with numerous American jazz musicians including Harry “Sweets” Edison, Art Farmer, Chet Baker,Eddie “Lockjaw” Davis, Johnny Griffin, Sal Nistico, James Moody, George Coleman, Steve Grossman, Slide Hampton, Ray Bryant, Kenny Drew, Walter Bishop, Barney Kessel, Joe Pass, Louis Hayes, Alvin Queen, and Bobby Durham, to name a few.
Bassist Luciano Milanese currently continues to perform and record with important Italian musicians like Gianni Basso, Andrea Pozza, Dado Moroni, Tullio De Piscopo.
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Daily Dose Of Jazz…
Hank Johnson was born Stuart H. Tresser on July 14, 1949 in the Bushwick section of Brooklyn, New York. He began piano study early in life at age three with Mrs. Henryetta Klein as his first piano teacher. Graduating from George W. Wingate High School in 1967, he continued his education and in 1970 was awarded an AAS Degree in Graphic Arts and Advertising Technology, from New York City Community College. In 1973 a BFA degree was awarded from New York Institute of Technology, with a major in Communication Arts.
He continued his private piano instruction with classical pianist Ms. Malady, who taught piano at the Brooklyn Conservatory of Music. He also received lessons fromMorty Kessler, and Morty Reed, a showband pianist in Las Vegas, Nevada, as well as from Horace Parlan and Teddy Wilson..
Hank learned to write music, and developed the friendship and guidance of Ray Cox, who worked for Machito, as a copyist and arranger. In 1977 Johnson had replaced Jimmy Nottingham’s trio at the Village Door Restaurant and Supper Club in Jamaica, Queens, New York. It was at the Village Door that he got the hands-on experience that ignited his passion to be the best piano player.
He founded the independent record label Jazzbone Records. Presently pianist Hank Johnson is the Director of Tresser Printing Office, a security printer, and a division of Tresser Music, music publishers.
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Requisites
Montreux ‘77 ~ Tommy Flanagan 3 | By Eddie Carter
I’ve admired and been a fan of pianist Tommy Flanagan for many years, so I was delighted to come across a delightful live album with his trio, Montreux ’77 (Pablo Live 2308-202). Tommy, a Detroit native, drew early inspiration from three legends: Nat King Cole, Art Tatum, and Teddy Wilson, as well as local greats Earl Van Riper and Willie Anderson. Throughout a remarkable forty-five-year career, he recorded thirty-six albums as a band leader and appeared as a sideman on over two hundred albums, many of which are regarded as jazz classics. Flanagan’s longest tenure was thirteen years as an accompanist and musical director to Ella Fitzgerald. Joining him on this date are Keter Betts on bass and Bobby Durham on drums. My copy of the album is the 1977 U.S. stereo release.
Barbados by Charlie Parker sets an upbeat tone to begin the trio’s set, with Flanagan’s introduction segueing into a vivacious melody. Tommy takes the lead with a spirited performance. Keter makes every note sparkle in the following solo, while Bobby’s steady rhythms anchor the soloists. The pianist returns for a rousing finale that draws enthusiastic applause from the audience. A pair of timeless jazz standards is up next. Some Other Spring by Arthur Herzog, Jr. and Irene Kitchings offers Flanagan the spotlight for a solo of exquisite tenderness. The trio then moved into “Easy Living” by Ralph Rainger and Leo Robin. Tommy remains the only soloist, and he gives a warm, sultry and deeply sincere performance, gracefully supported by Keter and Bobby into a soft, mesmerizing close.
Side Two begins with Flanagan’s gentle introduction to Star Crossed Lovers by Duke Ellington and Billy Strayhorn. The pianist enchants the listener in a beautiful solo of heartfelt lyricism until the beat moves upward for “Jump For Joy” by Duke Ellington, Sid Kuller, and Paul Francis Webster. After the trio’s melody swings in unison, Tommy begins the song’s only solo with infectious enthusiasm and an array of inventive ideas preceding a rousing reprise and finish. Dizzy Gillespie’s Woody ‘n’ You is off to the races from the start of Tommy’s introduction, leading to the trio’s vigorous theme. Flanagan forges ahead into the spotlight for the song’s only solo exuberantly until the ensemble reconvenes for a brisk closing chorus and a rousing ovation from the audience.
Blue Bossa by Kenny Dorham opens with the trio’s irresistibly rhythmic and lively theme. Tommy has the first say, and his fingers soar effortlessly across the keys. Keter follows, infusing the second statement with firm bass lines. The song culminates in a spirited conversation between Tommy and Bobby, leading to the trio’s danceable, infectious reprise and an enthusiastic ovation from the audience. Norman Granz produced the album, and Mountain Recording Studios was behind the dials. Val Valentin remixed this live date. The sound quality is very good except on the final track, Blue Bossa. During Keter Betts’s bass solo on this song, there’s a harshness or distortion that, while annoying, especially if you’re listening through headphones, doesn’t fully detract from the music.
Tommy Flanagan’s artistry was marked by clarity and elegance. His piano playing featured a delicate, lyrical touch and a remarkable knack for crafting nuanced phrases. Each of his improvisations unfolded with a natural, narrative flow, as he expertly walked the line between a tune’s structure and the freedom of creative expression. As an accompanist, Flanagan excelled and was attentive to his fellow musicians, always enhancing their sound. His understated comping offered a gentle harmonic support, letting soloists shine. When stepping forward with his own solos, his playing sparkled with wit, grace, and a distinctive sense of swing. Despite facing health challenges later in life, he continued to perform and record right up until his death at age seventy-one on November 16, 2001.
If you’re a fan of a piano jazz trio or live jazz recordings, I can’t recommend this album enough on your next record shopping trip. Montreux ‘77 by the Tommy Flanagan 3 allows listeners to take a delightful trip to the Montreux Jazz Festival without the need for luggage, a passport, or boarding a flight. Just set the record on your turntable, settle into your favorite chair with a preferred drink in hand, and immerse yourself in the moment!
Postscript: Montreux ‘77 by Tommy Flanagan 3 also appears in the eight-record box set, Norman Granz Presents The Montreux ’77 Collection.
~ Norman Granz Presents The Montreux ’77 Collection (Pablo Live 2620-107) – Source: Discogs.com
~ Easy Living – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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