Requisites

Lover Man ~ Duke Jordan Trio | By Eddie Carter

The Duke Jordan Trio enters this morning’s spotlight with an album initially recorded in 1975 but not released until 1979. Lover Man (SteepleChase Records SCS 1127) is the companion to Duke’s Delight, an excellent quintet date, recorded at the same session and released a year later. I’ve been a fan of this extremely gifted pianist since first hearing Flight To Jordan (1960) and Two Loves (1975). Sam Jones on bass and Al Foster on drums are the rhythm section for this date, and Duke’s Delight. My copy is the original Danish Stereo release.

Side One takes off with Dig by Miles Davis. Duke opens with a concise introduction segueing into the threesome’s medium theme. The leader swings freely on the song’s only solo, propelled by Sam and Al’s support into the reprise and close. Up next is Dancer’s Call, the first of two Duke Jordan originals. The trio introduces the song easily and then delivers the melody. Jordan sets the mood in the opening solo with a lightly swinging interpretation; then Jones sculpts the following statement blissfully. Foster shares a conversation with piano and bass in the finale ahead of the trio’s closing chorus and finish.

Duke’s Love Train leaves the station heading down the track with a leisurely paced melody. Sam takes the opening solo unaccompanied, followed by Duke, who contributes a splendid statement. Al keeps the beat flowing in an exchange with the pianist into the ending theme. Lover Man by Jimmy Davis, Roger Ramirez, and Jimmy Sherman begins with a pretty introduction by Jordan, which develops into an elegant theme by the threesome. The pace picks up for the song’s only statement by the leader. He gives a gorgeous performance as crisp as the cool night air with a soft sensitivity preceding an affectionate climax.

They Say It’s Wonderful by Irving Berlin comes from the 1946 Broadway musical Annie Get Your Gun. Duke introduces this old evergreen, leading to the trio’s gentle melody. The pianist again has the song’s only reading and scores on a delicately pretty solo into a gorgeous theme reprise and soothing finale. Out Of Nowhere by Johnny Green and Edward Heyman begins with a concise introduction by Jordan that segues into a delightfully happy melody. The pianist is up first with a brisk opening statement; then Jones takes a short walk in the following solo. Foster concludes the proceedings with a scintillating conversation with Jordan before the close.

Nils Winther produced Lover Man, and Chuck Irwin recorded this album and Duke’s Delight. The sound quality is excellent, with a wonderful soundstage that transports the trio from the studio to your listening room with superb definition. The record is also noticeably quiet until the music starts. If you’re a piano trio fan and unfamiliar with this marvelous musician, I offer for your consideration Lover Man by The Duke Jordan Trio. It’s an excellent album and a fine showcase for Duke Jordan’s pianistic artistry with a superb rhythm section, resulting in an entertaining title I strongly recommend for a spot in your library!

~ Duke’s Delight (SteepleChase SCS 1046) – Source: Discogs.com ~ Lover Man, Out of Nowhere – Source: JazzStandards.com ~ They Say It’s Wonderful – Source: Wikipedia.org © 2023 by Edward Thomas Carter

Mr. Carter’s review is based upon the original album release. As you listen, know that Sea and Don’t Blame Me are bonus tracks available only on compact disc.

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Daily Dose Of Jazz…

Jack Hylton was born John Greenhalgh Hilton on July 2, 1892 in Great Lever near Bolton, Lancashire, England the son of a cotton yarn twister and an amateur singer at the local Labour Club. He learned piano to accompany him on the stage and later sang to the customers when his father bought a pub in nearby Little Lever, becoming known as the Singing Mill-Boy. He also performed as a relief pianist for various bands.

Moving to London, England as a pianist in the 400 Club during his early career and playing with the Stroud Haxton Band. During World War I he became musical director of the band of the 20th Hussars, and later in the Army Entertainment Division. After the war Hylton formed a double act with Tommy Handley to little success, played with the Queens Dance Orchestra, wrote arrangements of popular songs and recorded them for His Master’s Voice and Zonophone under the label Directed by Jack Hylton. His records carried the new style of jazz-derived American dance music.

Dismissed by his own bandmates from the Queen’s Hall in 1922, Jack not only set up his own band, but also set up a number of other orchestras under the Jack Hylton Organisation. Even though he was not professionally trained for business, he brought his band to success during the Great Depression. He is credited for bringing Duke Ellington, Louis Armstrong and others to Britain and Europe in the 1930s.

Hylton also became a director and major shareholder of the new Decca record label, recorded with Paul Robeson, and made the first transatlantic entertainment broadcast with Paul Whiteman and his orchestra. He performed in the United States when Standard Oil signed him for a radio show on CBS. Returning to Britain he toured Europe, appeared on radio and television and finally disbanded by 1940.

He continued to conduct orchestras for radio in the years to come, leading the Glenn Miller Orchestra when it visited England in 1943. During the war, he took the London Philharmonic Orchestra around Britain, giving promenade concerts. At this point in his career he became an impresario, discovering new stars and managing radio, film and theatre productions.

The Fifties saw him reuniting with old band members for that year’s Royal Command Performance, billed as “The Band that Jack Built”. He founded Jack Hylton Television Productions, which lasted until 1960. IIn his final years Hylton was still producing stage shows, as well as taking a leading role in organising various Royal Command Performances, until his final stage production, Camelot, in 1965.

Complaining of chest and stomach pains he was admitted to the London Clinic, where three days later on January 29, 1965 1892~1965 | pianist, composer, bandleader and impresario Jack Hylton transitioned from a heart attack. He was 72.

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MIMI JONES & FRIENDS

The Lab Session: Jam and Jazz Party

For more than two decades she’s been on the scene, bassist/vocalist/producer/label owner and now filmmaker Mimi Jones has reigned supreme, as a side woman to an impressive coterie of musicians and as a leader with three original recording projects on her own Hot Tone Music label. Born Miriam Sullivan in New York City on March 25, 1972, and was raised in the Bronx. Jones studied Music at the Manhattan School of Music Conservatory, and has also studied with Linda McKnight, Lisle Atkinson, Barry Harris, Milt Hinton, Dr. Billy Taylor, Yusef Lateef. She has toured extensively for over 30 years throughout the seven continents, and has played with such people as Frank Ocean, Kenny Barron, DD Bridgewater, Dianne Reeves, Tia Fuller, Roy Hargrove, Terri Lyne Carrington, Beyonce, Jason Moran, Common, Black Thought and more. Mimi Jones co-directs a multimedia interdisciplinary production with pianist ArcoIris Sandoval entitled The D.O.M.E. Experience, creating choreography, musical and visual works inspired by social injustices and environmental changes in our world. Voted #1 & #2 rising star by the DownBeat polls for 3 consecutive years, she currently works on a new project called The Black Madonna. The Berklee School of Music professor recently began collaborating with a trio called Nite Bjuti featuring Vocalist Candice Hoyes, and Sound Chemist Val Jeanty. Mimi is a recipient of the Chamber Music America Performance Plus Award 2021.

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JAZZ DIALOGUE OPEN JAM

Earlybird Show | 6:30pm ~ 8:30pm

Lex Korten (p) | Dave Adewumi (tp) | Carmen Rothwell (b) | Connor Parks (d)

Jazz Dialogue Open Jam | 9:00pm ~ 12:00am

Asaf Yuria (ts) | Brian Charette (org)| Jimmy Macbride (d)

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WAYNE PAGE

Wayne Page found an active music scene when he arrived at Drake University in 1980, & it did not take him long to be a part of it. There were on the road gigs with the Don Hoy Orchestra as well as opportunities to play with the Des Moines Big Band, a group of which he has been a member since the late 1990s. In addition to his weekly gig with the big band, Wayne performs with the Turner Center Jazz Orchestra, Max Wellman, Fred Gazzo, the Des Moines Symphony, & his own quartet. Wayne is also a first-call saxophonist for national touring acts including Harry Connick Jr., Leslie Gore & The Temptations. In addition to his playing credits, Wayne has been a valued educator, sharing his years of experience & knowledge with middle to high school students in the community.

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