Daily Dose Of Jazz…

Magnus Öström was born in Västerås, Västmanland, Sweden on May 3, 1965. The son of an artist couple, he was influenced by the musical tastes of his older brother who was into Jimi Hendrix, Deep Purple, The Allman Brothers and Lynyrd Skynyrd. By the age of eight years he had built his first drum set and soon played music with a friend, Esbjörn Svensson.

He attended the musical grammar school in Västerås in 1981 and played with the Svensson trio. Between 1983 and 1985, he studied at the adult education center in Sjövik, Sweden before he continued his studies at the Music Academy Stockholm, Sweden. During this time, he played with various bands on the Stockholm scene and between 1987 and 1992 he was a member of singer Monica Borrfors band.

In 1989 Magnus was back with Svensson, initially in the group Stock Street B , then again in a trio with the bassist Dan Berglund with an album released in 1993. e.s.t. released twelve albums, toured internationally with great success, and played until the accidental death of Svensson.

Öström has worked with Bobo Stenson, Lennart Åberg, Palle Danielsson, Nils Landgren, Stina Nordenstam, Peter Gullin and Steve Dobrogosz as well as numerous American musicians such as Michele Hendricks, Benny Golson, Mulgrew Miller, Stefon Harris, Pat Metheny or Alan Pasqua. In 2010, he founded his own quartet and released their first album Thread of Life, which received an Echo Jazz.

In 2019, the ACT label released Live in Gothenburg for the first time. Drummer Magnus Öström, known for being part of the first Esbjörn Svensson Trio (e.s.t.), continues to perform and record.

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Three Wishes

When Nica was hanging out with Bobby Hutcherson she inquired what three wishes he would ask if they could be granted and he told her:

1. “I’d want to be happy. I’d want to be very happy.”
2. “I’d want to be healthy. Strong.”
3. “And play good music.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

Bobby Hutcherson: January 27, 1941 ~ August 15, 2016 | Vibraphone, Marimba

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Daily Dose Of Jazz…

Henry Robert Hall was born on May 2, 1898 in Peckham, South London, England. He won a scholarship to Trinity College of Music where he studied trumpet, piano, harmony and counterpoint. His first job was as copyist at the head office of the Salvation Army for which he wrote several marches. During World War I he served with the Royal Field Artillery, and played trumpet and piano in the regimental band.

His musical career had a slow start but eventually he was engaged by the London Midland and Scottish Railway to take charge of music throughout their chain of hotels. 1932 had him succeeding Jack Payne as the band leader of the BBC Dance Orchestra. That year he recorded the songs Here Comes the Bogeyman and Teddy Bears’ Picnic with his BBC Orchestra.

He was featured in the documentary BBC The Voice of Britain in 1935 and the following year made his first feature film and was guest orchestra conductor on the Queen Mary’s maiden voyage. During World War II, Hall played for the troops, and gave concerts and shows in factories all over Britain. After the war he developed his show business interests, becoming something of an agent and producer. He hosted Henry Hall’s Guest Night on the radio and later on television and helped launch the television programme Face the Music.

Ceasing regular broadcasting in 1964, he was appointed a Commander of the Order of the British Empire, CBE, in 1970. Bsndleader Henry Hall transitioned in Eastbourne, Sussex, on October 28, 1989.

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Daily Dose Of Jazz…

Jesse Price was born on May 1, 1909 in Memphis, Tennessee and began on drums at age 14, and played locally with blues singers, including Ida Cox, and in the Palace Theater pit orchestra, early in his career.

A move to Kansas City, Missouri in 1934 saw him playing with George E. Lee, Thamon Hayes, Count Basie, and Harlan Leonard into the early Forties. He then moved to Los Angeles, California where Jesse worked with Ella Fitzgerald, Louis Armstrong, Stan Kenton, Basie again, Benny Carter, and Slim Gaillard through the decade.

He recorded with Jay McShann when he was back in Kansas City in the 1950s. He led a band at the Monterey Jazz Festival in 1971, which included Harry Edison, Jimmy Forrest and Big Joe Turner.

Price recorded twenty-three tracks as a leader between 1946 and 1948, most of them for Capitol Records. All are published on a Blue Moon CD, The Singing Drummer Man; Jesse Price. The Complete Recordings 1946–1957.

Drummer Jesse Price transitioned on April 19, 1974 in Los Angeles.

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Requisites

Boss Tenor ~ Gene Ammons | By Eddie Carter

Gene Ammons enters the spotlight of this morning’s discussion with a splendid quintet date titled Boss Tenor (Prestige PRLP 7180/PRST 7180). It hit the stores in 1960 and was the first album Ammons recorded after spending two years in prison for narcotics possession. It’s also considered one of the best in his extensive discography. Here, the tenor saxophonist demonstrates his strengths in a program of two originals and five standards with an excellent rhythm section. Tommy Flanagan on piano, Doug Watkins on bass, Arthur Taylor on drums, and Ray Barretto on congas complete the ensemble. My copy is the 2016 Analogue Productions Stereo audiophile reissue sharing the original catalog number.

The quartet opens Side One by Hittin’ The Jug, a slow tempo blues by Gene Ammons that gets underway with a short solo by Tommy. Gene takes over for an exquisitely tasteful melody and opening statement. Doug answers the tenor with a laid-back reading as fresh as a cool breeze on a warm evening. Gene returns for a few final thoughts ahead of the closing chorus. The foursome picks up the pace for a lively rendition of Close Your Eyes by Bernice Petkere. Ammons shows off his spirited lyricism in the opening chorus and first solo. Flanagan briefly expresses the song’s sunny nature next as the rhythm section’s sprightly supplement holds everything together until Jug’s ending theme gently fades into silence.

The first side finale, My Romance by Richard Rodgers and Lorenz Hart, is captured in its purest essence by the ensemble. Tommy makes his entrance gently in the introduction. Gene takes over to present an elegant melody and a sweet expression of love in the song’s only interpretation, complimented by the trio’s sensuously tender accompaniment into a lovely ending. The quintet kicks off Side Two with a pleasure trip to see the Canadian Sunset by Eddie Heywood and Norman Gimbel. The rhythm section sets this enjoyable excursion in motion with their introduction, then Ammons proceeds to take a leisurely trip through the opening chorus. He completes the journey with an entertaining ride in the song’s only solo ahead of the theme’s restatement and close.

Gene’s Blue Ammons is next and reminiscent of The Happy Blues that Gene recorded in 1956. It begins with a two-instrument introduction by Doug and Art that grows into the saxophonist’s medium melody. Gene starts the solos with a relaxing presentation that’s light and airy. Tommy comes in next and swings comfortably in a short statement, then Gene has an easy-going concise conversation with Art before the closing chorus gently fades into oblivion. Charlie Parker’s Confirmation picks up the beat from the start of the quintet’s brisk melody, and Ammons opens the solos with an effervescent presentation. Flanagan follows him and gives an enthusiastic statement, then Watkins delivers a concise comment. Ammons and Taylor share a brief exchange preceding the closing chorus and exit.

Savoy, aka Stompin’ at The Savoy, by Benny Goodman, Andy Razaf, Arthur Sampson, and Chick Webb, pays homage to the Savoy Ballroom in Harlem, where Webb was the orchestra leader, and people danced their troubles away during the Depression. Gene leads the quintet in the melody with a toe-tapping beat that extends to his spirited opening solo. Tommy soars cheerfully into the subsequent statement, and Ray adds a short footnote during the theme’s reprise and climax. Bob Weinstock supervised the initial album, and Rudy Van Gelder was the recording engineer. Kevin Gray mastered this reissue; the album cover is worthy of hanging on your wall, and the record is pressed on 200 grams of audiophile vinyl that’s dead silent until the music starts.

The sound quality of this reissue is so spectacular that if you close your eyes while listening, you’ll swear the quintet is playing right before you in your listening room. Ammons and company are at their best from the first note to the finale of every track. I happily recommend Boss Tenor for a spot in your library if you’re discovering Gene Ammons for the first time or are a longtime fan. It’s a fantastic performance that will enjoy repeated listens on the turntable for anyone who loves and appreciates the tenor sax!

~ Close Your Eyes, Confirmation, My Romance, Stompin’ at The Savoy – Source: JazzStandards.com ~Canadian Sunset – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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