Daily Dose Of Jazz…

Rolando Matias was born on November 20, 1957 in Cupey Alto,  San Juan, Puerto Rico. A self-taught musician, he applies his formal training as an architect into his musical education. He started playing percussion at a young age at the local Bembes, a neighborhood gathering where rumberos jam and improvise together. 

Rolando has performed or recorded with Chuchito Valdez, Benny Maupin, Leon ..Ndugu.. Chadler, Azar Lawrence, Othello Molineaux, Mimi Fox, Bobby Matos, Bobby Sanabria, Bill Summers, Lenny Castro, Eddie “The Chief” Clearwater, Kenny Neal, Duke Robillard, Cleveland Roberto Ocasio, David Sanchez, and the list goes on and on.

His projects vary from Rolando Matias & The Afro-Rican Ensemble, Afro-Latin-BeBop, Latin-Soulsa & Jazz RM:Intrin-x-ico, Afro-Jazz Rolando Matias & Cuba-son Salsa na ma!, and Afro-Latin-Hip/Hop.

Percussionist Rolando Matias, who plays congas, bongos, cowbells, bata drums, hand percussion, claves, guiros, and maracas, etc, continues to perform and explore music from the African Diaspora.

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Daily Dose Of Jazz…

Bill Allred was born in Rock Island, Illinois on November 19, 1936 into a family where his father played the Streckfus Steamboat lines on the Mississippi.

He formed a Dixieland band while still in high school. In 1954 he enlisted in the Navy, playing with Navy bands throughout his tour and was excited to be part of a big band for the first time. Returning home he married, pursued a regular career and continued to gig.

His big break came in 1970 when, out of 2500 auditioning musicians, he was chosen to be part of the Disney World Band on the park’s opening day in 1970. While at Disney he formed a trad band called The Reedy Creek Jazz Band. The band was noticed by Bob Snow, who recruited him to put together a show and band for the Rosie O’Grady’s Goodtime Jazz Emporium, that ran for 25 years.

In 1979, Bill formed the Continental Jazz Band for a Roaring Twenties club in Fort Lauderdale, Florida. “Auntie Mame’s” later won the Carbonell Award for Best Cabaret Show in South Florida.

Trombonist and bandleader Bill Allred, who was a vital component of the classic jazz scene in South Florida, died on February 1, 2024 at the age of 87.

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DAVE POTTER

Drummer Dave Potter leads a stellar sextet playing a musical tribute to Jazz legend Miles Davis and his classic bands from the 40’s, 50’s, and 60’s, featuring Miguel Alvarado on tenor saxophone, Desmond Ng on trombone, Dr. Andrew Sioberg on trumpet, Daniel Kuk on piano and Rob “El Ton” Linton on bass.

Following his graduation from Florida State, Potter was chosen from a national pool of applicants to be a member of the Louis Armstrong Quintet at the University of New Orleans, which Katrina ended his hopes. Unfortunately, the tragedy of hurricane Katrina temporarily ended his hopes for a career in Louisiana. Soon after, Potter was awarded a full scholarship to The Julliard School in New York City. However, after several days of intense meditation he declined the offer and returned to Florida State University, where he received his master’s degree after further collaboration with his mentor Marcus Roberts.

The drummer is now based in Atlanta where he maintains a busy teaching and performing schedule while also touring with The Jason Marsalis Vibes Quartet, Greg Tardy, Eric Reed, and Marcus Roberts, as well as his main project as a leader, Retro Groove.

Dave Potter – drums
Miguel Alvarado – tenor saxophone
Desmond Ng – trombone
Dr. Andrew Sioberg – trumpet
Rob “El Ton”Linton – bass
Martin Bejerano – piano (11/21)
Daniel Kuk – piano (11/22)

Tickets: $23.00

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Daily Dose Of Jazz…

Wayne Andre was born on November 17, 1931 in Manchester, Connecticut. His father was a saxophonist, and he took private music lessons from age 15.  In the early 1950s he played with Charlie Spivak before spending some time in the U.S. Air Force. 1955 saw him  joining the Sauter-Finegan Orchestra, and the next year played with Woody Herman. 

From 1956 to 1958 Wayne played with Kai Winding and enrolled at the Manhattan School of Music. He composed his Nutcracker and arranged The Preacher for the Kai Winding Septet while performing with the septet. In the 1960s, he performed with Gerry Mulligan’s first Concert Jazz Band, the Thad Jones/Mel Lewis Orchestra, and Clark Terry’s Big Band. 

He joined the Mission to Russia with Benny Goodman in 1962. He also played with Urbie Green, Art Farmer, Roy Ayres, and Carl Fontana. After settling in New York City, Andre became a sought-after studio sideman and soloist. He has recorded with Liza Minnelli, Bruce Springsteen, and Alice Cooper. 

During the Eighties he played with Lynn Welshman’s Tentet, The Mingus Big Band, The Epitaph Band, Jaco Pastorius and many others. He performed with his own quintet, which included Marvin Stamm, Pat Rebillot, Ronnie Zito, Jay Leonhart; and his septet which included Matt Finders, Keith O’Quinn, and Jim Pugh. Andre performed with his own big band, the Illinois Jacquet Band and Mike Longo’s New York State of the Art Jazz Ensemble.

Wayne Andre, who recorded one hundred and sixty-seven albums as a studio musician, continued to write music for symphony orchestras and big bands throughout his life, died on August 26, 2003.. 

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Requisites

The Witch Doctor ~ Art Blakey and The Jazz Messengers | By Eddie Carter

In this morning’s discussion, I’m excited to share a remarkable release from the library with you by Art Blakey and The Jazz Messengers. Although it was recorded back in 1961, The Witch Doctor (Blue Note BST 84258) didn’t become available to the public until 1967. The Jazz Messengers were renowned for their evolving roster of exceptional musicians, and this particular album features one of the drummer’s most memorable ensembles. The group consists of Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. The copy of this album I own is the 2021 Worldwide Blue Note Tone Poet Series stereo audiophile reissue, using the original catalog number.

The title tune by Lee Morgan opens the album, and the ensemble’s visit to The Witch Doctor sets a friendly tone with its mid-tempo introduction and inviting melody. Bobby starts us off with a relaxing solo, then Wayne takes a few easy-flowing choruses. Lee then takes over to give the following interpretation before Bobby returns to add a few comments, continuing to swing joyfully with the front line into the ending theme and climax. Lee’s Afrique begins with the trio’s animal sounds before Shorter’s piercing horn leads into the quintet’s medium-paced melody. Shorter kicks off the first solo with confidence, then Morgan adds an intense, steadily burning energy. Timmons approaches the third statement effortlessly, and Blakey finishes with a strong punch before the melody’s reprise and fadeout.

Wayne Shorter’s Those Who Sit and Wait grabs your attention right away with Art’s lively introduction to the quintet’s spirited theme. Wayne launches into a rapid-fire opening statement, followed by Lee’s energetic reading. Bobby jumps in next, meeting the challenge with an excellent solo that paves the way for a heated exchange between Lee, Wayne, and Art, propelling the ensemble to an electrifying climax. Side Two commences with the rhythm section’s infectious introduction, smoothly segueing into the group’s melody of Bobby Timmons’ A Little Busy. Timmons gets right to work first. Shorter keeps the lively mood going next, followed by another solo from the pianist. Lee paves a road back to the closing chorus, which softly fades away.

Joelle by Wayne Shorter comes at you with the rhythm section’s introduction gradually increasing into the ensemble’s upbeat theme. Lee makes the initial entrance with a nimble opening solo. Wayne delivers a captivating stream of ideas in the following reading. Bobby anchors the tune with a driving swing, culminating in a return to the melody that slowly dissolves into nothingness. Lost and Found by Clifford Jordan opens at a fast gallop for the quintet’s theme. Timmons leads the charge with a high-spirited statement, then steps aside for Shorter, who romps through the following solo. Morgan pours intense emotion into the third performance next, then Art engages the front line in a quick, dynamic exchange before the ensemble races to the conclusion with a sudden, abrupt stop.

The original recording session of “The Witch Doctor” was produced by Alfred Lion, with Rudy Van Gelder serving as the recording engineer. For the reissue, Joe Harley oversaw production, and Kevin Gray handled mastering, working directly from the original master tapes at Cohearant Audio. The result is exceptional audio quality, delivering a rich soundstage that truly immerses the listener. For those who are already collectors of the Blue Note Tone Poet Series, you know firsthand the exceptional quality and attention to detail these reissues offer, everything from high-resolution gatefold images and outstanding cover design to the premium 180-gram Virgin Vinyl, with the music itself being the ultimate highlight. But if you haven’t experienced them yet and you love jazz, you’re in for an absolute treat!

In addition to its outstanding musical performances, “The Witch Doctor” by Art Blakey and The Jazz Messengers is a fantastic album from beginning to end, perfectly embodying the essence of hard bop through vibrant compositions and dynamic group interplay. I highly recommend this Blue Note Tone Poet audiophile reissue as a great addition to your jazz library. I’m sure that whether you’re already a fan of Art Blakey or just starting to explore his extensive discography, this album is sure to become a favorite on your turntable!

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