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The Jazztet At Birdhouse ~ The Jazztet  | By Eddie Carter

This morning’s subject is a recent addition to my library by The Jazztet. The group was co-founded by Art Farmer and Benny Golson in 1959. The Jazztet At Birdhouse (Argo LP 688/LPS 688) is a 1961 live release documenting the sextet’s performance at the Chicago jazz club. It was their first live album and their fourth as an ensemble. The first three are Meet The Jazztet (1960), Big City Sounds, and The Jazztet and John Lewis (1961). The personnel is Art Farmer on flugelhorn (tracks: A3, B2), trumpet (A1, A2, B1 to B3), Thomas McIntosh on trombone, Benny Golson on tenor sax, Cedar Walton on piano, Thomas Williams on bass, and Albert Heath on drums. My copy is the 1975 Japanese Stereo Reissue (Cadet MJ-1011) by Victor Musical Industries.

Side One opens with Junction by Benny Golson, beginning leisurely with the sextet’s collective melody. The saxophonist begins the first reading comfortably, then gradually builds to an aggressive conclusion. Art takes over and is equally effective in the second statement, with the front line complimenting him ahead of the theme’s restatement and finale. The ensemble presses the pedal to the floor in the uptempo cooker, Farmer’s Market. They quickly begin the melody in unison, stepping aside for Benny, who blows fire in the opening solo. Art swings rapidly into the second reading, then Albert illustrates his energetic brushwork briefly. Cedar vigorously delivers the song’s final solo before the sextet reconvenes to end the song abruptly.

Art puts the flugelhorn to work on the jazz standard, Darn That Dream, by Jimmy Van Heusen and Eddie De Lange. He makes the song his own with a tender rendition of the theme. As the song’s only soloist, he gives an elegant interpretation supported gently by the front line preceding a peaceful finale. The pace picks up again to start Side Two with Shutterbug by J.J. Johnson. The song flies fast from the opening notes of the sextet’s vigorous melody. Art’s back on trumpet for the opening solo, and he’s going at breakneck speed. Benny follows him furiously in the second interpretation, then Albert applies the finishing touches with enthusiastically agile brushwork leading to an exuberant ending.

Art returns to the flugelhorn for a gorgeous rendition of ‘Round Midnight by Thelonious Monk, Bernie Hanighen, and Cootie Williams. The jazz standard receives a regal treatment beginning with the flugelhorn leading the front line through the melody. Benny joins in briefly; then, the ensemble sets the scene for Golson to give a hauntingly beautiful statement. Art is up next and switches to the trumpet for a tender performance. Cedar indulges in a bit of nostalgia in the closer leading to the climax. Thomas McIntosh’s November Afternoon starts with the sextet’s lively theme. Art takes the lead with a vibrant opening statement; then, Tom cooks briefly on his only interpretation. Benny gets the spotlight last with an exceptionally satisfying reading preceding the group’s exit.

Kay Norton, the group’s manager, produced The Jazztet at Birdhouse, and Ron Malo was behind the dials of the recording. This album highlights Benny Golson’s capabilities as an arranger; he arranged all the tunes except November Afternoon, which was arranged by Thomas McIntosh. The sound quality is good for the period, and the band’s exhilarating energy comes through on every track. The Jazztet at Birdhouse is a lesser-known album in their discography, but an overlooked gem deserving broader recognition and should be considered the next time you’re vinyl shopping. It should also be a welcome addition to any jazz library, especially if you enjoy excellent Hard-Bop or are an Art Farmer and Benny Golson fan!

~ Big City Sounds (Argo LP 672/LPS 672), Meet The Jazztet (Argo LP 664/LPS 664), The Jazztet and John Lewis (Argo LP 684/LPS 684) – Source: Discogs.com ~ Darn That Dream, ‘Round Midnight – Source: JazzStandards.com © 2023 by Edward Thomas Carter

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Daily Dose Of Jazz…

Gérard Badini was born April 16, 1931 in Paris, France to an opera singing father. He began playing professionally in the early 1950s, playing clarinet in New Orleans jazz-style ensembles with Michel Attenoux, Jimmy Archey, Lil Armstrong, Sidney Bechet, Bill Coleman, and Peanuts Holland.

In 1955, he joined Claude Bolling’s ensemble and then joined him on a worldwide tour as members of Jack Diéval’s orchestra. He switched principally to tenor sax beginning in 1958, continuing to work with Roger Guérin and Geo Daly in the late 1950s. In the 1960s he worked with Alice Babs, Duke Ellington, Jean-Claude Naude, Cat Anderson, Paul Gonsalves, Jef Gilson, and François Guin.

He founded his own group, Swing Machine, in 1973, working in this group with Bobby Durham, Raymond Fol, Michel Gaudry, Helen Humes, Sonny Payne, and Sam Woodyard. From 1977 to 1979, Badini lived in New York City, performing with Roy Eldridge, Major Holley, Oliver Jackson, Dick Katz, Clark Terry, Gerald Wiggins, and Reggie Workman.

In 1984, he formed a new big-band ensemble, Super Swing Machine, which he led and played piano in through the late 1990s. Known as Mr. Swing, bandleader, composer, reedist, and pianist Gérard Badini continues to .

ROBYN B. NASH

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Milton Suggs was born on April 15th in Chicago, Illinois as a third generation musician. While growing up in Atlanta, Georgia he was continually exposed to music of varying styles, especially with his church choir at the age of seven. He recognized music as a gift from a young age; it was later that he would accept it as a calling. While in elementary and middle school, he gravitated toward the upright bass and later played the alto saxophone and drums, however, it was not until after high school that he committed to the pursuit of music as his life’s work.

Returning to Chicago, he began studying piano with the legendary Willie Pickens, while also honing his craft as a vocalist and performer. In 2012 Milton moved to New York City where he immediately took to performing throughout the city, branching out internationally as a performer and educator.

His voice and approach to music are a reflection not only of his direct lineage, but of the many great voices in Black American Music and culture from the past century and beyond. Firmly rooted in the blues Milton sports a rich baritone with the breadth and power reminiscent of Joe Williams, Donny Hathaway, and Nat King Cole.

Downbeat Magazine’s annual critc’s poll has been repeatedly voted a top 10 rising star male vocalist. Sugg’s fixture in jazz is cemented having worked with artists and bands such as the Jazz at Lincoln Center Orchestra, Orrin Evans, Wycliffe Gordon, Ulysses Owens, and Marquis Hill among others.

Vocalist Milton Suggs has produced four albums to date and is continually developing new projects with new ensembles.

ROBYN B. NASH

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Nicolas Masson was born on April 14, 1972 in Geneva, Switzerland. He took up the saxophone in his youth and at twenty years old he met Cecil Taylor in New York and took lessons from Frank Lowe and Makanda Ken McIntyre. Returning home he enrolled in the jazz program at the Conservatoire Populaire de Musique de Genève with Maurice Magnoni as a saxophone teacher.

While a student he attended master classes withLee Konitz, Dave Douglas and Misha Mengelberg. In 1999 Masson spent the summer in New York City studying with Chris Potter. Graduating from the conservatoire in 2000 with a jazz performance and teaching degree, he returned to New York City for a year and studied regularly with Rich Perry and played with local musicians.

His debut album Awake was released in 2002 on the Swiss label Altri Suoni. The session was recorded with his New York band featuring trumpeter Russ Johnson, bassist Eivind Opsvik and drummer Mark Ferber. A year later they were touring Switzerland and Italy.

Receiving a grant from the Bourse d’Aide à la Création he was able to tour Italy and record his sophomore album Yellow (A Little Orange) that was released in 2006 on the Fresh Sound/New Talent label. In 2005 and 2006, the Quartet toured Italy again, taking part in an itinerant Swiss festival organized by Rome’s Swiss Cultural Centre, sharing the evening with Irène Schweizer, Lucas Niggli and Malcolm Braff.

In 2007, a New York concert, European duo tour with Kris Davis of Switzerland, Italy, France and Germany, a  New York gig with the Quartet and a 2009 release Thirty Six Ghosts on Clean Feed Records kept him busy. Saxophonist Nicolas Masson continues to record and play throughout Europe.

ROBYN B. NASH

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JULIE DEXTER

Julie Dexter is a world-renowned, award-winning British singer-songwriter and producer. She has shared the spotlight with a host of cutting-edge artists, including Mint Condition, Caron Wheeler, Jill Scott, Lalah Hathaway, Omar, Ledisi, Doug Carn, Third World, and Maxi Priest, to name a few. Influenced by such legends as Nancy Wilson, Abbey Lincoln, and Bob Marley, as well as popular icons Omar and Sade, Dexter takes classic soul to the heart of her artistry.

In 1999, Dexter moved to Atlanta, where she now resides. She launched her label, Ketch A Vibe Records, and in 2000 released her critically acclaimed EP Peace of Mind, followed by Dexterity (2002), Conscious (2005), and New Again (2011). She released Moon Bossa, a collaboration with Khari Simmons, in 2007. Her single “Ketch A Vibe” was featured in national radio ads for President Obama’s election campaign. She has also sung for five Atlanta mayors, including mayor Andre Dickens.

Dexter was honored at the Black Women in Jazz Awards with the Afro Caribbean Soul of Jazz Award in 2017. Her music transcends genres, and fans and critics across the globe have followed her journey through the circles of jazz, broken-beat, bossa nova, reggae, Afro-beat, and soul. Her latest album, Déjà Vu (2019), takes listeners on a journey from bossa to reggae. She is an audaciously independent artist with an undeniable connection to her audience.

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