Daily Dose Of Jazz…

Albert Morgan was born on August 19, 1908 in New Orleans, Louisiana into a musical family. He started on clarinet, then learned baritone saxophone, tuba, and bass. After taking lessons with Simon Marrero around 1919, he played with his brother Isaiah. Relocated briefly to Pensacola, Florida he played with Mack Thomas and Lee Collins.

Returning to New Orleans to play on riverboats with Fate Marable and Sidney Desvigne. Al went on to play with Davey Jones and Cecil Scott and recorded with the Jones & Collins Astoria Hot Eight.

In the 1930s, Morgan led his own band and played as a sideman with Fats Waller, Les Hite, Zutty Singleton, Louis Jordan, and Sabby Lewis. This period saw him performing with Otto Hardwick and then spent four years with Cab Calloway from 1932 to 1936.

After leaving the Calloway orchestra, Al settled in California, playing live, on record, and on film. His film appearances include a feature on “Reefer Man” with the Calloway band in International House, Cab Calloway’s Hi-De-Ho, with Louis Armstrong in Going Places, and in The Gene Krupa Story.

From the 1950s to the 1970s, Morgan played extensively with Buddy Banks in a duo. Morgan recorded with Chu Berry, Coleman Hawkins, Don Byas, Jack Teagarden, Jay McShann, Red Allen, and T-Bone Walker.

Double bassist Al Morgan passed away on April 14, 1974 in Los Angeles, California.

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Three Wishes

When inquired, Joe Knight told Nica that his three wishes would be: 

1. 1. “I would like to be inordinately healthy, to give me the strength to do anything of which I am capable to the fullest extent.”

   2. “I would like to have a certain peace of mind – which could be obtainable from the result of number one.”

   3. “I would like to develop, within the span of my lifetime, the art of music.”

*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…

Jeanie Barton was born on August 18, 1978 in London, England. She spent years as a principal in the National Youth Music Theatre, then studied jazz harmony at Morley College in London as well as improvisation with BBC Jazz award winner Anita Wardell. She also cut her teeth as a singer for bebop pioneer Laurie Morgan’s trio, fronting their famous North London weekly gig, Downstairs at The King’s Head in Crouch End for over a decade.

She went on to support Georgie Fame, as well as backing vocals for Luddy Samms of The Drifters. Barton has performed for Samuel L Jackson,  Shirley Bassey, and Pierce Brosnan. She has sung at The Jazz Cafe, The 606 Club, Ronnie Scott’s and The National Theatre, as well as a Parisian cruise on the Seine and the Cannes Film Festival.

Vocalist Jeanie Barton was voted Best Newcomer at the Marlborough Jazz Festival 2015, and in addition writes for the London Jazz News and Nottingham Live, formally the Nottingham Post.

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Daily Dose Of Jazz…

Perry Morris Robinson was born on September 17, 1938, the son of composer Earl Robinson. He grew up in New York City and attended the Lenox School of Jazz in Massachusetts in the summer of 1959. After serving in a U.S. military band in the early 1960s, his first record, Funk Dumpling with Kenny Barron, Henry Grimes, and Paul Motian was recorded by Savoy in 1962.

He would go on to record with Grimes on The Call in 1965, in which two of the album’s six songs are credited to Robinson, including the title track. From 1973, he worked with Jeanne Lee and Gunter Hampel’s Galaxie Dream Band. He contributed to Dave Brubeck’ s Two Generations of Brubeck and played with Burton Greene’ s Dutch klezmer band Klezmokum. He was the featured clarinetist on Archie Shepp’s LP Mama Too Tight on the Impulse! label.

Perry led his own groups in performances and on record, with albums on the Chiaroscuro, WestWind, and Timescraper labels. More recently, he worked with William Parker and Walter Perkins on Bob’s Pink Cadillac and several other discs on the CIMP label.

From 1975 until 1977, Robinson was a member of the Clarinet Contrast group, then recorded with Lou Grassi, Wayne Lopes, and Luke Faust in The Jug Jam, an improvisational jug band. He regularly plays and records in a free jazz and world music trio; played with Darius Brubeck and Muruga Booker in the MBR jazz trio, and played an integral part in the formation of the improvisational Cosmic Legends. In 2005 he was featured on his cousin Jeffrey Lewis’ album City and Eastern Songs on Rough Trade Records, A later release was OrthoFunkOlogy in 2008 with the band Free Funk. Clarinetist and composer Perry Robinson, whose autobiography, Perry Robinson: The Traveler was published in 2002, passed away on December 2, 2008.

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Requisites

JAMES II ~ JAMES LEARY | BY EDDIE CARTER

This morning’s column begins with the second album by James Leary on David Manley’s audiophile record label VTL.  James II (VTL-The Vital Sound 005) is a stellar 1992 quartet session released a year after his first album for Vital Records, James. The personnel for this two-record set is Eddie Harris on tenor sax (tracks: A2, C1, D1, D2), and vocals (track: B1); Billy Childs on acoustic piano; Leary on acoustic bass and Ralph Penland on drums. My copy used in this report is the original Stereo release.

The album gets underway with the opening number, Joshua. This is a Victor Feldman composition originally made famous by Miles Davis on Seven Steps To Heaven (1963) and two live albums, Miles Davis In Europe (1964) and ‘Four’ & More (1966). Billy kicks off the album with a breathtaking melody, then rips into the opening solo with searing intensity. James follows with a fascinating study of vivacity and sprightliness, then Ralph executes a brief finale of impeccable brushwork before the coda.

Have You Met Miss Jones? The popular standard by Richard Rodgers & Lorenz Hart first appeared in the 1937 musical comedy, I’d Rather Be Right. Eddie Harris makes his debut here and the quartet takes the melody at a relaxed beat. Billy picks up the pace on the opening solo with a compelling improvisation.  Eddie’s first reading finds full rein of expression with a full-bodied tone you can’t help but enjoy. James puts together a very effective closing statement ahead of the ending theme.

A Flower Is a Lovesome Thing by Billy Strayhorn was composed in 1944.  It opens Side Two with a hauntingly delicate introduction to the melody by the quartet utilizing Harris’ voice scatting along with the trio. Leary tells a deeply poignant story on the lead solo that’s a reminder of the passing of time. Childs delivers the second statement with the sweetness of a scented summer breeze after a light rain. Harris makes the final reading his own with a sublimed moody feeling that floats gently into the climax.

Seven Steps To Heaven by Miles Davis and Victor Feldman brings Record One to a close with a brief unaccompanied introduction by the bassist segueing into an invigorating theme.  Leary swings from the outset on the first statement, then Childs gives an energetic workout next. Penland speaks last with a fierce intensity leading to an exuberant closing chorus. John Coltrane’s Spiral creates an infectious midtempo melody from the opening notes of the introduction into a swinging first interpretation by Eddie. Billy brings his own brand of excitement to the second reading and James provides some good cooking on the finale.

Leary’s Laugh, Laugh Again is a trio performance beginning with a bowed introduction by the bassist preceding the lovely opening chorus. Childs starts the first reading tenderly, revealing the essence of the song with a delicate interpretation that’s rich and atmospheric. Leary wraps up the solos with a tender, sweet performance.

Oleo by Sonny Rollins begins the final side with Leary providing a repeating bass figure reoccurring underneath each reading. Billy starts with a muscular groove that really cooks, then Eddie swings with an exciting restlessness on the second statement. James follows with a scintillating solo and Ralph ends in fine form on a dynamically propulsive presentation. Leary’s Hold My Hand is a simple ballad that opens elegantly with Harris in front of the foursome on the lyrically beautiful theme. The first solo is affectionately handled by Harris who gives a presentation of intimate lyricism. Childs wraps up the album with a thoughtfully delicate reading.

David Manley, VTL’s (Vacuum Tube Logic of America) founder produced and engineered this album in a state-of-the-art studio utilizing the company’s tube technology.  The soundstage is extraordinary throughout the highs, midrange, and bass.  The result is James II by James Leary is not just an excellent album, but a treat for any jazz fan to enjoy!

~ ‘Four’ & More (Columbia CL 2453/CS 9253); James (Vital Records ViTaL 003); Miles Davis In Europe (Columbia CL 2183/CS 8983); Seven Steps To Heaven (Columbia CL 2051/CS 8851) – Source: Discogs.com ~ Oleo, Have You Met Miss Jones? – Source: JazzStandards.com ~ Seven Steps To Heaven – Wikipedia.org © 2020 by Edward Thomas Carter

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