DR. PROFESSOR LEONARD KING

In late 1962, at age 14, he decided it was time to be a band leader and, with his two brothers and a few neighborhood youngsters, started The Jazz Sextet which later became known as Leonard King and the Soul Messengers (1963-73). The group became very popular providing accompaniment for a variety of single artists and groups who did not have their own bands. Additionally the group provided music for fashion shows, industrial presentations, and many social events.

These experiences served as a basis for other ensembles: Strata Nova (1976-88), Visger Road Drum Band (1991-2006) Proportioned Orchestra (1989-present), Oopapada (1995-present), Dr. Prof. Leonard King “Drum Fun & Vocals, Too” in 1990, and the Dr. Prof. Leonard King Orchestra in 2010 and leads both to the present.

Cover: $20.00

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BRANDEE YOUNGER TRIO

Brandee Younger is revolutionizing the harps’ role in modern music. Over the past fifteen years, she has worked relentlessly to stretch boundaries and limitations for harpists. In 2022, she made history by becoming the first Black woman to be nominated for a Grammy® Award for Best Instrumental Composition.

That same year, she was also nominated for an NAACP Image Award and later, the winner of the 2024 NAACP Image Award in the category of Outstanding Jazz Album for her latest album Brand New Life. Ever-expanding as an artist, she has worked with cultural icons including Common, Lauryn Hill, John Legend, Pharoah Sanders and Christian McBride.

Brandee Younger: harp
Rashaan Carter: bass
Allan Mednard: drums

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NICOLE HENRY

Nicole Henry returns to Atlanta’s City Winery with her 4-piece band and their distinctive blend of jazz, soul, pop and blues. The winner of a Soul Train Award for Best Traditional Jazz Performance and has four national Top 10  releases in the United States, United Kingdom, and Japan, vocalist Nicole Henry tells real stories through real emotion in her performances and recordings.

Nicole Henry’s versatile and emotionally driven performances have captivated audiences in 20 countries. She has established herself among the jazz world’s most acclaimed performers, possessing a potent combination of dynamic vocal abilities, impeccable phrasing, and powerful emotional resonance. Heralded by The New York Times, Wall Street Journal, The Japan Times, El Pais, Jazz Times, Essence and more, Ms. Henry tells real stories through peerless interpretations of repertoire from the American Songbook, classic and contemporary jazz, popular standards, blues and originals.

Featuring Shedrick Mitchell On Piano

Cover: $25.00 ~ $40.00

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Requisites

Quartet ~ Russ Freeman and Chet Baker | By Eddie Carter

It had been some time since I last enjoyed Russ Freeman’s piano work, so this morning I chose an excellent collaboration featuring him and trumpeter Chet Baker from my library. Quartet (World Pacific Records, PJ-1232) hit the stores in 1957 and was the eleventh album Freeman and Baker recorded together. The album showcases six original tunes alongside two standards, and they are supported by the outstanding rhythm section of Leroy Vinnegar on bass and Shelly Manne on drums. The copy of this album that I own is a King Record Company Japanese mono reissue (Pacific Jazz GFX-3104).

The first side opener, Love Nest by Otto Harbach and Louis A. Hirsch begins at a brisk pace, with Chet on muted trumpet during the lively melody, which continues into a spirited opening statement. Russ gets the next nod and delivers an energetic reading. Leroy follows up with a swinging interpretation, then Chet and Shelly engage in a brief exchange before the closing chorus returns. Fan Tan, the first of six originals by Russ Freeman, slows the pace to midtempo for the quartet’s theme. Freeman is afforded plenty of room to shape his phrases in the opening statement. Baker is back on the open horn and maintains a laid-back vibe as he effortlessly swings to the closing chorus and ending.

Summer Sketch begins with a gentle piano introduction. Chet Baker’s trumpet playing throughout the track is both poetic and tender, with each note radiating romantic beauty, softly guiding the group to a smooth, unified finish. An Afternoon At Home ends the first side with the rhythm section’s inviting introduction, allowing Baker to glide through the opening chorus at a leisurely, relaxed pace. Freeman’s lead solo is as enjoyable as spending a leisurely afternoon with friends. Then, Vinnegar takes the spotlight next for a captivating solo. Baker has the last word with a charming presentation, before the quartet brings the tune to a satisfying close.

Say When starts Side Two with the quartet’s spirited melody. Chet leads the way with an exciting opening statement. Russ soars into the following presentation, then Shelly swings with great force in a brief, exhilarating closing reading before the theme’s reappearance and the group’s exit. Lush Life by Billy Strayhorn is one of the enduring favorites among jazz standards. The song begins with Freeman’s sensitive introduction, gently segueing to Baker’s rich tone as he introduces the tender theme. The pianist’s solo possesses a sad, reflective beauty, culminating in the trumpeter’s tender and thoughtful finale.

Amblin is a slow blues, introduced by the trio’s soulful introduction, segueing to the leader’s down-home melody. Chet opens with a solo that’s thoughtfully crafted and effortlessly delivered. Russ continues letting each verse glide effortlessly next. Leroy wraps it up with plenty of heart, ahead of the quartet’s theme reprise and climax. Hugo Hurwhey takes off with a short introduction, preceding the ensemble’s upbeat theme. Baker hits an ideal groove in the opening statement. Freeman takes the reins next with a robust reading, then Vinnegar, Manne, and Freeman culminate the solos in a vigorous exchange with Baker, leading to the melody’s restatement and conclusion.

Richard Bock produced Quartet, but the identity of the recording engineer is unidentified. However, this King Record Company reissue possesses outstanding audio quality, with an excellent soundstage that brings the foursome into your listening room with impressive clarity and presence. Whether you’re a Russ Freeman or Chet Baker fan, or are just discovering the discography of either musician, I emphatically recommend and invite you to pick up Quartet on your next trip to the record store. The album is a stellar showcase for both musicians and would make a welcome addition to any jazz library!

~ Lush Life – Source: JazzStandards.com
© 2025 by Edward Thomas Carter


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Daily Dose Of Jazz…

Scott Samenfeld was born on October 26, 1951 in New York City and grew up between the city and New Jersey. Moving to Boston, Massachusetts in 1970 he attended Berklee College of Music and has been performing in the Boston area ever since.

The first band Scott founded, Muse Stew, began its life performing jazz and poetry. He currently leads his group performing his original compositions as well as other jazz and Latin artists. They blend African, Afro-Cuban, Brazilian and other folk rhythms of jazz.

Samenfeld performs with a 16 piece big band, the Sounds of Swing Orchestra. They have been performing throughout New England for almost 20 years. As an educator Samenfeld has been a music teacher for many years and taught music theory and jazz guitar at the Guitar Workshop. During the 1970’s he taught jazz ensemble and instrumental music at the Cambridge School in Weston and The Open Road School in Waltham during that period as well.

Scott has focused on composing and performing his music and has been a member of the groups Razzamatazz, Trillium, Favela, and Ibrahima’s World Beat.

Bassist Scott Samenfeld who plays in the mediums of avant garde, bossa nova, and modern jazz, continues to perform, compose and teach.

SUITE TABU 200

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