NNENNA FREELON
A woman of countless talents, six-time Grammy Award nominee Nnenna Freelon is a compelling artist, writer, composer, and producer who captivates audiences in any setting and in any genre. No stranger to the music of the master singer, Freelon toured with master jazz singer Ray Charles as well as Al Jarreau, George Benson, Benny Golson, Ellis Marsalis, Earl Klugh, Ramsey Lewis, TAKE 6, Kirk Whalum, and several others.
As celebrated as she is talented, Freelon’s accolades include the Billie Holiday Award from the prestigious Académie du Jazz as well as the Eubie Blake Award from the Cultural Crossroads Center in New York City. She also received the 2022 Jazz Masters Award from the prestigious Women’s Jazz and Blues Association of Palm Springs.
Tickets: $45.00~$55.00 +fee ~ General Admission | Streaming 5:00pm Show Only ~ $15.00 +fee
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NNENNA FREELON
Multi Grammy Award nominee Nnenna Freelon is known worldwide as a compelling and captivating live performer. Recently, Nnenna starred in the critically acclaimed show Georgia on My Mind: Celebrating the Music of Ray Charles – no stranger to the music of the master singer – she toured with Ray Charles, as well as many other great jazz artists including Ellis Marsalis, Al Jarreau, George Benson, Earl Klugh, Take 6, and others.
Accolades and awards have abounded – performances at The White House, headlining the Asia Pacific Economic Summit for three hundred Presidents, Premiers and Heads of State, receiving the YWCA of North Carolina’s inaugural “Legend Award” for her outstanding artistry and her dedication to education, and so much more
Educating young people, both musicians and non-musicians, and students of all ages has propelled her advocacy – Nnenna toured the United States as the National Spokesperson for Partners in Education. Her master classes and workshops, from “Sound Sculpture” to the ground-breaking “Babysong,” instruct adults and children that you too can change the world – even one person at a time – with her anthem “One Child at a Time” found on her “Soulcall” recording. From Partners in Education to the United Way, Freelon has been a tireless advocate and fundraiser for education and arts causes.
Tickets: $45.00
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Daily Dose Of Jazz…
Cal Lampley was born on March 4, 1924 in Dunn, North Carolina as the second child of Hettie Marina and William Lorenzo Lampley. He graduated with a B.S. from North Carolina Agricultural and Technical State University in Greensboro, North Carolina. His first known music contribution was as an organist of the Chapel Hill Presbyterian Church.
A move to New York City in 1946 had him continuing his education at the Juilliard School of Music. With an Artist Diploma in 1949 in piano he debuted his performance as a pianist at the Carnegie Hall concert in 1950.
He became a tape editor at Columbia Records. During Lampley’s nine-year stint with Columbia, he rose to the position of Recording Director of the Popular Albums Department. He was later hired by record producer George Avakian to work as an A&R and as a record producer for music labels such as Columbia, Warner Bros., RCA/Victor, and Prestige. He worked with artists including Miles Davis, Mahalia Jackson, Dave Brubeck, Art Blakey, Leonard Bernstein, Freddie McCoy and Louis Armstrong.
Lampley’s other collaborations were with classical, jazz and pop musicians such as Nina Simone, Robert Casadesus, Zino Francescatti, Guiomar Novaes, Johnny Mathis, Genevieve, Victor Borge, Carmel Quinn, Arthur Godfrey, Tab Hunter, Bill Haley, Lonnie Sattin, and Chico Hamilton.
His own version of the composition “Misty” by jazz musician Richard “Groove” Holmes was Prestige’s Records biggest single in its entire history, peaking at #44 on the Billboard charts in 1966. In tribute to his musical contribution to the city and the state, Mayor Kurt L. Schmoke officially promulgated the “Cal Lampley Day” on May 1, 1994 in Baltimore at a City Hall ceremony.
On July 6, 2006 composer and record producer Cal Lampley in Baltimore, Maryland from complications of multiple sclerosis.
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Daily Dose Of Jazz…
Teruo Nakamura was born on March 3, 1942 in Tokyo, Japan and everyone in his immediate family were artists. He studied at Nihon University before moving to New York City in 1964, where he studied with Reggie Workman.
In 1969 he joined drummer Roy Haynes’s ensemble and that same year he also formed a band with Steve Grossman and Lenny White, who both went on to play on his 1973 debut as a leader, the album Unicorn and Nakamura played both acoustic and electric bass on the album, which was released by Three Blind Mice.
Teruo formed the Rising Sun band in the mid-1970s. In 1977 this contained saxophonist Bob Mintzer, guitarist Shiro Mori, with Mark Gray on synthesizer, Art Gore on drums and Nobu Urushiyama on percussion.
The 1980s and 1990s saw him working principally as a record producer. Bassist and record producer Teruo Nakamura continues to perform and record.
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Requisites
Out Of This World ~ Walter Benton Quintet | By Eddie Carter
Up next from the library is a recent acquisition by a musician I first heard on two Clifford Brown albums, Best Coast Jazz (1955), and Clifford Brown All-Stars (1956). Out of This World (Jazzland JLP 28/928S) is the only album tenor saxophonist Walter Benton recorded as a leader but is brilliant swinging jazz with a stellar cast. Freddie Hubbard (listed as Freddy, tracks: A1, A2, B1, B2) on trumpet, Wynton Kelly on piano, Paul Chambers on bass, Jimmy Cobb (tracks: A2, A3, B2), and Albert Heath (tracks: A1, A4, B1, B3) on drums. Walter began playing the saxophone in high school, he’s also worked with John Anderson, Clifford Brown, Kenny Clarke, Eric Dolphy, Victor Feldman, Slide Hampton, Quincy Jones, Abbey Lincoln, Perez Prado, Max Roach, and Gerald Wilson. My copy used in this report is the 1993 Japanese Stereo reissue (Jazzland VIJJ-30049).
Side One opens with the title song, Out of This World was written in 1944 by Harold Arlen and Johnny Mercer. It grabs hold from the beginning of the collective midtempo melody and doesn’t let go until Freddie’s deceptively easy swing before picking up the pace for a bristling first reading. Walter comes in next exhibiting an optimistic spirit on the next solo, and Wynton works out a few logical ideas on the closer preceding the coda and fadeout. Walter’s Altar is the first of five originals by the leader, and an easy-going blues giving everyone solo space except Cobb who takes over on drums. Benton kicks off the solos leisurely but builds his tone into a delightful interpretation. Hubbard makes a terrific impression on the second solo. Kelly is superbly articulate on the third reading and Chambers takes the bass for some tuneful walking on the final statement ahead of the closing chorus and climax.
Iris is a tender ballad by Benton beginning with a brief intro by Freddie before Walter takes over on the gentle theme. The first of the leader’s two solos is slow, easy, and meaningful possessing a soulful tone. Wynton’s second solo is richly creative, then Walter returns for a few final softly, soothing comments before the close. Night Movement is an uptempo romp by Benton with a brief appearance by Hubbard during the melody, and Heath returning to the drums. The saxophonist gives two brief readings of ferocious intensity with a short speedy statement by Kelly in-between.
Side Two opens with Benton’s A Blue Mood. This tune is a midtempo blues starting with the rhythm section’s brief introduction into the ensemble’s melody. The solo order is Hubbard, Benton, Kelly, Chambers, and each man applies some down-home cooking to each of their solos, making them quite appetizing. Walter’s Azil is fast and swinging, returning the quintet to uptempo speed on the swift-footed melody. Benton begins the solos with a scintillating conversation, then Hubbard comes in for a vigorously energetic reading. Kelly closes with an electrically charged interpretation with Chambers and Cobb supplementing the power into the quintet’s ending.
Lover Man by Jimmy Davis, Roger Ramirez, and James Sherman is a timeless standard from The Great American Songbook. It ends the album with a sensuous performance by the quartet with Heath back behind the drums. Kelly and the trio begin the introduction blossoming into the foursome’s opening chorus. Walter opens with a delicately tasteful first statement. Wynton adds intimate lyricism to the second reading, then Paul performs so warmly you could bask in its glow like a sunbath. Walter wraps up the song with a beautifully phrased chorus into the coda.
Six years after recording this album, Benton retired from music altogether, becoming a real estate agent. He passed away on August 14, 2000, at the age of sixty-nine. Out of The World was originally produced by Orrin Keepnews and engineered by Ray Fowler. Victor Entertainment (formerly Victor Musical Industries) has done an exceptional job with the mastering of the album from the original tapes. The music emerges from your speakers as if the group is playing right in front of your favorite chair. If you’re looking for an excellent Hard-Bop album for your library, and have not heard Walter Benton before, I submit for your consideration, Out of This World by The Walter Benton Quintet. It’s a stellar album of the genre that’s a treat for your ears!
~ Best Coast Jazz (EmArcy MG-36039), Clifford Brown All-Stars (EmArcy MG-36102) – Source: Discogs.com ~ Lover Man – Source: JazzStandards.com ~ Out of This World – Source: Wikipedia.org
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