Daily Dose Of Jazz…
Freddie Hill was born Frederick Roosevelt Hill on April 18, 1932 in Jacksonville, Florida. He studied cello and piano as well as trumpet. After four years at Florida A & M on a music scholarship and then spent two years in the army that brought him into contact with the Adderley brothers, among others. He moved to Los Angeles, California to pursue graduate studies at Los Angeles State College and gigs with many artists, including Gerald Wilson and Earl Bostic, followed.
Steady studio work gave him security thanks to Wilson, Matthews, Nelson and H. B. Barnum. However, his opportunities to record as a jazz soloist were few. Playing on the Gerald Wilson Pacific Jazz sessions put him in the company of many outstanding soloists. Hill is prominently heard on Leroy Vinnegar’s Leroy Walks Again!!! And Buddy DeFranco’s Blues Bag, which included Curtis Fuller and Art Blakey.
Besides working with Wilson and Vinnegar, Freddie recorded with Oliver Nelson’s Big Band, South Central Avenue Municipal Blues Band, and The Monterey Jazz Festival Orchestra.
Leaving the Los Angeles scene in 1971, he married and moved to the desert. By the end of the decade studio work was drying up and trumpeter Freddie Hill transitioned a forgotten man, date unknown.
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Daily Dose Of Jazz…
Joseph S. Romano was born in Rochester, New York on April 17, 1932 and learned to play clarinet, alto and tenor saxophone as a child. Enlisting in the United States Air Force in the 1950s, then joined the band of Woody Herman in 1956, playing intermittently with Herman into the 1970s, including at major jazz festivals and on several worldwide tours.
In the 1960s, he played with Chuck Mangione, Sam Noto, and Art Pepper and was a recurring sideman on Buddy Rich’s albums between 1968 and 1974. During the Seventies he played with Les Brown, Louie Bellson, Chuck Israels, Sam Noto again, and with the Thad Jones-Mel Lewis Orchestra.
A move to California led him to session work in the 1980s. In addition, he worked with Frank Capp and Nat Pierce. He would later return to his hometown.
Saxophonist Joe Romano transitioned in Rochester on November 26, 2008, from lung cancer, at the age of 76.
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Requisites
The Jazztet At Birdhouse ~ The Jazztet | By Eddie Carter
This morning’s subject is a recent addition to my library by The Jazztet. The group was co-founded by Art Farmer and Benny Golson in 1959. The Jazztet At Birdhouse (Argo LP 688/LPS 688) is a 1961 live release documenting the sextet’s performance at the Chicago jazz club. It was their first live album and their fourth as an ensemble. The first three are Meet The Jazztet (1960), Big City Sounds, and The Jazztet and John Lewis (1961). The personnel is Art Farmer on flugelhorn (tracks: A3, B2), trumpet (A1, A2, B1 to B3), Thomas McIntosh on trombone, Benny Golson on tenor sax, Cedar Walton on piano, Thomas Williams on bass, and Albert Heath on drums. My copy is the 1975 Japanese Stereo Reissue (Cadet MJ-1011) by Victor Musical Industries.
Side One opens with Junction by Benny Golson, beginning leisurely with the sextet’s collective melody. The saxophonist begins the first reading comfortably, then gradually builds to an aggressive conclusion. Art takes over and is equally effective in the second statement, with the front line complimenting him ahead of the theme’s restatement and finale. The ensemble presses the pedal to the floor in the uptempo cooker, Farmer’s Market. They quickly begin the melody in unison, stepping aside for Benny, who blows fire in the opening solo. Art swings rapidly into the second reading, then Albert illustrates his energetic brushwork briefly. Cedar vigorously delivers the song’s final solo before the sextet reconvenes to end the song abruptly.
Art puts the flugelhorn to work on the jazz standard, Darn That Dream, by Jimmy Van Heusen and Eddie De Lange. He makes the song his own with a tender rendition of the theme. As the song’s only soloist, he gives an elegant interpretation supported gently by the front line preceding a peaceful finale. The pace picks up again to start Side Two with Shutterbug by J.J. Johnson. The song flies fast from the opening notes of the sextet’s vigorous melody. Art’s back on trumpet for the opening solo, and he’s going at breakneck speed. Benny follows him furiously in the second interpretation, then Albert applies the finishing touches with enthusiastically agile brushwork leading to an exuberant ending.
Art returns to the flugelhorn for a gorgeous rendition of ‘Round Midnight by Thelonious Monk, Bernie Hanighen, and Cootie Williams. The jazz standard receives a regal treatment beginning with the flugelhorn leading the front line through the melody. Benny joins in briefly; then, the ensemble sets the scene for Golson to give a hauntingly beautiful statement. Art is up next and switches to the trumpet for a tender performance. Cedar indulges in a bit of nostalgia in the closer leading to the climax. Thomas McIntosh’s November Afternoon starts with the sextet’s lively theme. Art takes the lead with a vibrant opening statement; then, Tom cooks briefly on his only interpretation. Benny gets the spotlight last with an exceptionally satisfying reading preceding the group’s exit.
Kay Norton, the group’s manager, produced The Jazztet at Birdhouse, and Ron Malo was behind the dials of the recording. This album highlights Benny Golson’s capabilities as an arranger; he arranged all the tunes except November Afternoon, which was arranged by Thomas McIntosh. The sound quality is good for the period, and the band’s exhilarating energy comes through on every track. The Jazztet at Birdhouse is a lesser-known album in their discography, but an overlooked gem deserving broader recognition and should be considered the next time you’re vinyl shopping. It should also be a welcome addition to any jazz library, especially if you enjoy excellent Hard-Bop or are an Art Farmer and Benny Golson fan!
~ Big City Sounds (Argo LP 672/LPS 672), Meet The Jazztet (Argo LP 664/LPS 664), The Jazztet and John Lewis (Argo LP 684/LPS 684) – Source: Discogs.com ~ Darn That Dream, ‘Round Midnight – Source: JazzStandards.com © 2023 by Edward Thomas Carter
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Daily Dose Of Jazz…
Gérard Badini was born April 16, 1931 in Paris, France to an opera singing father. He began playing professionally in the early 1950s, playing clarinet in New Orleans jazz-style ensembles with Michel Attenoux, Jimmy Archey, Lil Armstrong, Sidney Bechet, Bill Coleman, and Peanuts Holland.
In 1955, he joined Claude Bolling’s ensemble and then joined him on a worldwide tour as members of Jack Diéval’s orchestra. He switched principally to tenor sax beginning in 1958, continuing to work with Roger Guérin and Geo Daly in the late 1950s. In the 1960s he worked with Alice Babs, Duke Ellington, Jean-Claude Naude, Cat Anderson, Paul Gonsalves, Jef Gilson, and François Guin.
He founded his own group, Swing Machine, in 1973, working in this group with Bobby Durham, Raymond Fol, Michel Gaudry, Helen Humes, Sonny Payne, and Sam Woodyard. From 1977 to 1979, Badini lived in New York City, performing with Roy Eldridge, Major Holley, Oliver Jackson, Dick Katz, Clark Terry, Gerald Wiggins, and Reggie Workman.
In 1984, he formed a new big-band ensemble, Super Swing Machine, which he led and played piano in through the late 1990s. Known as Mr. Swing, bandleader, composer, reedist, and pianist Gérard Badini continues to .
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Daily Dose Of Jazz…
Milton Suggs was born on April 15th in Chicago, Illinois as a third generation musician. While growing up in Atlanta, Georgia he was continually exposed to music of varying styles, especially with his church choir at the age of seven. He recognized music as a gift from a young age; it was later that he would accept it as a calling. While in elementary and middle school, he gravitated toward the upright bass and later played the alto saxophone and drums, however, it was not until after high school that he committed to the pursuit of music as his life’s work.
Returning to Chicago, he began studying piano with the legendary Willie Pickens, while also honing his craft as a vocalist and performer. In 2012 Milton moved to New York City where he immediately took to performing throughout the city, branching out internationally as a performer and educator.
His voice and approach to music are a reflection not only of his direct lineage, but of the many great voices in Black American Music and culture from the past century and beyond. Firmly rooted in the blues Milton sports a rich baritone with the breadth and power reminiscent of Joe Williams, Donny Hathaway, and Nat King Cole.
Downbeat Magazine’s annual critc’s poll has been repeatedly voted a top 10 rising star male vocalist. Sugg’s fixture in jazz is cemented having worked with artists and bands such as the Jazz at Lincoln Center Orchestra, Orrin Evans, Wycliffe Gordon, Ulysses Owens, and Marquis Hill among others.
Vocalist Milton Suggs has produced four albums to date and is continually developing new projects with new ensembles.
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