Daily Dose Of Jazz…
Charlie Holmes was born on January 27, 1910 near Boston, Massachusetts and began playing alto saxophone at age 16 and emulated the style of his childhood friend, Johnny Hodges.
Beginning his professional career a week later, after moving to New York City Charlie worked for a variety of groups, including Luis Russell in 1928. Between 1929 and 1930 he recorded with Red Allen. He would work with Russell again a few times and in 1932 joined the Mills Blue Rhythm Band. He was in John Kirby’s Sextet, Cootie Williams’ Orchestra, and Louis Armstrong’s band for much of the next two decades.
Leaving music in 1951, Holmes did not return for twenty years then worked in Clyde Bernhardt’s Harlem Blues & Jazz Band. He later played for the Swedish band Kustbandet. He never acted as a leader in any recording or group.
Alto saxophonist Charlie Holmes, best known for composing Sugar Hill Function, not only performed during the swing era but also played clarinet and oboe for the Boston Civic Symphony Orchestra, passed away on September 19, 1985 in Stoughton, Massachusetts.
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Three Wishes
When Monk Montgomery was asked by the Baroness if given what his three wishes would be he responded by telling her:
- “My first wish would be that the older people let the younger people think for themselves.”
- “I wish they would give jazz an opportunity.”
- “I wish I could beat you just one time at Ping-Pong.”
*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter
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Daily Dose Of Jazz…
Arthur Crawford Wethington was born on January 26, 1904 in Chicago, Illinois and graduated from the Chicago College of Music. Working under pianist Lottie Hightower in the mid-1920s, he then took a position in Carroll Dickerson’s band in 1928. 1929 saw this ensemble playing with Louis Armstrong in New York City.
Between 1930 and 1936 Crawford played with the Mills Blue Rhythm Band, recording several times with the group. He recorded with Edgar Hayes in 1937 and also worked with Cab Calloway, Red Allen, and Adelaide Hall.
After 1937 Wethington quit performing full-time but was active as a music teacher, and in the 1960s he took work in New York City as a supervisor for a transit line power plant.
Saxophonist and educator Crawford Wethington, who was never recorded as a leader, passed away on September 11, 1994 in White Plains, New York.
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Daily Dose Of Jazz…
James Otis Wyble was born on January 25, 1922 in Port Arthur, Texas and in his early years worked for a radio station in Houston. He and guitarist Cameron Hill played Western swing, an outgrowth of jazz, in a band led by Burt “Foreman” Phillips. The sound of two guitars attracted Bob Wills, another fan of Western swing, and he hired both men for his band, the Texas Playboys.
His career interrupted by World War II, he served in the Army from 1942 to 1946, but returned to music after he came home. Jimmy continued to play in Western swing bands, but his interest in jazz surfaced on his 1953 debut album, The Jimmy Wyble Quintet. He would soon work with Barney Kessel and Benny Goodman, and then played with Red Norvo for eight years, including on a tour of Australia accompanying Frank Sinatra.
During the 1960s Wyble took a job as a studio musician in Los Angeles, California working as a guitarist for movies and television, playing on movie soundtracks, including The Wild Bunch, Ocean’s Eleven, Everything You Always Wanted to Know About Sex and Kings Go Forth, and played on TV shows such as The Flip Wilson Show and Kraft Music Hall.
He became an educator after taking classical guitar lessons from Laurindo Almeida, teaching guitar to Larry Koonse, Howard Roberts, Howard Alden and Steve Lukather among others. The 1970s saw Jimmy developing a two-line contrapuntal approach to guitar and composed numerous etudes in this style, publishing Classical/Country, The Art of Two-Line Improvisation, and Concepts for the Classical and Jazz Guitar.
During the 1980s, he left the music business, returning to performance in 2005. Larry Koonse, his former student, issued the album What’s in the Box with compositions by Wyble based on his book of etudes.
Guitarist, composer, and educator Jimmy Wyble continued to perform, record and teach until his death on January 16, 2010.
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Requisites
Dr. Jeckyle ~ Art Blakey & The Jazz Messengers | By Eddie Carter
Art Blakey’s impact on the jazz world as a bandleader and drummer offered a creative and unique perspective that helped shape the artistic style of Hard-Bop and Post-Bop for more than three decades. It was this vision that enabled The Jazz Messengers to become one of the greatest ensembles worldwide. Up next from the library is a recent acquisition titled Dr. Jeckyle (Paddle Wheel K28P 6462). Blakey and the band are performing the second of two performances that were recorded on the final two days of 1985 at Sweet Basil in Greenwich Village. Sharing the spotlight with the drummer is Terence Blanchard on trumpet, Tim Williams on trombone, Donald Harrison on alto sax, Jean Toussiant on tenor sax, Mulgrew Miller on piano, and Lonnie Plaxico on bass. My copy used in this report is the 1987 King Record Company Japanese Stereo album.
Fuller Love (also known as In Case You Missed It) by alto saxophonist Bobby Watson opens the album with an aggressive attack by Blakey preceding the speedy melody by the ensemble. Tim begins the solos with an exciting performance. Donald swings with a robust beat on the second statement. Jean takes the reins next for a rousing reading. Mulgrew charges into the last solo with an impeccably hip contribution before the ensemble takes the song out. Dr. Jeckyle comes next with the propulsive power of Blakey’s drums in full effect on the introduction leading to the melody. Blanchard sizzles on the lead solo, then Harrison gives an equally fierce statement. Williams heats things up on the following reading, then Toussiant contributes considerable energy on the fourth scintillating statement. Miller wraps it up with a tidal wave of compelling emotion.
81 by Ron Carter begins Side Two cooking at an easy groove during the ensemble’s opening chorus. Donald kicks off the solos laying down a lively rhythm. Tim moves into the second statement with an easy swing, followed by Jean who gives an intriguing improvisation. Mulgrew strolls into an enjoyable performance on the next reading. Lonnie takes the final spot with an exquisite solo before the close. One By One by Wayne Shorter picks up the pace one final time with the septet at an optimum level on the melody. Harrison flies right out of the gate with a speedy lead statement. Williams steps up next for a heated interpretation, then Toussiant responds with radiant intensity. Blanchard drives into the next reading ferociously, and Miller delivers a closing chorus of incandescent fury ahead of the ensemble’s finale and audience’s ovation.
Dr. Jeckyle was produced by Shigeyuki Kawashima and Horst Liepolt. It was recorded by Kazunori Sugiyama and the album was mixed at King Studio, Japan by Hatsuro Takanami and mastered by Akira Makino. This is a digital recording with a superb soundstage possessing a bright treble, vibrant midrange, and deep bass that’s fun to listen to. Though released three years before Art’s passing in 1990, Dr. Jeckyle is an exhilarating, exciting live album by Art Blakey & The Jazz Messengers that still stands up very well over three decades later and belongs in every jazz fan’s library!
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