Daily Dose Of Jazz…
Ian Wilfred Hamer was born on September 11, 1932 in Liverpool, England, the son of a successful Merseyside dance band leader. Together with his two brothers he played in the band run by his mother until serving in the Royal Air Force.
Moving to London, England in 1953 he worked for clarinettist Carl Barriteau and for a brief period with the Oscar Rabin Band. For a year beginning in 1955 he was part of the Tubby Hayes octet then later joined the Vic Ash quintet. In 1963, together with Harry South, he led a band called The Six Sounds, featuring Ken Wray and Dick Morrissey. By 1966 the band had developed into the Ian Hamer Sextet. In 1966 Ian joined the Top of the Pops studio orchestra conducted by Johnny Pearson.
Hamer played in big bands led by Tubby Hayes, Ted Heath, Mike Gibbs, Jack Parnell and Harry South. He also played with Kenny Wheeler, Dizzy Gillespie, Ella Fitzgerald, as well as in smaller bands with Stan Tracey, Benny Golson, Lalo Schifrin, Gary McFarland, Woody Herman’s Anglo-American Herd, Barbara Thompson, the Thad Jones-Mel Lewis band, Eric Delaney, John Dankworth and Joe Harriott.
As a session musician, he played on recordings by The Beatles, Bing Crosby, Tom Jones, Dusty Springfield, Shirley Bassey, Barbra Streisand, James Last, Matt Monro, and Peter Herbolzheimer. Ian played trumpet on the theme tune for The Sweeney, written and arranged by Harry South.
In 1987, Hamer moved to Brighton, England and founded the group Ian Hamer and the Sussex Youth Jazz Orchestra, later dropping Youth. On September 3, 2006, trumpeter Ian Hamer transitioned in Brighton at 73.
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RUSSELL MALONE & THE INDIANAPOLIS JAZZ COLLECTIVE
“Wes at 100”
In celebration of what would have been Wes Montgomery’s 100th birthday, the Indianapolis Jazz Foundation and Jazz Vivace are proud to present “Wes at 100” at Caffè Vivace.
This special program will feature renowned guitarist Russell Malone and the Indianapolis Jazz Collective performing new arrangements of timeless tunes from the Wes Montgomery Song Book.
As we tribute the legendary jazz guitarist, the Wes at 100 programs will be enriched with insightful commentary by Robert Montgomery, providing a deeper understanding of Wes’ musical genius. Additionally, the event will showcase excerpts from the captivating Wes Montgomery Documentary, “Wes Bound,” directed by Kevin Finch.
Join us on this momentous occasion as we celebrate the enduring legacy of Wes Montgomery and the remarkable influence he continues to exert over jazz music. Experience the “Wes at 100” magic unfolding at Caffè Vivace.
Russell Malone is an acclaimed jazz guitarist known for his impeccable technique, soulful playing, and versatility. He was born on November 8, 1963, in Albany, Georgia, USA. Malone began playing guitar early and quickly developed a passion for jazz.
Throughout his career, Russell Malone has collaborated with numerous jazz legends, including Jimmy Smith, Harry Connick Jr., Diana Krall, and Ron Carter, among others. He has also released several albums as a bandleader, showcasing his virtuosity and musicality.
Malone’s playing style is deeply rooted in jazz guitar tradition, drawing influences from greats like Wes Montgomery and George Benson. His improvisational skills and melodic sensibility have earned him widespread recognition and critical acclaim.
With a discography over several decades, Russell Malone has consistently impressed audiences with his technical prowess and ability to create captivating musical moments. His performances display a blend of swing, blues, bebop, and modern jazz elements, demonstrating his ability to adapt to various styles while maintaining a distinctive voice on the guitar.
Russell Malone continues to be an influential figure in the jazz guitar world, captivating listeners with his expressive playing and lasting impact on the genre.
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VANESSA RUBIN
Set 1: 7:00 pm – 8:20 pm | Set 2: 9:00 pm – 10:20 pm – Sold Separately
Revered as both a torchbearer and a storyteller, jazz vocalist Vanessa Rubin possesses a voice hailed for crystalline clarity, hearth-like warmth, and playful lioness sass. The Cleveland native brings a wealth of diverse influences to her vocal performance from both the Trinidadian/Caribbean roots of her mother and traditional jazz by way of her Louisiana-born father. Additional homespun influences include the melodic bell tone clarity of a young Capital Records recording artist, Nancy Wilson, the fire of Lambert, Hendricks & Ross, the sweet sounds of trumpeter Blue Mitchell as well as her love of the Motown Sound…especially girl groups like the Supremes.
Rubin’s passion for rich musical stories is evidenced throughout her eight albums thus far, plus numerous guest appearances. Highlights include the evocative “Voyager II” from the pen of Teri Thornton, “Inside a Silent Tear” written by Blossom Dearie, a refashioned waltz version of John Coltrane’s “Giant Steps” lyricized by New York Voices, and an arrangement of “Superwoman” by Stevie Wonder inspired by the Ahmad Jamal recording of “Poinciana.” So while she has one foot planted in tradition – sticking close to timeless melodies and exquisite vocal forms – Rubin waxes adventurous, embracing stories lesser told while employing lessons of acclaimed storytellers in songs such as Carmen McRae, Shirley Horn, and Freddy Cole. “They mastered the art of believability, Rubin asserts. Additionally, Rubin continues to back her way into The Blues with an urgent appreciation for soulful mentors like Etta Jones and Irene Reid. Also among her current endeavors is highlighting and interpreting well-known, obscure, and new lyrical works of composer/arranger/pianist Tadd Dameron. “I hope to do for Tadd’s music what Carmen McRae did for Monk’s music,” Rubin explained.
Vanessa’s first gigs began around 1980 in small clubs around Cleveland, such as Tucker’s Place, Bob’s Toast of the Town, Lancer’s Steak House, Club Isabella, The Native Son, and The Teal Lounge. Some early band mates included Wynn Bibbs, Skip Gibson, saxophonist and arranger Willie Smith, Neal Creque, Matthew “Chink” Stevenson, and, later, the uniquely soulful organ quartet of The Blackshaw Brothers with Cecil Rucker on vibes. “We worked eight days a week all over Cleveland, catching the tail end of what was left over from the good old days,” Rubin recalls. After two years, Rubin was anxious to set her sights on New York, where she earnestly and humbly soaked up the tutelage of many veterans like Pharaoh Sanders, Frank Foster, and Barry Harris.
Rubin remains a favorite at jazz clubs and festivals in the US and abroad. Her work as a producer and educator/clinician with youth in communities and educational institutions worldwide is ongoing.
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Requisites
Mean What You Say ~ Thad Jones-Pepper Adams Quintet | By Eddie Carter
This morning’s album offered for your consideration brings together two of my favorite musicians, Thad Jones and Pepper Adams, for their only quintet release. Mean What You Say (Milestone MSP-9001) is their only collaborative effort and was recorded around the same time as The Thad Jones-Mel Lewis Orchestra album. Both titles hit the stores in 1966. Thad is heard exclusively on flugelhorn, and Pepper is on baritone sax. The supporting cast is a first-class rhythm section: Duke Pearson on piano, Ron Carter on bass, and Mel Lewis on drums. The program consists of six originals and two popular songs. My copy is the original US Stereo pressing.
Side One opens with the title tune, Mean What You Say, the first of four originals by Thad Jones and one of his prettiest tunes from Presenting Thad Jones-Mel Lewis & The Jazz Orchestra. The quintet opens with a wonderful melody. Duke has the first solo and states his case comfortably. Mel makes a brief comment before Thad’s relaxing statement. Pepper provides the song’s happy ending in the closer ahead of the reprise and the ending. H and T Blues begins with the ensemble’s smooth theme. Pepper takes the lead on the opening solo and cooks, then Thad thrives on the following reading. Duke swings with a smooth tone next, and Ron has a brief word before the closing chorus.
The group takes a spirited turn on Wives and Lovers by Burt Bacharach and Hal David with a lively melody. Thad launches the first reading slowly, then picks up speed to a brisk conclusion. Pepper answers him passionately, and Duke serves up a sparkling statement preceding the closing chorus and quick stop. Bossa Nova Ova is a festive tune with an infectious melody that’s sure to have your toes tapping along to the beat. Pepper is up first; his bubbling enthusiasm lets us know we’re in for a treat. Thad takes a gorgeous solo next; then Duke provides a perfect ending in a well-constructed performance into the song’s reprise and climax.
Side Two gets underway with No Refill. It’s a pretty song that flows like a summer breeze, beginning with the quintet’s theme. Ron starts with a beautiful first reading, and then Thad follows with a leisurely statement. Pepper shines brightly like the sun next, and Duke gives an interpretation as sweet as honey ahead of the theme’s reprise. Little Waltz by Ron Carter is a haunting ballad that opens with the front line’s melancholy melody. Pepper opens with a deeply moving interpretation, followed by Thad’s wonderfully warm statement. Duke is equally polite and respectful next, then Ron walks in last with a lovely finale before the theme’s restatement and tender ending.
Up next is Duke Pearson’s Chant, the pianist first performed on Donald Byrd’s A New Perspective. The ensemble starts slowly for their melody, but the pace picks up for the hearty opening statement by Pepper. Thad comes in next and delivers the second solo efficiently, then Duke delivers the knockout with a splendid performance, leading to the reprise and close. Yes Sir, That’s My Baby by Walter Donaldson and Gus Kahn is an old song from the twenties that the quintet has fun with in the opening and closing choruses with a ragtime feel. In between are three great solos by Thad, Pepper, and Duke, who are all having a blast playing.
Orrin Keepnews produced Mean What You Say, and Elvin Campbell was the recording engineer. The sound quality is exceptional, with a stunning soundstage that transports listeners to the studio as the quintet works. It’s a pity that this group didn’t get to record again because it’s a terrific studio session worthy of adorning a spot in any jazz library. Thad and Mel would assemble The Jazz Orchestra and Pepper Adams would become a significant member of the band’s early Solid State albums. Duke Pearson was a wonderful bandleader and composer who made his home on Blue Note, and Ron Carter was a member of the Miles Davis Quintet before branching out on his own in the seventies.
If you’re in the mood for an excellent Hard-Bop album and are a fan of either musician, I invite you to consider Mean What You Say by The Thad Jones-Pepper Adams Quintet for a spot in your library. It’s an absolute gem in their discography and a terrific release I’m sure you’ll enjoy!
~ A New Perspective (Blue Note BLP 4124/BST 84124), Presenting Thad Jones-Mel Lewis and The Jazz Orchestra (Solid State SS 18003) – Source: Discogs.com ~ Wives and Lovers, Yes Sir, That’s My Baby – Source: Wikipedia.org © 2023 by Edward Thomas Carter
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TIERNEY SUTTON & RANDY BRECKER
“Ms. Sutton is a pure jazz spirit who respects a song. Even when going out on an improvisatory limb, she never lets its essence slip away.” – The New York Times “Brecker has the chops to play it cool or hot, laid-back or virtuosic.” – Downbeat
9-time Grammy-nominated vocalist Tierney Sutton and legendary multi-Grammy-winning trumpet master Randy Brecker share a stage for the very first time in an evening of spontaneous music-making. This special Tuesday night performance will also feature the illuminating pianist Christian Jacob.
Tierney Sutton – vocals | Randy Brecker – trumpet | Christian Jacob – piano
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