Daily Dose Of Jazz…

Günter Lenz was born July 25, 1938 in Frankfurt am Main. He first taught himself guitar and studied with Carlo Bohländer, playing jazz in the clubs of the U.S. Army from 1954 onwards. During national service in 1959/1960 he switched to the bass.

In 1961 Albert Mangelsdorff picked him up as a member of the Albert Mangelsdorff Quintet. Since then Lenz has also become a member of the hr-jazz ensemble, for which he arranged and composed. 1965 saw him working in the Krzysztof Komeda Quintet, recording the album Astigmatic. Three years later he was playing with Joachim Kühn and Aldo Romano in a band led by Barney Wilen at the Berlin Jazz Days. With The German All Stars he toured internationally in 1969 and 1971.

He played with the George Russell Sextet, and with a band led by Leon Thomas. This allowed him to collect big band experience. During the 1970s he was a member of the Kurt Edelhagen Big Band and with Peter Herbolzheimer Rhythm Combination & Brass. He would go on to be engaged for their concert tours and record productions by Chet Baker, Coleman Hawkins, Oliver Nelson and Benny Bailey, as well as German musicians such as Eugen Cicero, Horst Jankowski and Volker Kriegel.

Dipping into the blues field in 1972 Günter played with Lightning Hopkins. The mid-1970s saw Lenz joining drummer Peter Giger in Clarinet Contrast, an avant garde band around the clarinetists Perry Robinson, Theo Jörgensmann, Bernd Konrad and Michel Pilz. As a member of the Manfred Schoof Quintet he recorded for ECM/Japo.

In the late 1970s Günter founded his combo, Günter Lenz Springtime, an international jazz-fusion band with members as Bob Degen, Claus Stötter, Frank St. Peter, Johannes Faber, Leszek Zadlo and Joe Nay. He recorded as part of the Berlin Contemporary Jazz Orchestra. In 1991 he recorded “Life at the Montreux Music Festival” in trio-formation with Uli Lenz and Allen Blairman

Lenz created orchestral arrangements for Plácido Domingo, and from 2001 to 2006 as a professor  he taught bass at the Musikhochschule Stuttgart. During that period of education he received the Hesse state Jazz prize awarded by the State Minister for Higher Education, Research and the Arts Udo Corts.

Bassist Günter Lenz continues to perform, compose, arrange and educate.

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Daily Dose Of Jazz…

Robert Eberly was born Robert Eberle on July 24, 1916 in Mechanicville, New York. He changed the spelling of his surname slightly to the homonymous Eberly. His father was a policeman, sign-painter, and tavern-keeper.

He was hired by the Dorsey Brothers Orchestra in 1935 shortly after winning an amateur hour contest on Fred Allen’s radio show.  He stayed with Jimmy Dorsey after Tommy left to form his own band and would be a fixture with the orchestra until drafted into the service late in 1943. In the early 1940s the Jimmy Dorsey Orchestra scored a string of hits featuring Bob and Helen O’Connell, with Eberly singing a slow, romantic baritone version of songs such as Amapola and Tangerine, followed by a lighter, up-tempo reprise by O’Connell. He recorded the original version of I’m Glad There Is You in 1942 for Dorsey’s orchestra on Decca Records. The song has become a jazz and pop standard.

In 1953, Eberly and Helen O’Connell headlined a summer replacement program for Perry Como’s CBS television show. The program also featured Ray Anthony and his orchestra.

In 1980, he had one lung removed but still continued to sing. Vocalist Bob Eberly transitioned from cancer on November 17, 1981 in Glen Burnie, Maryland, at the age of 65.

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Requisites

Listen Here ~ The Gene Harris Quartet | By Eddie Carter

After a long week, I wanted to hear something to help me unwind, so I picked out a wonderful 1989 album, Listen Here (Concord Jazz CJ-385), by The Gene Harris Quartet. I was introduced to pianist Gene Harris as a child when he was a member of The Three Sounds and grew up listening to their Blue Note albums. One of my favorites is Blue Hour, the group’s collaboration with Stanley Turrentine. The trio disbanded in the seventies, and Harris embarked on a successful solo career recording for Blue Note, JAM, and Concord Jazz. On this album, he’s working with Ron Escheté on guitar, Ray Brown on bass, and Jeff Hamilton on drums. My copy is the original U.S. Stereo release.

This Masquerade by Leon Russell opens the album with the quartet’s gentle introduction. Gene brings out the song’s beauty with a light touch during the delicately gorgeous melody and the song’s only solo. The group reconvenes for the closing chorus, and Ron takes the song out in a tender dissolve. Up next is Don’t Be That Way by Benny Goodman, Edgar Sampson, and Mitchell Parish. The foursome’s lively and spirited theme gets things off to a great start. Escheté is up first with a joyously infectious reading. Harris moves through the rhythm section like a musical twister on the following solo ahead of the closing chorus and exit.

The pace slows down for I’ve Got A Feeling I’m Falling by Billy Rose, Harry Link, and Thomas “Fats” Waller. The quartet begins this old favorite with an elegantly tender melody. Gene’s opening solo is a mix of lyrical beauty and nostalgia. Ron has a short statement that’s soft and tender before the leader’s return for the closing chorus. The title song, Listen Here, by Eddie Harris, opens with Brown’s introduction, joined by Escheté and Hamilton into Harris’ feisty melody. The pianist continues grooving on the lead solo, then Eschete cooks on the following statement. Brown wraps it up with a brief reading preceding Gene’s return for the vibrant finale.

Blues For Jezebel is named for Gene’s cat; from the infectious beat of Jeff’s introduction, she must have been quite a pet. The quartet begins with a smooth-flowing melody, then Ron indulges in some fun on the opening solo. Gene follows with a relaxing reading as enjoyable as a favorite pair of shoes into the ensemble’s closing chorus. Sweet and Lovely, by Gus Arnheim, Charles N. Daniels, and Harry Tobias, is an old thirties chestnut that receives a beautiful treatment from the ensemble. Harris starts the gracefully moving introduction and melody. Escheté applies a tender touch to the first solo. The leader follows with a sultry, soulful statement ahead of the closing chorus and slowly dissolves.

Lullabye by Chuck Mangione is not a children’s song. It’s a pretty tune that Gene introduces alone, segueing into an attractive ensemble melody that’ll have your toes tapping along. Gene takes a playful romp in the only interpretation, with the rhythm section complimenting him into a solo fade out by Ron and Ray. Irving Berlin’s The Song Is Ended is taken at a laid-back tempo, beginning with Gene’s introduction into the quartet’s leisurely melody. Escheté is up first with a carefree interpretation, including a brief walk by Brown before it concludes. Gene takes it up a notch with a rousing statement before the ensemble reprises the theme, and the pianist ends softly.

Concord Jazz’s founder, Carl E. Jefferson, produced Listen Here. Phil Edwards and Stuart Hirotsu were the recording engineers, and George Horn was the mastering engineer. The album’s sound quality is stunning, with an excellent soundstage that transports the listener to the studio as the quartet is recording. The pressing is flat and quiet until the music starts. Gene Harris used Ron Escheté whenever he could and always with great results. They recorded nine albums together on Concord Jazz and eleven overall. If you’re a fan of this talented pianist and only know him from The Three Sounds, I invite you to add Listen Here by The Gene Harris Quartet to your record shopping list. It’s a perfect choice to kick back and listen to after a long day or week or when your quiet moments are at a premium!

~ Don’t Be That Way, Sweet and Lovely – Source: JazzStandards.com ~ I’ve Got a Feeling I’m Falling; The Song Is Ended, This Masquerade – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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BUENA VISTA ALL STARS

Embark on a once-in-a-lifetime journey with Buena Vista All Stars, descendants of the iconic Buena Vista Social Club. This extraordinary ensemble is bringing the vibrant spirit of Havana’s streets to the Arsht Center’s Knight Concert Hall, delivering a mesmerizing blend of time-honored rhythms and narratives.

The lineup features unparalleled talent, including Ibrahim Ferrer Jr., son of golden-voiced Ibrahim Ferrer, who will appear in a sensational holographic projection. Grammy Award winner Juan De Marcos González, lauded virtuoso Barbarito Torres, piano prodigy Rubencito González and four-time Latin Grammy-nominated Danay Suárez join the ensemble, conducted by esteemed musical director Demetrio Muñiz.

Join us for the inaugural performance of the Una Noche en La Habana Tour on August 5. Experience the enduring legacy of Cuba’s musical heritage, artfully preserved and reimagined by Buena Vista All Stars. Secure your tickets now for an unforgettable celebration of Cuban music and culture.

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THAD WILSON QUARTET

“My personality is youthful in nature so my audiences should be prepared for a high-energy musical journey. Blues, R&B, Hip Hop, Gospel, and Jazz have always been present in my sound. In my travels, the one thing I’ve discovered is how fragile and beautifully unique the human condition is. When I compose and perform, I base all of my musical ideas on the interconnectedness of that thing we call the human experience.” – Thad

Thad was born in Fort Dix, New Jersey. However, his musical life started as a child living in Montgomery, Alabama. At fifteen, he moved back to New Jersey where he was quickly recognized for his talent and awarded the All-American High School Music Award and a place in New Jersey’s All-State Jazz Ensemble. Shortly after, he began studying privately with Jimmy Owens, former member of Dizzy Gillespie’s Big Band. It was Jimmy who gave Thad a glimpse into the life of a true professional musician. In his early days, he performed at the Village Gate, Blue Note, Visiones, Knitting Factory and many other new york city venues.

While in New York, Thad was a member of Charlie Persip’s Super Band and had a brief stint with Illinois Jacquet. Over his career, Thad has performed alongside James Moody, Benny Golson, Steve Turre, Cecil Bridgewater, Andrew White, Buck Hill, Keter Betts, Johnny O’neal, Russell Malone, Roy Hargrove, Wynton Marsalis and many others. He also lived briefly in Atlanta and made his way on the early hip hop scene performing with Bone Crusher, Khalfani, and many others. Currently, Thad tours with the legendary group, The Blackbyrds. He also composes and performs his live film scores all over the world.

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