Daily Dose Of Jazz…
Chris Bauer was born on September 29, 1960 and raised in Long Island, New York and was surrounded by his father’s harmonica trio. He started playing at age nine and began appearing with his father’s trio by thirteen. At sixteen he placed third in a worldwide harmonica competition and in 1987 placed fourth in a field of 27 at the International Harmonica Federation competition, both times finishing as the highest placed American harmonica player.
Chris has gone on to perform at many New York City and New Jersey venues and was the harmonica in the play Big River. He was a regular contributing writer to The Harmonica Educator magazine on jazz topics and continues to work on recording projects that exemplify jazz harmonica. He also performs both in jazz trio or quartet settings, as a soloist utilizing custom backgrounds that provide the sound of a jazz ensemble, or can sit in with rock, blues, or jazz bands.
Playing harmonica for over fourty years, his performance and recording experiences are diverse including jazz gigs, harmonica trios, church worship bands, and production library tracks. He performs and gives harmonica technique seminars at numerous festivals around the country. His album In A Yuletide Groove has been featured on jazz radio station playlists.
Residing in Weatogue Connecticut, harmonica player Chris Bauer continues to perform popular jazz standards with a repertoire from upbeat bop tunes and cool Latin numbers to soulful ballads.
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Requisites
Organ Grinder Swing ~ Jimmy Smith With Kenny Burrell and Grady Tate | By Eddie Carter
This morning’s selection from the library holds a special significance to me. It was one of my mom’s favorite albums to play while enjoying her morning coffee and preparing our Sunday dinners when we were younger. Organ Grinder Swing (Verve Records V-8628/V6-8628) is a terrific trio album by Jimmy Smith, with Kenny Burrell on guitar and Grady Tate on drums. It was his second most successful album, surpassed only by Back at the Chicken Shack. The soulful character of his organ playing had a profound impact on me from the moment I first heard Houseparty and The Sermon. I quickly became a devoted fan, growing to appreciate even more the rich musicality and infectious grooves he brought to every performance. My copy of this album is the original 1965 U.S. deep groove stereo release.
The title track, The Organ Grinder’s Swing by Will Hudson, Irving Mills, and Mitchell Parish, kicks off the first side with Jimmy’s infectious enthusiasm on a swinging theme. Kenny builds the opening solo with some home-cooking. The organist steps up next with a spirited statement, and Jimmy’s vocal comments as it unfolds. Grady provides a steady beat that propels the group into the climax. Oh, No, Babe by Jimmy Smith gets this soulful blues underway with Smith’s organ and vocals, which are inserted during the introduction and melody. Burrell’s gentle touch shines in a refined, inviting opening solo. Smith brings a Southern flair to the proceedings with a down-home, tasteful delight ahead of the song’s conclusion.
Blues For J by Jimmy Smith is a bluesy mid-tempo original that opens with the trio’s joyously carefree theme in unison. Kenny takes center stage, showcasing his guitar artistry in the opening solo. Jimmy extends the happy mood with a vibrant performance, leading the group back to the ensemble’s reprise and a satisfying finish. The trio delivers a unique take on Greensleeves, the beloved English folk tune. Smith begins the melody with gospel-tinged musical ideas that give the melody a fresh sense of soulfulness. Burrell launches the opening statement with a laid-back, smooth groove. Smith then takes command, delivering an energetic and spirited interpretation that continues until the group’s theme reprise gradually dissolves, like autumn leaves drifting to the ground.
I’ll Close My Eyes by Buddy Kaye and Billy Reid is gently introduced by the trio, segueing into a graceful melody. Kenny’s opening statement radiates a comforting elegance and is one of his most beautiful moments on the album. Jimmy then guides the group toward the song’s reprise, incorporating sensitive ideas and a warm, refined tone, until the ensemble brings back the theme. Satin Doll by Duke Ellington, Johnny Mercer, and Billy Strayhorn is one of the most frequently recorded jazz standards, and picks up the beat one final time for the trio’s light-hearted theme. Burrell looks back nostalgically and sparkles with a soulful touch in the opening solo. Smith responds by gliding efficiently over the keys in a closing statement of happiness while Tate keeps the tempo lively and upbeat ahead of the finish.
Creed Taylor produced Organ Grinder Swing, and Rudy Van Gelder handled the recording. While the album’s sound quality is a strong effort, it falls short of the very best due to a harshness in the microphone placement at the organ, which is especially notable on The Organ Grinder’s Swing, Blues For J, and Greensleeves. This technical flaw, however, does not diminish from the album’s overall excellence. So, don’t let that deter you from adding this record to your library. The album’s greatest strength to me is how impeccably the trio works together. Kenny Burrell and Grady Tate perfectly complement Jimmy Smith throughout every track with a flawless sense of rhythm. If you aren’t looking at the cover, you could easily mistake this for one of the organist’s classic Blue Note recordings.
For fans of the jazz organ or those just discovering the music of Jimmy Smith, I invite you to check out Organ Grinder Swing the next time you’re visiting your favorite record shop. It perfectly captures the dynamic spirit and sophisticated musicianship that emerges when three exceptional performers unite, resulting in a memorable showcase of rhythm, style, and collaboration!
~ Back at the Chicken Shack (Blue Note BLP 4117/BST 84117), Houseparty (Blue Note BLP 4002/BST 84002), The Sermon (Blue Note BLP 4011/BST 84011) – Source: Discogs.com ~ Satin Doll – Source: JazzStandards.com ~ Greensleeves, I’ll Close My Eyes, The Organ Grinder’s Swing – Source: Wikipedia.org © 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Norris Jones, better known as Sirone, was born September 28, 1940 in Atlanta, Georgia. He worked in Atlanta late in the 1950s and early in the 1960s with “The Group” alongside George Adams. He recorded with R&B musicians such as Sam Cooke and Smokey Robinson.
In 1966, in response to a call from Marion Brown, he moved to New York City, where he co-founded the Untraditional Jazz Improvisational Team with Dave Burrell. He also worked with Brown, Gato Barbieri, Pharoah Sanders, Noah Howard, Sonny Sharrock, Sunny Murray, Albert Ayler, Archie Shepp, and Sun Ra, as well as with John Coltrane when he was near the end of his career.
He co-founded the Revolutionary Ensemble with Leroy Jenkins and Frank Clayton in 1971. Jerome Cooper later replaced Clayton in the ensemble, which was active for much of the decade. The 1970s and early 1980s saw Sirone recording with Clifford Thornton, Roswell Rudd, Dewey Redman, Cecil Taylor, and Walt Dickerson.
In the 1980s, he was a member of Phalanx, a group with guitarist James “Blood” Ulmer, drummer Rashied Ali, and tenor saxophonist George Adams. From 1989, he lived in Berlin, Germany, where he was active with his group Concord with Ben Abarbanel-Wolff and Ulli Bartel.
Bassist, trombonist, and composer Sirone, who was involved in theater, film, and was a practicing Buddhist, died in Berlin, Germany on October 21, 2009, at the age of 69.
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MADISON MCFERRIN
Madison McFerrin brings her genre-defying sound and vocal brilliance to Missy Lane’s for a night that feels both futuristic and deeply personal. Blending a cappella roots with electronic soul, Madison crafts rich sonic landscapes that are as intimate as they are expansive. With powerful lyrics, bold musicality, and hypnotic vocal loops, her set invites you to feel, move, and reflect. Expect a night of self-love anthems, layered harmonies, and electrified energy from an artist carving her own lane in modern music.
Known for her rich tone and pitch-perfect control, Madison’s vocals layer effortlessly to create a one-woman harmony machine. Fusing soul, R&B, and electronic textures, her sound feels experimental yet deeply grounded in tradition—what she calls “future soul.” From stripped-down vulnerability to danceable joy, her live sets take you on a journey of self-reflection, resilience, and freedom.
Tickets: $56.00 ~ $200.00
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ALEXIS COLE
For over two decades, through 14 albums, including a forthcoming recording she’ll be previewing, Alexis has inhabited standards, especially blues and ballads, in the manner of Sarah Vaughan and Anita O’Day.
She’s also an innovative jazz educator via jazzvoice.com, and an early mentor to Grammy-winner Samara Joy at SUNY Purchase. The legendary DJ/musicologist Jonathan Schwartz called Alexis Cole “one of the great voices of today” an assessment that proves more true with each passing year.
The Band: Sean Fitzpatrick ~ piano; Tony DiPaolis ~ bass | Reid Hoyson ~ drums
Cover: $30.00 +fee
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