Daily Dose Of Jazz…

Joseph Rupert Benjamin was born on November 4, 1919 in Atlantic City, New Jersey. He played with many jazz musicians in a variety of idioms. Early in his career he played in the big bands of Artie Shaw, Fletcher Henderson, Sy Oliver, and Duke Ellington.

He went on to work with Hank Garland, Marian McPartland, Louis Armstrong, Jo Jones, Gary Burton, Roy Haynes, Art Taylor, and Brother Jack McDuff.

Never leading a recording session, Joe recorded three dozen albums as a sideman with Bob Brookmeyer, Kenny Burrell, Dave Brubeck, Harry Edison, Duke Ellington, Dizzy Gillespie, Barry Harris, Roy Haynes, Johnny Hodges, Budd Johnson, Roland Kirk, Gary McFarland, Carmen McRae, Gerry Mulligan, Jerome Richardson, Al Sears, Joya Sherrill, Rex Stewart, Sonny Stitt, Buddy Tate, Clark Terry, The Three Playmates, Sarah Vaughan, Mal Waldron and Kai Winding.

Double bassist Joe Benjamin transitioned on January 26, 1974.

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Daily Dose Of Jazz…

John Boutté was born November 3, 1958 in New Orleans, Louisiana into a 7th Ward Creole-Catholic family. Exposed to the local culture such as Mardi Gras parades and jazz funerals since childhood, he also grew up listening to the music of Stevie Wonder, Marvin Gaye and the like. He played trumpet and cornet in marching bands in his junior high and high school days. During this time, he also formed an a cappella group and sang on the streets.

Studying business at Xavier University of Louisiana, Boutté was in ROTC and after graduation was commissioned in the U.S. Army, serving for four years. Returning home he worked at a credit union until he met Stevie Wonder, then decided to seriously become a professional singer. He soon joined his sister Lillian on her tour to Europe, and his professional career started.

In 1993 John released his debut album titled Through the Eyes of a Child. The following year he was featured on his sister’s live album, Gospel United, released in 1994. He was the featured guest vocalist on Cuban group Cubanismo!’s Mardi Gras Mambo, recorded in New Orleans.

In recent years, Boutté has been working with ex-Cowboy Mouth guitarist and singer Paul Sanchez which led to a collaborative effort Stew Called New Orleans released in 2009. He was also featured on John Scofield’s 2009 album, Piety Street, singing the lead on three tracks.

His Treme Song on his Jambalaya album is the theme song of HBO’s series, Treme. He appears in several episodes of the show’s Seasons 1, 2, and 3.

Vocalist John Boutté, who is known for his diverse music style that goes beyond jazz to R&B, gospel, Latin, and blues, continues to perform.

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Daily Dose Of Jazz…

Ernest Dawkins was born November 2, 1953 in Chicago, Illinois. As a child he was a neighbor of Anthony Braxton as a child. He played bass and drums early in life before switching to saxophone in 1973.

During that decade he began studying with Joseph Jarman and Chico Freeman, members of the Association for the Advancement of Creative Musicians. He also studied at Vandercook College of Music.

He worked with Ed Wilkerson and the Ethnic Heritage Ensemble and Douglas Ewart before founding his own New Horizons Ensemble. The ensemble played regularly in Chicago into the new century, as well as at jazz festivals and on tour in Europe.

As a leader he recorded sixteen albums, three as an unofficial leader/co-leader of The (AACM) Great Black Music Ensemble and as a guest with the Ethnic Heritage Ensemble.

Saxophonist Ernest Dawkins, who is principally active in free jazz and post-bop, continues to perform, record and tour.

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Daily Dose Of Jazz…

Louis Bacon was born on November 1, 1904 in Louisville, Kentucky. His family moved to Chicago, Illinois when he was a young child. After a short stint playing with Zinky Cohn in Michigan, he relocated to New York City in 1928. There he worked through 1938 with musicians Louis Armstrong, Benny Carter, Duke Ellington, Bingie Madison, Bessie Smith, and Chick Webb among others.

Contracting tuberculosis in 1938, resulting in a performance hiatus, but by early 1939 he was playing with Benny Carter once more. Later that same year, he embarked on a tour of Europe with Willie Lewis and remained there for two years. He recorded under his own name as well as with Lewis and Freddy Johnson.

After his return to the United States he worked with Garvin Bushell, Cootie Williams, and Jesse Stone. Shortly after the end of World War II, he stopped playing once again due to persistent health problems. He did play trumpet again briefly in 1959–60, working in New York, and late in his career taught voice and sang with Wilbur De Paris.

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Three Wishes

Pannonica finally got the opportunity to ask Lionel Hampton what he would wish for and his retort was:

1. 1. “To be in tune with jazz. Jazz to me is like the human emotion of the Negro. From the time he was in bondage praying to God to give him freedom – that was the blues then, coming from the spiritual vein – and when he was freed some, he would make jazz more happy. It was coming from the Negroes. From the time of the slave in the cotton fields, swinging up, you dig? From the time it got popularized and commercial, and left the cotton fields and railroad tracks, and they were putting it in the cafes. It was the days of King Oliver and Sidney Bechet..”
   2. “The colored man always has been the one to change the color of jazz. As the country advanced, they changes the music. It’s always been moving along, integrated by Negroes, turning to his feelings as he advanced. From Louis Armstrong up to Fletcher Henderson, Don Redman, Edgar Sampson, and Sy Oliver. They started changing the picture of jaz. It was their orchestrations, their chart that made jazz. They began writing arrangements for Benny Goodman, Tommy Dorsey, and so on – for the ofay bands. fats Waller, Jimmie Lunceford, those guys were all great arrangers. Then Monk, Dizzy, Prez, Don Byas, and Charlie Parker, they came in, all influencing the music, all great instrumentalists. As the Negro got free he added more ingredients. You’d need an encyclopedia to tell it all. I hope I’ll always be tuned so I can dig the transitions in jazz. Because there are more transitions coming.”
   3. “Lots of white folks write about jazz, but they don’t know the pains of it. You should be the one to write about it, because you understand. And musicians will talk to you. Gotta get down on that stand now, but I’ll be over to your pad tomorrow, and we’ll do this with the tape recorder. It’ll take another three of four hours, at the very least. I’ve not done more than get started on the first answer yet, you dig?”

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