Daily Dose Of Jazz…

Frank Galbreath was born on September 2, 1913 in Robeson County, North Carolina. He got his start with local groups such as the Domino Five of Washington and Kelly’s Jazz Hounds of Fayetteville. He then found work with groups in other regions such as the Florida Blossoms minstrel show and the Kingston Nighthawks, a territory band. He was with Smiling Billy Steward’s Floridians when they played the 1933 World’s Fair in Chicago, Illinois.

The mid~1930s saw Galbreath moving to Chicago, and playing with Fletcher Henderson, Jelly Roll Morton, Edgar Hayes, and Willie Bryant. Around 1937 he joined Lonnie Slappey’s Swingers in Philadelphia, Pennsylvania but was called back to New York by Lucky Millinder, with whom he played for some time. Following this he joined the Louis Armstrong Orchestra until its dissolution in 1943, then he went on to play with Charlie Barnet for a few weeks before serving in the Army. After his discharge, he worked in the second half of the decade with Luis Russell, Tab Smith, Billy Eckstine, and Sy Oliver, then returned to play with Millinder from 1948 to 1952.

From 1952 he played in USO tours, first with Snub Mosley and then with various other ensembles over the course of the next decade. Frank led his own band during the decade, then played in the bands of Arthur Prysock and Benny Goodman. During the Sixties, he played with Ray Charles, Fats Domino, and Sammy Davis, Jr.

In 1963 he moved to Atlantic City, New Jersey and played locally until his failing health forced his retirement in 1969. Trumpeter Frank Galbreath passed away in November 1971.

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Three Wishes

Upon request by Pannonica as to his three wishes Danny Quebec~West responded by telling her: 

1. 1. “That the United States government… I wish that the capitalistic system be like the socialistic system in subsidizing the starving musicians, for art’s sake.”

   2. “My second wish ~ speaking of a field not concerning music ~ I wish that the stigma on jazz musicians concerning drugs… that the world have socialization of medicine, and therefore that we canget all we want.”

   3. “I hope when they do decide to let me be heardagain after such a long layoff, I hope that I can reach from their toes to their heads, and explode every minute cell in their brain ~ meaning the public, being that I feel that I have been treated very unjustly music~wise..”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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Daily Dose Of Jazz…

Willie Ruff was born on September 1, 1931 in Sheffield, Alabama and learned to play both the French horn and the double bass. He attended the Yale School of Music graduating with a Bachelor and Master of Music degrees by 1954.

He met pianist Dwike Mitchell in 1947 when they were teenage servicemen stationed at the former Lockbourne Air Force Base in Ohio. They began a professional relationship when Mitchell recruited him to play bass with his unit band for an Air Force radio program. They later played in Lionel Hampton’s band but left in 1955 to form their own group, then together as the Mitchell-Ruff Duo that lasted over fifty years. They also played as the second act to artists such as Louis Armstrong, Count Basie, Duke Ellington, and Dizzy Gillespie.

From 1955 to 2011, the duo regularly performed and lectured in the United States, Asia, Africa, and Europe. In 1950 the Mitchell-Ruff Duo was the first jazz band to play in the Soviet Union and in China in 1981. Ruff was chosen by John Hammond to be the bass player for the recording sessions of Songs of Leonard Cohen, was one of the founders of the W. C. Handy Music Festival in Florence, Alabama in 1982.

As an educator, Willie was a faculty member at the Yale School of Music, teaching music history, ethnomusicology, and arranging. He is founding Director of the Duke Ellington Fellowship Program at Yale, held a visiting appointment at Duke University, where he oversaw the jazz program and directed the Duke Jazz Ensemble, and also has been on faculty at UCLA and Dartmouth.

French hornist, double bassist, music scholar, and educator Willie Ruff, was awarded the Sanford Medal, the Connecticut Governor’s Arts Award, and was an inductee of the Alabama Jazz Hall of Fame, primarily a Yale professor from 1971 to 2017, and continues to reside in Alabama.

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Daily Dose Of Jazz…

Roy Willox was born August 31, 1929 in Welwyn, Hertfordshire, England into a musical family in 1929. At 16 he initially played with Johnny Claes for a short time in 1945 and then worked in other well-known bands before joining the Ted Heath Orchestra for a five-year stint from 1950 to 1955. During this time he also worked in a band with Keith Christie.

A collaboration with Jack Parnell and other bands led to extensive freelance in television, radio and theater. In the field of jazz, he was part of Harry South’s band in the 1960s and 1970s. This period of performing saw him occasionally returning to the Heath band throughout the 1990s and 2000s, playing the Ted Heath Bands farewell concert at London’s Royal Festival Hall in 2000.

In his later years Roy worked with Kenny Baker, the Robert Farnon Orchestra, and Laurie Johnson’s London Big Band. 2009 with the all-star formation The Allan Ganley Jazz Legacy. He was involved in 156 jazz recording sessions between 1951 and 2016 with Cleo Laine, Larry Page, George Chisholm, Beryl Bryden, Johnny Keating, Tubby Hayes, Kenny Clare, Dudley Moore, Louie Bellson, The London Jazz Chamber Group, Michel Legrand, Phil Woods, and the Len Phillips Big Band.

As a session musician, he is also in pictures of Bert Kaempfert, Tiny Tim ~ Live! At the Royal Albert Hall, and Harry Nilsson ~ A Little Touch of Schmilsson in the Night. Alto saxophonist Roy Willox, who also plays clarinet and flute, passed away on November 25, 2019.

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Requisites

Something In Common ~ Sam Jones | By Eddie Carter

Up next from the library is a 1978 album by bassist Sam Jones titled Something In Common (Muse Records MR5149). If you’re unfamiliar with him, he’s recorded as a leader for East Wind, Interplay, Riverside, SteepleChase, and Xanadu. For five years, he was an essential member of the quintet and sextet of Cannonball Adderley. He’s also appeared on some of the most important jazz LP’s ever recorded and worked with Nat Adderley, Gene Ammons, Donald Byrd, Al Cohn, Arnett Cobb, Lou Donaldson, Kenny Dorham, Red Garland, Dizzy Gillespie, Johnny Hodges, Clifford Jordan, Duke Jordan, Yusef Lateef, Thelonious Monk, Sonny Stitt, and Bobby Timmons among others. For this date, Jones assembled an excellent quintet, Blue Mitchell on trumpet; Slide Hampton on trombone; Bob Berg on tenor sax; Cedar Walton on piano and Billy Higgins on drums. My copy used in this report is the original US Stereo release.

The briskly paced Slide Hampton tune, Every Man Is A King kicks off Side One with Sam presenting a gentle solo introduction that evolves into a swinging affair on the melody. The solo order is Hampton, Mitchell, Berg, Walton, Higgins, and the front line’s strength is in evidence on three exhilarating readings. Cedar kicks it up a notch when his turn comes, followed by Billy who makes a brief closing comment. For All We Know is a jazz and pop standard that was written in 1934 by Fred Coots and Sam Lewis. The ensemble begins with a very pretty melody reminiscent of the cool jazz sound Miles Davis, Gil Evans, and Gerry Mulligan achieved on the LP, Birth of The Cool. Sam shapes the opening statement thoughtfully into an elegant interpretation. The beat moves upward for a brief reading by Blue into the ensemble’s soothing coda.

Mitchell’s Blue Silver ends the first side with the group taking the main theme at a speedy velocity. Blue takes flight first with a joyously, happy lead solo. Bob, Slide, and Cedar follow with three brief energetic interpretations, then Higgins takes the final bow exchanging short riffs with all four soloists preceding the out-chorus. Something In Common is the first of two tunes from Cedar’s pen and starts Side Two swinging from the melody with the sextet showing off their chemistry. Walton opens with an aggressive solo, then Berg shines on a marvelous statement that’sa knockout. Mitchell responds to the saxophonist with exuberant energy next. Hampton follows, making an authoritative entrance into the fourth presentation with passionate emotion. Higgins delivers the final performance with aggressive incisiveness, providing the perfect counterpoint to each artist.

Bolivia, one of Cedar’s most famous compositions made its debut on the 1975 album, Eastern Rebellion with Jones, Higgins, and George Coleman joining the pianist. Blue is featured during the robust melody and end theme but does not solo here. Slide jumps out the box first with enthusiastic authority, then Cedar gives a fiery display on a jubilant statement. Bob makes a bold statement of robust wailing on the next reading. Sam completes the solos with luminous intensity ahead of the ensemble’s reprise and fadeout. Jones’ Seven Minds is the longest track on the album, affording solo opportunities for everyone except Mitchell and Higgins. Sam opens auspiciously with an extended solo vamp, developing into the sextet’s expedient theme. Walton opens with a fiercely, exciting first statement. Hampton demonstrates the tools of a master craftsman with a cooking reading next. Berg follows, producing incandescent heat, then Jones culminates the set with a delightful improvisation.

This release was recorded by one of the best engineers in the business, Chuck Irwin whose list of credits includes many albums across several genres. The LP also has a fine tonal balance of treble, midrange, and bass with superb sound quality as though we’re in the studio with the musicians, eavesdropping. If you’re a fan of Hard-Bop, or Post-Bop, or are looking for an album showcasing superb bass, I offer for your consideration and also recommend Something In Common by Sam Jones. It’s a great set of excellent jazz that should become an essential addition to any library!

~ Birth of The Cool (Capitol Records T-762); Eastern Rebellion (Timeless SJP 101) – Source: Discogs.com

As you listen to this version of the album, be mindful that three songs, Shoulders, One for Amos, and You Are the Sunshine of My Life, have been added to the compact disc release of this album that are not included on the original release. For what reason I am not aware.

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