Requisites

Club Date ~ Yusef Lateef | By Eddie Carter

A few nights ago, I spent time with an album I hadn’t listened to in a while and thought it deserved discussing. Club Date (ABC Impulse ASD-9310), by multi-instrumentalist Yusef Lateef, was released in 1976 and showcases his live performance at Pep’s Lounge on June 29, 1964, first heard on Live at Pep’s. My introduction to Lateef’s artistry came through his work on Cannonball Adderley Sextet in New York, Nippon Soul, and Jazz Workshop Revisited. The tracks on Club Date were not available before this release. The group includes Richard Williams on trumpet; Yusef Lateef on flute (tracks B1, B3), oboe (track B1), and tenor saxophone (tracks A1 to A3, B2); Mike Nock on piano; Ernie Farrow on bass; and James Black on drums. The copy I own is the 1976 U.S. Stereo release.

The set opens with Oscarlypso by Oscar Pettiford, a lively tune featuring a Caribbean groove from the start of Ernie’s introduction to the quintet’s theme. Yusef takes the opening solo, as smooth as velvet. Richard follows with a cheerfully festive performance. Mike enters the spotlight last, with a relaxing reading, before both horns share a short exchange leading to the reprise and a vibrant finish. Gee Sam Gee by Yusef Lateef is a slow-moving ballad that begins with the saxophonist stating a hauntingly dreamy theme and opening solo. Williams and Nock follow with two delicately gentle statements preceding Lateef’s return for the closing chorus.

Richard Williams’ Rogi brings the beat way up to end the first side with the group’s collective melody. Yusef steps up first with a spirited performance, then Richard vigorously launches into the following solo. Mike has the last word with an energetic statement ahead of the theme’s return and climax. Brother John, Yusef Lateef’s tribute to John Coltrane, opens the second side with the rhythm section’s trio to Lateef’s switching to oboe for the melody and adventurous opening statement. Williams takes flight next in a scintillating solo. Nock keeps the listener captivated, sailing smoothly until the final note, while Yusef’s flute comments shadow him, before the quintet returns to take the song out.

Yusef Lateef introduces P-Bouk, a speedy original by the saxophonist that the ensemble takes out of the gate at a vigorous pace. Yusef soars upward into the sky on the opening solo with joyful exhilaration. Richard comes in cooking hard next, then Mike meets the challenge with a robust reading, leading to the theme’s restatement and the introduction of Nu-Bouk, also by Yusef Lateef, which he describes as a new blues. He’s back on the flute as he glides over the rhythm section for the soulful melody and lead solo. Williams makes his case in a short statement, returning to the theme and the group’s down-home ending.

Bob Thiele produced the initial session for Club Date, and Esmond Edwards supervised this release, but the identity of the engineer who recorded it remains unknown. The sound quality is very good for a ‘60s live date, with an excellent soundstage that transports the listener to the club’s audience. If you’re new to the music of Yusef Lateef, or are in the mood for a wonderful live album to listen to after a long day or week, I offer for your consideration Club Date by Yusef Lateef. It gives a glimpse into an incredible musician who transcended hard bop through music inspired by exotic locales. While the recording’s live atmosphere adds raw authenticity, it’s the interplay among the players that truly shines, making this record a rewarding listen for both longtime fans and newcomers to Lateef’s work!

~ Cannonball Adderley Sextet in New York (Riverside RLP-404/RLP-9404), Jazz Workshop Revisited (Riverside RM 444/RS 9444), Live at Pep’s (Impulse! A-69/AS-69), Nippon Soul (Riverside RM 477/RS 9477) – Source: JazzStandards.com

© 2026 by Edward Thomas Carter

CALIFORNIA JAZZ FOUNDATION

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SHAWNN MONTEIRO

Shawnn Monteiro who has jazz in her blood, jazz in her soul and jazz in her history. Her father was bassist Jimmy Woode, her godmother was Sarah Vaughan and her godfather was Clark Terry.

Having toured all over the world singing jazz with so many of the greats, many of whom are gone now,  Shawnn remembers and comes to Scullers with many stories to share.

She is one of the few of jazz royalty left who is still sharing her incredible voice and dynamic performance with jazz lovers of all ages.

Cover: $42.45 ~ $59.25

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YORON ISRAEL

Yoron Dael Israel was born on November 24, 1963, in Chicago, Illinois.  The jazz drummer learned to play organ and trumpet as a child, then switched to drums. As a high school student, he played in an R&B group led by his uncle. He took his bachelor’s degree at Roosevelt University and his master’s degree at Rutgers, then became the drummer in a house band for a Chicago jazz club and worked with Hank Crawford, David Friedman, Von Freeman, and Ira Sullivan.

He relocated to New York City in 1989 and played that year with Henry Threadgill, Kenny Burrell, and Jay Hoggard. In the 1990s he worked with Charles Fambrough, Art Farmer, Jim Hall, Roy Hargrove, Tom Harrell, Ahmad Jamal, Abbey Lincoln, Joe Lovano, Russell Malone, Sonny Rollins, Vanessa Rubin, Horace Silver, Ronald Muldrow and James Williams.

He also toured with Tony Bennett and with Steve Coleman in 1995. He taught at Rutgers from 1995 and is now an assistant professor at Berklee College of Music.

Tickets: $42.45 ~ $64.85 fee included

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DON ALIQUO

Saxophonist Don Aliquo’s playing has been described as “smooth as silk…with an unfailing feel for breath and phrasing” while extremely supple in the addressing of his axe but always zeroed in on what he’s describing”.

“Growth” his newest release, explores new territory with intriguing compositions and ample solo space for Aliquo’s inspired improvisations. The eight originals are both complex and open, which shows him expanding his boundaries not only as an instrumentalist and improviser, but also as a composer. The music is an electrifying modern outing with one foot in the future and one in the tradition.

Aliquo has released six solo projects and has worked collaboratively or performed as a sideman on many others. His previous solo cd “Sun and Shield” features veteran jazz masters Rufus Reid, Jim McNeely, and the dynamic Obed Calvaire.

Notable collaborations include a duo recording with eclectic pianist Michael Jefry Stevens and quartet recordings with Roger Humphries and the late Beegie Adair. He also has recorded with his mentor, notable Pittsburgh tenor stalwart, Don Aliquo Sr. on the MCG label.

Don has performed in concerts and recordings with many world-class artists including Gary Burton, Greg Osby, Rufus Reid, Roger Humphries, Harold Danko, Adam Nussbaum, Donald Brown, Pete Christlieb, Scott Robinson, and Bobby Shew.

Cover: $20.00 advance/door

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AMINA FIGAROVA SEXTET

Amina Figarova was born in Baku, Azerbaijan, and as a child studied to be a classical concert pianist. Graduated from the Baku Conservatory as classical concert pianist. In 1990, she entered Rotterdam Conservatory (where she met Bart Platteau, a fellow student from Belgium) to pursue jazz, coming to the United States in 1992 to complete her formal education at Boston’s Berklee College of Music. In 1998 she was invited to the Thelonious Monk Institute’s summer jazz colony in Aspen, and after more than a decade of bookings in major U.S. jazz clubs, concert halls and festivals, the couple gained legal immigrant status in 2013, and became US citizen in 2020. They currently live in Harlem, NY and tour constantly.

Hailing from Azerbaijan, the New York-based Amina Figarova is an internationally influenced—and recognized—composer, pianist, and bandleader. Those three roles come to the forefront in Figarova’s sextets, bands with a remarkable chemistry that brings her detailed arrangements to life. Every member of the group stands out as a first-rate individual, but their dedication to Figarova’s eclectic and powerful compositions gives this group its depth of feeling and elite status. The Amina Figarova Sextet has been a hit at major festivals like the Newport Jazz Festival and New Orleans Jazz and Heritage Festival

Suite for Africa is Amina’s 18th album, all with original compositions by Amina. Other compositions for Symphonic orchestra, Musical Diana, a ballad book for Trio Del Norte, brass ensemble, flute duo and quartet, and many more.

The Band:
Amina Figarova – Piano
Charlie Porter – Trumpet
Bart Platteau – Flutes
Wayne Escoffery- Tenor sax
Luques Curtis – Bass
Donald Edwards – Drums

Tickets: Student ~ $27.98 +fee | GA ~ $59.75 +fee

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