VANESS RUBIN

The Detroit Jazz Workshop is co-sponsoring to bring the incredible performance of the great Cleveland jazz vocalist, Vanessa Rubin.  Joining her on stage is the Duncan McMillan Trio.

Vanessa is a vocalist’s vocalist and can do it all. With Vanessa, you know it’s going to be swingin’, Detroit style!

Cover: $15.00 ~ General Admission | $10.00 ~ Students.

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TYRONE JACKSON QUINTET

Dr. Tyrone Jackson brings his electric band to Eddie’s Attic. The quintet will explores the innovative edges of jazz and creativity. F.T.M.O. (From The Mind Of) is drawn from his critically acclaimed album From the Mind of Tyrone Jackson, where genres blur but the improvisational aspects of jazz remain central.

The Quintet:
Tyrone Kackson ~ Piano
Lavahi~vocals
Patrick Arthur ~ guitar
Joel Powell ~ bass
Robert Boone ~ drums | Grammy Winner

Cover: $23.37

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Requisites

Blowin’ Away ~ Dizzy Reece and Ted Curson | By Eddie Carter

This morning’s album from the library is an obscure gem from 1978. Blowin’ Away (Interplay Records IP-7716) is a terrific hard bop session that unites two outstanding musicians of the 50s and 60s, Dizzy Reece on trumpet (tracks: A1, A3, B2, B3) and Ted Curson on flugelhorn (track: A2) and trumpet (tracks: A3, B2, B3). They’re joined by an exceptional rhythm section: Claude Williamson on piano; Sam Jones on bass; and Roy Haynes on drums. The copy I own is the 1978 U.S. Stereo release. Dizzy and the trio open the album with Stella By Starlight by Victor Young and Ned Washington. The trumpeter gets things going with a solo introduction leading to the quartet’s medium melody. Dizzy opens and closes with two readings that are as smooth as glass. Claude contributes a fine solo in between them propelled by Sam’s and Roy’s peppy support.

Ted steps in next to lead the trio on flugelhorn for the ageless chestnut, All The Things You Are by Jerome Kern and Oscar Hammerstein II. Curson launches the first solo with a bouncy, up-tempo swing. Next up, Williamson delivers a captivating interpretation, gracefully darting around the rhythm section like fleeting shadows. Ted and Haynes close out the solos with an engaging conversation before the foursome’s exit. Bass Conclave by Dizzy Reece begins with Roy’s introduction ahead, both trumpets taking the spotlight with the mute on for the quintet’s easy beat theme. Dizzy takes the opening statement with the mute off, making every note count with surgical precision. Ted moves in next to tell a swinging story, then Claude shows youthful exuberance next. Sam makes a quick comment preceding the reprise and a quick stop.

The second side’s spotlight shines on the trio for Charlie Parker’s Moose The Mooche. Roy opens the door to this bebop classic leading to the ensemble’s swinging melody. Claude takes the opening solo for a sizzling ride, then Sam takes a short vibrant walk. The pianist and Roy share a concise conversation leading to the closing chorus. The quintet returns as the beat slows down for Marjo by Ted Curson. Claude starts things off with a pretty introduction to both horns taking charge as the theme unfolds. Ted has the first say, and gives a delicately tender opening statement. Claude is up next and delivers his message with gentle beauty, then Ted returns for a few final thoughts setting up the quintet’s restatement of the theme and the finish!

The album wraps up with the quintet turning the temperature up with the rhythm section’s introduction to Walkin’ by Richard Carpenter. The front line takes over and drives the melody. Dizzy leads the way with enough high voltage to charge a city, then Claude builds on the rising intensity in the following solo. Ted turns up the heat further in the following reading, followed by both horns chasing each other into the theme’s reprise and climax. Toshiya Taenaka produced Blowin’ Away and Mike Ewasko managed the recording console. The album delivers an exceptional soundstage in the highs, midrange, and bass with superb fidelity that makes it feel as though the quintet is performing right in front of your sweet spot. The chemistry between Reece and Curson on the three quintet tunes are a perfect complement to the rhythm section’s superb support.

If you’re in the mood for a terrific hard bop album and enjoy the music of Dizzy Reece and Ted Curson, I enthusiastically recommend Blowin’ Away the next time you’re out record-shopping. It’s a memorable entry in both their discographies, and is sure to delight novice and seasoned fans alike!

~ All The Things You Are, Stella By Starlight – Source: JazzStandards.com ~ Moose The Mooche – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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Live At Sweet Basil Art Blakey and The Jazz Messengers | By Eddie Carter

This morning’s column came about when the alarm went off, and I woke up to Jodi by Art Blakey and The Jazz Messengers on my phone. It got my day started on a jazzy note, and I went to the shelf and picked out Live at Sweet Basil (Paddle Wheel K28P 6357) to discuss. It was initially released in Japan, and the album combines two March 24, 1985, sets of the sextet’s last night at the jazz club. The lineup consists of Terence Blanchard on trumpet, Donald Harrison on alto saxophone, Jean Toussaint on tenor saxophone, Mulgrew Miller on piano, Lonnie Plaxico on bass, and Art Blakey on drums. The copy I own is the 1985 U.S. Stereo release (GNP Crescendo GNPS 2182).

Side One opens with Art’s introduction to the ensemble’s speedy melody of Jodi by Walter Davis. Jean ignites the first exhilarating interpretation. Donald responds energetically next, then Terence carves out a brilliant statement, and Mulgrew makes the most of the following reading. After the theme’s reprise, Art has the last word and gives a vigorous workout, into the close. Benny Golson’s Blues March settles into a comfortable medium tempo for Blakey’s marching introduction, leading to the ensemble’s theme. Harrison and Toussaint get things going in the first two solos, shadowed by the front line as they unfold. Blanchard goes to work next, continuing the easy beat as he explores a few musical ideas. Miller brings out his soulful charm in the next reading, and Plaxico walks leisurely toward the sextet’s closing chorus and finale.

Side Two takes off at a brisk clip with Art’s vigorous introduction to the rapid-fire theme of Mr. Babe by Donald Harrison. Terence is off and running at a furious pace. Donald continues the rapid acceleration in the second statement, then Jean keeps the momentum going with spirited choruses next. Mulgrew closes with a high-speed performance ahead of the melody’s reprise and an abrupt stop. Miller’s introduction brings Bobby Timmons’ classic Moanin’ to life, segueing into the group’s bluesy melody. The solo order is Blanchard, Harrison, Toussaint, Miller, and Plaxico, and all five members of the sextet get into a good groove that flows efficiently back into the closing chorus, a vibrant ending, and the audience’s approval.

Horst Liepolt and Shigeyuki Kawashima produced Live at Sweet Basil, and Kazunori Sugiyama was the recording engineer. Akira Makino was the mastering engineer, and Hatsuro Takanami was the remix engineer. The album was remixed and mastered at King Studios in Tokyo, Japan. The sound quality is excellent and transports the listener to a front row seat at Sweet Basil to enjoy the music. Live at Sweet Basil is an underrated treasure within the Jazz Messengers’ discography, showcasing one of the finest groups Art Blakey ever assembled. If you’re a long-time fan of hard bop or a newcomer, I encourage you to check out Live at Sweet Basil by Art Blakey and The Jazz Messengers on your next record shop visit. It’s a terrific release that I’m proud to own, and I highly recommend it for a spot in your library!

~ Moanin’ – Source: JazzStandards.com
~ Blues March – Source: Wikipedia.org
© 2026 by Edward Thomas Carter

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1+1+1 ~ Kenny Barron with Ron Carter and Michael Moore | By Eddie Carter

I’d had a really long week and was looking forward to hearing something soothing, so I turned to one of my favorite pianists, Kenny Barron. Submitted for your approval this morning is an impressive collaboration from 1986. 1+1+1 (BlackHawk Records BKH 50601) has the pianist in the company of two outstanding bassists, Ron Carter (tracks A2, A3, B2, B4), and Michael Moore (tracks A1, A4, B1). This enjoyable album is perfect to listen to whether you need something mellow to accompany your workday, to read along with, or to enjoy during a focused listening session after dinner. The copy I own is the 1986 U.S. Stereo release.

Side One opens with a tune from the twenties, The Man I Love by George and Ira Gershwin. A spirited introduction by Kenny gets the song underway, with Michael joining the melody. The pianist launches into a sizzling solo, pouring radiant energy into each note. Michael takes a short invigorating walk next, preceding the theme’s return and close. United Blues by Ron Carter introduces the bassist in a cheerful performance, beginning with piano and bass sharing the introduction and theme. Barron goes first with some vivacious notes, then Carter steps up for a superb example of choice notes ahead of the closing chorus.

The ensemble enters the thirties next with Prelude to a Kiss by Duke Ellington, Irving Gordon, and Irving Mills. Michael is back on bass as the duo’s introduction leads to a soft, tender melody. Kenny is the song’s only soloist and delivers an interpretation that’s lush and warm, with a touch of beauty, as Moore’s bass shadows him through every verse, into the reprise and the delicate climax. C Jam Blues by Duke Ellington, from 1942, picks up the pace again as Kenny and Michael introduce this old warhorse and present the lively theme. Barron takes the opening solo with a playful bounce, then Moore executes his ideas next. The duo then shares a brief conversation before the ending theme.

Side Two starts with Dave Brubeck’s In Your Own Sweet Way. It’s one of his loveliest compositions from the fifties, and the duo’s beautiful melody sets the tone. Kenny’s opening solo is a lovely demonstration of heartfelt and serene beauty. Michael follows, walking gracefully through the closing statement, leading to the duo’s theme restatement and an elegant ending. Giant Steps by John Coltrane brings Carter back for an upbeat melody with Barron, who continues capturing the sheer joy of this tune in the opening statement. The bassist responds with a cheerfully carefree interpretation that bounces along toward the duo’s culmination.

’Round Midnight by Thelonious Monk, Bernie Hanighen, and Cootie Williams, written in 1944, is Monk’s most famous composition and the jazz standard that has been recorded more than any other. Kenny has the spotlight to himself as he paints a beautiful portrait, soft as an affectionate embrace, from the opening notes to the closing chorus. It’s back to the thirties for the album’s finale, Beautiful Love by Victor Young, Wayne King, Egbert Van Alstyne, and Haven Gillespie. Ron joins Kenny for the upbeat melody. The mood is jubilant from the start of Barron’s opening statement. He then shares the second solo with Carter in a lively conversation that culminates in a splendid reprise and finale.

Don H. Nelson and Karen J. Nelson were the executive producers of this session, and Rudy Van Gelder managed the recording console. The sound quality across the highs, midrange, and bass is astonishing, with superb fidelity that transports the musicians to your listening room. Kenny Barron’s piano consistently captivates, providing a cohesive thread, while Ron Carter and Michael Moore add their own distinctive character to the music. If you’re a fan of jazz piano and in the mood for an album that’s perfect for unwinding after a long day or week, I offer 1+1+1 by Kenny Barron with Ron Carter and Michael Moore for your consideration on your next record shop visit. It’s a terrific album by a jazz master, showcasing remarkable skill and heartfelt expression on every track, and it should become a welcome addition to your library!

~ C Jam Blues, Giant Steps, In Your Own Sweet Way, Prelude To a Kiss, ‘Round Midnight, The Man I Love – Source: JazzStandards.com ~ Beautiful Love – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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