Daily Dose Of Jazz…

Herbert Anthony Charles Spanier was born in Cupar, Canada on December 25, 1928. He played guitar and harmonica at five, bugle in Regina, Canada cadet bands, and trumpet in high school. One of the first beboppers in Canada, and a figure of some legend on the Canadian jazz scene,

He played with Paul Perry and with his own band ‘Boptet’ in Regina before working in Chicago, Illinois from 1949-1950 and from 1950-1954 in Toronto, Canada. He was a sideman to Paul Bley in New York 1954-1955 and Los Angeles, California 1958-1959, and toured out of New York with the Claude Thornhill and Hal McIntyre orchestras in 1955.

He was an influential jazz musician in Montreal, Canada from 1956-1958 and between 1960-1971. Spanier taught briefly at Sir George Williams University, performed in various dance, hotel, and CBC orchestras, contributed music to NFB films. Herbie was the leader on the CBC’s ‘Jazz en Liberté’ and in various clubs. Returning to Toronto in 1971, he was a featured soloist for nine years with Nimmons ‘N’ Nine Plus Six.

For the next two and a half decades he led his own groups, won the Juno Awards, received a Special Recognition Award and recorded sessions in 1993-1994 in which he produced new works which combined with earlier recordings on compact discs.

Trumpeter, flugelhornist, pianist, and composer Herbie Spanier died in Toronto, Canada on December 13, 2001.

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Daily Dose Of Jazz…

Tatsuya Takahashi was born December 24, 1931 in Tsuruoka, Yamagata, Japan.  He played on U.S. military bases in the early 1950s, and later in the decade moved to Tokyo, Japan.

He worked with Keiichiro Ebihara from 1961, but by 1966 was leading his own ensemble, Tokyo Union, which remained active until 1989. In the 1970s he played at the Monterey and Montreux Jazz Festivals.

After leaving Tokyo Union, Takahashi worked in jazz education, and in 1996 founded a new ensemble, Jazz Groovys.

Saxophonist Tatsuya Takahashi died on February 29, 2008 in Tokyo, Japan.

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Daily Dose Of Jazz…

Edwin A. Finckel was born on December 23, 1917 in Washington, D.C. to musical parents and was the youngest of six children. Left to his own devices his artistic talents won him a scholarship at the Corcoran School of Art. Finding access to a piano within a year he had taught himself to play, albeit without the ability to read music. He took to jazz although he also showed skill as a tennis player while still a teenager.

Well regarded for his ability to improvise music he went on to arrange others and later composed over 200 of his own melodies. He appeared professionally as a teenager and he went on to introduce string instruments into his arrangement for big bands. His best known song may be Where Is The One, which was recorded by Frank Sinatra..

In the Forties he wrote songs for film, was chosen as a representative of a musical, then went into teaching in the music department at Far Brook School in New Jersey for 39 years. There he gave private lessons, conducted the choir and orchestra, and wrote much of the music that the children sing. He continued to perform jazz and in his forties he also wrote classical music.

Pianist, composer and arranger Edwin Finckel, who ran a summer camp with his wife for 17 years while performing jazz and composing classical music, died on 7 May 7, 2001 at 83 in Madison, Wisconsin.

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Daily Dose Of Jazz…

Carmine D’Amico was born on December 22, 1954 in Brooklyn, New York. His father gave him the choice of piano or the guitar and he chose the latter. Taught by his father who instilled in him that each note must have meaning. At age 9 he recorded Who Wears Short Shorts, which became a big hit. He was then signed to Capitol Records and went on tour , including  television appearances on American Bandstand, The Allen Fried Show, and Soul Train. From age 9 – 11 during the 1950s he played on hit records by the Shirelles, Connie Francis, Fabian, Frankie Avalon, and others.

He won academic scholarships to both high school and college, graduating valedictorian from Trinity High School with a 99.9 average. Carmine found himself in pre-med but then transferred to Queens College and majored in music. Studying in between touring with Tammy Grimes, Liza Minelli and Ed Ames, he graduated with a B.A. in Music Education.

Then came military service with an assignment with an Army Dance Band. Discharged, he returned to New York and resumed his career activities, first joining Ed Ames, recording two of his biggest hits, Try To Remember and My Cup Runneth Over.” D’Amico then became staff guitarist on the Mike Douglas Show and remained for three years.

He went on to work with Bobby Darrin, Sergio Franchi, Patti Austin, Englebert Humperdinck, Vic Damone, Manhattan Transfer, Shirley Maclaine, Henry Mancini, Michele Legrande, Bernadette Peters, The Pointer Sisters, The O’Jays, Jack Jones, Lainie Kazan, Elisa Kashi, Connie Francis, Cleo Laine, Shirley Bassey and Josephine Baker.

He worked with Bernard Purdie, Steve Gadd, Ron Carter, John Faddis, Lou Marini, Lionel Hampton, Teo Macero, Bob Cranshaw, Tom Barney, John Frosk, Doc Severinsen, John Tropea, Mel Torme, Mel Lewis, and Thad Jones, among others.

Outside of jazz he recorded with Bee Gees, the Stylistics, Ray, Goodman and Brown, Stephanie Mills, Vanessa Williams, Patti LaBelle, Freda Payne, Tina Turner, Ben Vereen and played on all of the Sugar Hill Productions. During this prolific period and seemingly height of opportunities for working musicians, NARAS voted him Most Valuable Guitar Player in 1986 and 1987.

Guitarist, producer, composer, arranger and sideman Carmine D’Amico, who over the course of his career received 16 Grammys, died at the age of 67 in Casa Grande, Arizona on Oct. 2, 2011.

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Requisites

Wheelin’ & Dealin’ ~ Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor | By Eddie Carter

This morning’s album from the library is an excellent 1957 jam session by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor. Wheelin’ & Dealin’ (Prestige PRLP 7131) is an outstanding album featuring an impressive team of musicians. The ensemble consists of John Coltrane and Paul Quinichette on tenor saxophones, Frank Wess on flute (tracks: A1, B1, B2) and tenor saxophone (track: A2), Mal Waldron on piano, Doug Watkins on bass, and Arthur Taylor on drums. The copy of this album that I own is the 2025 Worldwide Stereo audiophile reissue (Craft Recordings CR00862).

The album opens with Things Ain’t What They Used To Be by Mercer Ellington and Ted Parsons. Frank’s flute sets a welcoming tone for the sextet’s laid-back melody before moving into a relaxing first solo. Paul soars with graceful ease, then John follows him effortlessly with a mellow reading, then the saxophones revisit the sequence. Mal responds with a breezy interpretation, and Doug takes a quick walk, leading to the closing chorus. Wheelin’ by Mal Waldron takes off with the ensemble’s spirited theme. Coltrane leads the way with an energetic statement. Quinichette lets loose next, then Wess wails on the tenor saxophone. Waldron delivers a lengthy, vigorous performance. Taylor adds a brief footnote that leads to the ensemble reprising the theme and a rousing finish.

Side Two opens with Robbins’ Nest by Illinois Jacquet, Bob Russell, and Sir Charles Thompson, a tribute to DJ Fred Robbins. Frank, returning on flute, gently guides the ensemble through the melody, then enters like a cool breeze for the first solo. Paul then offers some down-home cooking; John makes every note count in a relaxed interpretation. Mal then keeps the mood easygoing, and Doug takes a brief walk before the closing ensemble. Mal Waldron’s Dealin’ starts with the sextet’s collective melody; Waldron leads with an inviting opening solo. Wess, on flute, produces a warm, fluid sound. Quinichette steps in for a few relaxing choruses, then Coltrane flows with fresh, creative ideas. Wess makes a short return on tenor sax, and Waldron has the last word before the group reunites to close the set.

The dynamic combination of Coltrane and Quinichette on tenor saxophones infuses the sextet with vibrant energy, establishing an engaging lead voice for the group. Coltrane, poised on the threshold of stardom, plays with deep emotion and a sense of adventurousness, while Quinichette’s silky, relaxed approach pays homage to Lester Young’s signature sound. Frank Wess further elevates the ensemble’s texture, seamlessly alternating between flute and tenor sax; his flute contributions, in particular, bring a light, breezy quality to the arrangements. Supporting them, the rhythm section of Waldron, Watkins, and Taylor lays down a consistent, swinging foundation, artfully mixing delicacy with spirited drive to enhance each soloist’s performance throughout the album.

Bob Weinstock supervised the first session, and Rudy Van Gelder was at the recording console. Kevin Gray did an excellent job mastering this audiophile reissue from the original tapes at Cohearant Audio. The sound quality truly shines, offering a spacious soundstage and vibrant clarity that makes you feel like the musicians are right in front of you. The record is pressed on 180-gram Virgin Vinyl and is silent until the music begins. If you’re craving a fantastic Hard-Bop album, I highly recommend checking out Wheelin’ & Dealin’ by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, and Arthur Taylor on your next record-shopping trip. It’s an outstanding album by the talented group that later became The Prestige All-Stars, and I believe it will become a beloved favorite in the libraries of both new and seasoned jazz fans for many years to come!

Things Ain’t What They Used To Be – Source: JazzStandards.com © 2025 by Edward Thomas Carter

Wheelin’ & Dealin’: 1957 | Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, Arthur Taylor

For the serious collector of jazz… #Jazz #Classic #Collectible #Music #Notorious

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