Requisites
Still Hard Times ~ David “Fathead” Newman | By Eddie Carter
David “Fathead” Newman, a versatile multi-instrumentalist, enters this morning’s spotlight with his vastly underrated album, Still Hard Times (Muse Records MR 5283). This musical feast delights any jazz aficionado, offering a satisfying blend of David’s proficiency on the alto sax (track: B2), flute (B1, B3), soprano sax (A3), and tenor sax (A1, A2, B1). On his second Muse Records date, he joins forces with an talented ensemble of musicians: Charlie Miller on trumpet (A1, A2, B1, B2), Hank Crawford on alto sax (A1, A2, B1 to B3), Howard Johnson on baritone sax (A1, A2, B1, B2), Steve Nelson on vibraphone (A3, B3), Larry Willis on piano, Walter Booker on bass, and Jimmy Cobb on drums. My copy is the 1982 U.S. Stereo release.
The album opens with the septet’s introduction to Shana by David Newman, segueing into a mid-tempo melody that sets the mood. David indulges in delightful fun on a vibrant performance with playful energy and a lively tone. Larry adds an extra layer of excitement with a vibrant solo before the ensemble wraps up the song. Blisters by Hank Crawford opens with the rhythm section’s bluesy introduction, irresistibly getting your fingers snapping and your foot tapping. The theme starts as the front line launches this musical meal. Newman’s easygoing first course whets the appetite; then it’s on to Crawford, who delivers a splendid main course. Willis unfolds the perfect ending in a delicious treat for dessert, leading to the song’s conclusion.
Newman’s switch to the soprano sax for One For My Baby by Harold Arlen and Johnny Mercer is a moment of profound emotion. Larry introduces the jazz standard, ascending to David’s deeply poignant theme. He continues telling the melancholic story delicately. In the following tender presentation, Steve reveals the song’s melodic beauty, which precedes David’s serene fadeout. To Love Again is a beautiful ballad by Hank Crawford featuring “Fathead” in a heartfelt flute and tenor sax performance. Side Two opens with Newman’s flute introduction, followed by his gentle melody on the tenor sax with the ensemble in the background. In the song’s only solo, “Fathead” conveys heartwarming and precious thoughts in every note until the group returns for the gentle closing chorus.
The album’s title track, Still Hard Times by David Newman, places the leader on alto sax as the septet’s soulful theme begins. David leads off with an easy-flowing interpretation as enjoyable as something comfortable to wear. Larry brings a cheerful spontaneity to the second statement, complimenting David’s performance preceding the ending theme, which fades out gently. Percy Mayfield’s blues ballad, Please Send Me Someone To Love, receives a regal treatment by the sextet with Newman’s return to the flute, accompanied by Nelson’s vibes complementing the rhythm section as “Fathead” unveils the melody. The highlight is Crawford’s funky down-home performance until the group’s theme reprise and finale!
Still Hard Times was produced by Michael Cuscuna. Vince Traina was behind the dials of the recording, and Joe Brescio mastered the album. It has superb sound quality, with a rich soundstage transporting the listener to the studio as the musicians perform. David “Fathead” Newman’s versatility is remarkable, and the rhythm section’s steady foundation enhances the front line’s performance throughout each track. Whether you’re a soul jazz fan or discovering his music, I highly recommend checking out Still Hard Times by David “Fathead” Newman on your next record hunt. It’s a perfect album for a relaxing evening with friends or when enjoying the quiet, listening alone. It’s become a cherished part of my library, and I hope that after you hear it, it will become a treasured part of yours!
One For My Baby, Please Send Me Someone To Love – Source: Wikipedia.org
© 2025 by Edward Thomas Carter
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Gene J. Bertoncini, born April 6, 1937 in New York City and grew up in a musical family. His father played guitar and harmonica, his brother played accordion and keyboards. He began playing guitar at age seven and by age sixteen was appearing on television.
After high school he attended the University of Notre Dame, where, in 1959, he earned a Bachelor of Science degree in Architectural Engineering. During his matriculation he played clarinet in the Notre Dame marching band. His first guitar teacher was Johnny Smith.
Gene entered the Marines, then moved to Chicago, Illinois where he became immersed in the jazz scene, working with Carmen McRae. Returning to New York City, Gene played with vibraphonist Mike Mainieri and then in one of Buddy Rich’s ensembles. He was a member of the Tonight Show band.
He has worked with Burt Bacharach, Tony Bennett, Paul Desmond, Benny Goodman, Lena Horne, Hubert Laws, Michel Legrand, Charles McPherson, Wayne Shorter, Clark Terry, Nancy Wilson and bassist Michael Moore.
At the advice of his teacher Chuck Wayne, he began studying classical guitar and using the instrument for jazz, Latin and Brazilian music styles. Back in New York City, from 1990 to 2008, Bertoncini played solo guitar on Sunday and Monday evenings at the Bistro La Madeleine on West 43rd Street. He recorded two albums of solo guitar arrangements, Body and Soul and Quiet Now, and published ten of these arrangements in Gene Bertoncini Plays Jazz Standards.
Bertoncini has been on the faculties of William Paterson University, New York University, Eastman School of Music, New England Conservatory, the Banff School of Fine Arts in Alberta, Canada and on the staff of the Tritone Jazz Fantasy Camps.
Guitarist, arranger, and educator Gene Bertoncini continues to perform, arrange, record and educate.
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Daily Dose Of Jazz…
Nick Paul was born on April 5, 1939 and raised in London, England. Growing up while playing a host of woodwind instruments his influences were George Lewis and John Handy.
Very active during the 60s, 70s and 80s in the south of England, in Europe he also played New Orleans Jazz. Paul played with many bands including The Barry Martin Ragtime Band, Malc Murphy’s Storyville Stompers, Bill Brunskil, The New Iberia Stompers, The New Revival Jazz Band. He spent time in New Orleans listening to the masters and improving his knowledge of the music.
Leaving England in 1987 for sunnier climes, Nick lived aboard his sailing boat Storyville in Cyprus for ten years playing in hotels and clubs. His musical tastes broadened and for the last twelve years he has been playing mainly small group swing and mainstream jazz of the 50s era.
Woodwind master Nick Paul, who now lives in Thailand, is still playing and has established a small recording studio.
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Daily Dose Of Jazz…
Tony Vella was born on April 4, 1937 in Terrasini, a Sicily commune in the metropolitan city of Palermo, Itlay. In 1957 he gained immense experience working with big and small configurations. In Italyhe was the main arranger, for numerous important record houses.
From 1972 he dedicated his efforts to cultural activities and the formation of young talents holding theory courses, and practical instrumental and ensemble music applied to jazz music. By 1975 Tony participated in the Pescara the Jazz Festival with the New Jazz Society of Palermo, the only Italian group invited to perform along with the Zoot Sims Quartet, Antony Braxton, Elvin Jones Quintet, Red Norvo Trio, Chet Baker Quartet, Charles Mingus Group, Roland Kirk Quintet and Don Cherry Organic Music Theatre.
Three years later he formed and directed L’Orchestra in collaboration with the Reinhardt Center for their concert season. Organized by the Associazione Siciliana Amici della Musica and introduced to Auditorium SS. Salvatore of Palermo.
In the Eighties Vella was a partr of the Messina Jazz Meeting with the Brass Group Big Band, as orchestra director and arranger. With the band he has collaborated with international musicians Archie Shepp, Hernie Wilkins, Mel Lewis, Sam Rivers, Toshiko Akiyoshi, Paolo Lepore, Franco Cerri, and Danilo Terenzi.
The next decade he established The Tony Vella Fusion Jazz Band entirely composed from young Sicialian musicians. A big band, modeled on some of the great American orchestras like Quincy Jones. The Fusion Jazz Band presented remarkable arrangements of a repertoire that includes Brazilian and popular jazz. They accompanied singers Beppe Vella, Gaetano Riccobono, and Tony Piscopo, as well as numerous musicians such asCalderone Ignazio, Aldo Oliveri, Benedetto Modica, Giovanni Mazzarino, Sergio Munafò, Aldo Messina, and Sebastiano Alioto, among others.
Pianist, organist, composer, arranger and orchestra director Tony Vella continues to perform, conduct and record.
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Daily Dose Of Jazz…
William Orie Potts was born April 3, 1928 in Arlington, Virginia. As a child he played Hawaiian slide-lap steel guitar and the accordion in his teens. At 15 he won an accordion competition with a performance of Twilight Time. After hearing Count Basie on the radio he started studying the piano in high school. He went on to attend Catholic University of America in 1946–1947, then formed his own group under the name Bill Parks, which toured in Massachusetts and Florida.
While serving in the Army from 1949 to 1955 he transcribed charts for Army bands. During this time Bill composed and arranged for Joe Timer and Willis Conover’s ensemble, The Orchestra, which was broadcasted on Voice of America radio. He wrote four of the songs on The Orchestra’s 1954 Brunswick Records LP, and recorded some of their live shows, which occasionally featured guest appearances from Charlie Parker and Dizzy Gillespie.
By 1956 he was leading a house band at Olivia Davis’ Patio Lounge in Washington, D.C. and Lester Young booked an engagement there. Potts convinced Young to record with him on two of the evenings. These recordings were later released as the Lester Young in Washington, D.C. sessions.
The following year he worked extensively as a composer, arranger, and performer for Freddy Merkle’s Jazz Under the Dome album which featured Earl and Rob Swope. Soon after this he suffered a crushed vertebra in a car crash and ended up in a body cast for three months. During his recuperation Bill began working on charts and arrangements for an album consisting of jazz reinterpretations of many songs from George Gershwin’s opera Porgy & Bess.
Fully recovered by 1959, he released a session under his own name titled The Jazz Soul of Porgy and Bess for United Artists Records. It featured a nineteen-piece band whose members included Al Cohn, Harry Edison, Art Farmer, Bill Evans, Bob Brookmeyer, Marky Markowitz, Zoot Sims, Charlie Shavers, Earl Swope, and Phil Woods. The album received a five out of five star rating from Down Beat magazine upon its release.
Following this, Potts spent several years working in New York City before returning to the D.C. area, where he worked locally in addition to touring with and/or arranging for Paul Anka, Eddie Fisher, Ella Fitzgerald, Stan Getz, Woody Herman, Quincy Jones, Stan Kenton, Ralph Marterie, Buddy Rich, Jeri Southern, Clark Terry, and Bobby Vinton.
In 1967 he released an album on Decca Records, How Insensitive, with a studio group called Brasilia Nueve. This group included Markowitz and Sims from the Porgy and Bess session , as well as Tito Puente, Chino Pozo, Mel Lewis, Barry Galbraith, and Louie Ramirez.
As an educator Bill taught music theory at Montgomery College from 1974 to 1990 and was the leader of the student jazz band. He also led a big band for occasional performances at Washington’s Blues Alley nightclub in the 1980s.
Retiring to Fort Lauderdale, Florida in 1995, pianist and arranger Bill Potts died of cardiac arrest on February 16, 2005 in Plantation, Florida.
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