MICHELA MARINO LERMAN & RUSSELL HALL QUARTET
Michela Marino Lerman, recipient of the Hoofer Award and Flo-Bert Award, is a world-renowned tap dance artist, performer, choreographer, band leader, educator and all-around creative spirit dedicated to the bridging the gap between tap dance and jazz music and the inclusivity of tap being recognized as music. The Huffington Post has called her a “hurricane of rhythm” and the NY Times has called her both a “prodigy” and has described her dancing as “flashes of brilliance.” Quincy Jones has said she is an “absolute tap dancing star who knows her roots.” She very proudly, was mentored by some of the innovators of tap dance including Gregory Hines, Buster Brown, Leroy Myers, Peg Leg Bates, Marion Coles, Jeni LeGon and Mable Lee. Most recently Michela can be seen featured in the new US Postage Stamp series dedicated to the art form of Tap Dance. Michela has had the honor of working with and collaborating many master artists throughout her career some of whom include Wynton Marsalis, Anna Deavere Smith, Roy Hargrove, Jon Batiste, Quincy Jones, Steve McQueen and many more. www.michelataps.com @michelataps
Whether it’s a swanky, sophisticated jazz club or a boozy, bombastic rock joint, one thing is for certain, Russell Hall is bringing the party with him wherever he goes. Born in Kingston, Jamaica and raised in Miami, Florida, Russell has been playing and recording music since the tender age of 13. He furthered his study of music at the most prestigious conservatory in the world, The Juilliard School under the tutelage of Ben Wolfe, Ron Carter and Wynton Marsalis. He is currently a preeminent bassist in New York City where his session and freelance work has allowed him to work in virtually every facet of the New York music scene.
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NAPOLEON DOUGLAS
Nap Sings Nat: A Night of Nat King Cole w/ Vocalist Napoleon Douglas & His Band
An actor, teaching artist, and entrepreneur who has performed in stage theater, film, commercials, voice over, instrumental music, dance, and vocal music. Douglas has also performed for both Inauguration Parades for President Barack Obama and President Joe Biden. He has a BA in Theatre Arts from Drake University and an MBA in Entrepreneurship from Southern New Hampshire University. His theatrical credits include Dreamgirls, Jesus Christ Superstar, and Superior Donuts.
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Requisites
Maggie’s Back In Town ~ Howard McGhee | By Eddie Carter
Howard McGhee opens this morning’s discussion with a superb 1961 album, Maggie’s Back In Town (Contemporary Records M3596/S7596). He was one of the earliest jazz musicians to begin playing bebop and became a leading trumpet player during the Forties. Howard was also an excellent arranger and composer who performed with some of the elite musicians during that era. Drug problems derailed his career during the fifties, but he returned in 1960 and recorded two impressive albums for Lester Koenig’s label. A first-class trio joins him on this studio session: Phineas Newborn Jr. on piano, Leroy Vinnegar on bass, and Shelly Manne on drums. My copy is the 1975 US Stereo reissue.
Side One opens with a Howard McGhee original, Demon Chase. The quartet swings easily into the melody; then, Howard gets to the song’s core first. Phineas follows happily along in the second reading. McGhee returns on muted horn with a solo that’s sheer heaven. Leroy closes things out ahead of the finale. Willow Weep For Me by Ann Ronell is one of the most beautiful and recorded song’s from The Great American Songbook. Newborn makes the introduction segueing into McGhee’s muted slow-tempo theme and mellow opening statement. Phineas demonstrates tenderness and intimacy next, and then Howard takes the song out thoughtfully with the mute removed.
Softly, As In a Morning Sunrise by Sigmund Romberg and Oscar Hammerstein II is taken at a brisk clip, with the leader’s mute building the melody effectively. Howard delivers the song’s only solo with joyful vitality fueled by the trio’s exceptional support ahead of the closing chorus and climax. Sunset Eyes by Teddy Edwards ends the first side. The rhythm section sets the scene for McGhee’s easygoing melody. The tempo moves upward for a fascinating interpretation by the leader. Newborn also puts together a well-constructed offering preceding the closing chorus and gentle fadeout.
Side Two starts with Maggie’s Back In Town, by Teddy Edwards. The title refers to Howard’s nickname and his return to the jazz scene after battling drug addiction. The quartet’s bluesy theme gets things underway, followed by Howard’s warm welcome in the first solo. Newborn’s second statement is as delicious as a good meal. McGhee returns for a short reading, and then Vinnegar takes a relaxing walk. Manne shares the closing statement with Howard ahead of the ending theme. Summertime by George and Ira Gershwin and DuBose Heyward starts at mid-tempo, with the leader back on a muted trumpet. McGhee’s solo is as enjoyable as a day at the seaside until the close.
Brownie Speaks by Clifford Brown takes off with the foursome’s vigorous uptempo workout. Howard generates plenty of heat in the first solo. Phineas takes a scintillating statement next. Leroy follows with a short, robust comment, and the leader’s finale flows vibrantly toward the climax. Lester Koenig produced Maggie’s Back In Town, and Roy DuNann was the recording engineer. It’s a great-sounding reissue with an outstanding soundstage that brings the quartet to your listening room with stunning fidelity. If you’re in the mood for a hard-bop album with great tunes and tight musicianship, I invite you to check out Maggie’s Back In Town by Howard McGhee on your next record shopping trip. It’s an excellent introduction to his music and a terrific album that’s sure to give you many hours of listening pleasure!
~ Together Again! (Contemporary Records M3588/S7588) – Source: Discogs.com ~ Softly, As In A Morning Sunrise, Summertime, Willow Weep For Me – Source: JazzStandards.com © 2023 by Edward Thomas Carter
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JIM FERGUSON
Having had a long career in the Nashville music industry as both vocalist and bassist, in 1999 Jim returned to his roots and released his first jazz CD, Not Just Another Pretty Bass, a quartet with saxophonist Chris Potter, pianist Pat Coil, and drummer Jim White. That was followed by Deep Summer Music with the same lineup with the exception of pianist Stefan Karlsson, and Haunted Heart, a duo recording with the master guitarist Mundell Lowe.
Some of the many artists Jim has performed and/or recorded with include Teddy Wilson, Phineas Newborn, Jr., Marian McPartland, Jay McShann, Steve Allen, Bob Dorough, Clark Terry, Red Rodney, Nat Adderley, , Tim Hagans, Randy Brecker, Terell Stafford, Chris Potter, Bob Mintzer, Joel Frahm, Eric Alexander, Benny Golson, Benny Goodman, Lee Konitz, Jimmy Heath, Lew Tabackin, Ira Sullivan, Eddie Daniels, Bill Watrous, Urbie Green, John Pizzarelli, Jr., Kenny Burrell, Jimmy Raney, Lorne Lofsky, Lenny Breau, Howard Alden, Gene Bertoncini, Martin Taylor, Ed Soph, Harold Jones,Bernard Purdie, Louie Bellson, Duffy Jackson, Jackie and Roy, Al Jarreau, and Joe Williams.
For nearly 30 years, Joel Frahm has lived in New York City, working in jazz clubs, collaborating with other musicians, and honing his craft. His bold, inventive tenor sound has won fans in the U.S. and across the world. He has worked alongside Betty Carter, Kenny Barron, Freddy Cole, Dianne Schuur, Kurt Elling, Jane Monheit, Bill Charlap, Brad Mehldau, Matt Wilson, Cyrille Aimee, and many other top artists. He has played as a leader or sideman on more than 100 recordings and has appeared at jazz festivals in the United States, Europe, Israel, Canada and South America. In addition to his work as a performer, he has taught jazz classes in clinics at the University of North Carolina, the University of Connecticut, New York University, Wichita State University, the University of North Texas, Baylor University, Colorado State University, Furman University, the University of Toronto, the University of Michigan, Michigan State University, the University of Manitoba and others. He also has worked at the Monterey Jazz Festival’s Next Generation program; the Sant Andreu Youth Jazz Orchestra in Barcelona, Spain; the Dave Brubeck Institute in Stockton, California; the Center for Jazz Studies at the Israel Conservatory in Tel Aviv; the Czech Jazz Workshop in Prague; and the Siena Jazz Workshop in Italy.
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JACK MACKLIN TRIO
For a thoughtful artist like Macklin, who will research and connect with a project before debuting the final product, this is a liberating experience to connect with a band on a deep level. There is a sense of spontaneity, and discovery whenever this group sets foot on the bandstand.
During his time in Chicago, Macklin has been heralded by WGN Chicago, Chicago Reader magazine, and Chicago Jazz Magazine for his continuous work to push the music forward, and manifest a community around the Trio. Macklin is thrilled to share his developments with his trio, and expand upon his goal of creating a band that goes beyond genres to connect with the audience on a personal level, to have a compelling experience that leaves the listener wanting more.
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