JOBIM & THE MUSIC OF BRAZIL

In the 1960s, Antonio Carlos “Tom” Jobim brought the bossa nova craze to the United States, and this infectious and sensuous sound soon became beloved throughout the world. We celebrate Jobim’s centennial and the jazz genres of Brazil—including bossa nova, samba and choro with Shelly Berg and the Frost School of Music’s Henry Mancini Institute Orchestra.

Featured Special Guests:
Eliane Elias ~ Piano, Vocal
Anat Cohen ~ Clarinet
Trio da Paz ~ Guitar, Bass, Drums

Cover: $52.65 – $152.10 | Fees Included

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Daily Dose Of Jazz…

Hank Jones was born Henry Jones on July 31, 1918 in Vicksburg, Mississippi but grew up in Pontiac, Michigan.  Raised in a musical family, his mother sang, his two older sisters studied piano and his two younger brothers— Thad played trumpet and Elvin, drums. He studied piano at an early age and came under the influence of Earl Hines, Fats Waller, Teddy Wilson and Art Tatum.

By age 13 Jones was performing locally in Michigan and Ohio and while playing with territory bands in Grand Rapids and Lansing in 1944 he met Lucky Thompson who invited Jones to work in New York City at the Onyx Club with Hot Lips Page.

In New York he mastered the bop style and worked with John Kirby, Howard McGhee, Coleman Hawkins, Andy Kirk, and Billy Eckstine. In 1947 he began touring with Jazz at the Philharmonic and from 1948 to 1953 he was accompanist for Ella Fitzgerald.  During this period he made several historically important recordings with Charlie Parker that included “The Song Is You”, from the Now’s the Time album.

This led to engagements with Artie Shaw, Benny Goodman, Lester Young, Cannonball Adderley and Wes Montgomery. In addition to being the “house pianist” at one time on the Savoy label, Hank was the staff pianist for CBS studios from 1959 through 1975 backing such artists as Frank Sinatra, and for Marilyn Monroe when she sang her famous Happy Birthday for President Kennedy, and pianist and conductor for the Broadway musical Ain’t Misbehavin’.

During the late 1970s and the 1980s, Jones continued to record prolifically with John Lewis, Tommy Flanagan, Ron Carter, Tony Williams, Buster Williams, Eddie Gomez, Al Foster, Jimmy Cobb, Art Farmer, Benny Golson and Nancy Wilson to name a few as his list of jazz collaborators is extensive.

Jones has racked up an impressive catalogue of recordings numbering over sixty as a leader and more as a sideman, worked with Roberta Gambarini at the Monterey Jazz Festival, with Diana Krall on the compilation “We All Love Ella”, was nominated for five Grammys and was honored with a Lifetime Achievement Award, was inducted into the society of NEA Jazz Masters, and was awarded the National Medal of Arts among other accolades. Pianist Hank Jones passed away at a hospice in Manhattan, New York, on May 16, 2010.

 

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JOE GRANSDEN & NOEL FRIEDLINE TRIO

Tony Bennett’s life and legacy embody the absolute pinnacle of the Great American Story. As we honor the centennial milestone of his birth, his unprecedented career as the pre-eminent singer of the 20th and 21st centuries continues to embrace and inspire audiences across all generations.

Through his unyielding dedication to artistic excellence, Bennett became the ultimate “keeper of the flame,” extolling the timeless values of the Great American Songbook. Yet his impact reached far beyond the stage; he consistently stood on the front lines of modern history. A World War II veteran who fought in the Battle of the Bulge, Bennett went on to perform for eleven U.S. Presidents and marched side-by-side with Dr. Martin Luther King Jr. in Selma. A lifelong pacifist and proactive humanitarian, his commitment to justice bridged cultural divides by highlighting our shared humanity. This special centennial tribute celebrates a visionary artist who achieved the American Dream without ever forgetting his roots—leaving behind a profound blueprint of dedication, courage, and compassion.

Guided by Duke Ellington’s advice ~ “Number one, never give up. Number two, remember number one!” ~ jazz vocalist Antonia Bennett has spent her life honoring the Great American Songbook. The youngest daughter of legendary artist Tony Bennett and actress Sandra Grant Bennett, Antonia grew up in Los Angeles and began singing with her father at age four, surrounded by icons like Frank Sinatra and Ella Fitzgerald. Her early passion led her to Boston’s prestigious Berklee College of Music.

By the mid-2000s, Antonia was officially performing as her father’s opening act at renowned venues worldwide, including Radio City Music Hall, the Hollywood Bowl, and London’s Royal Albert Hall. Her distinct voice—which The New York Times describes as a mix of “Billie Holiday and Rickie Lee Jones, with a hint of Betty Boop”—shines on her acclaimed releases Natural and Embrace Me. From recording “I’ve Got My Love to Keep Me Warm” with her father to capturing critics’ attention with her own swinging standards, Antonia continues to tour the world, effortlessly bridging her father’s incredible musical legacy with her own contemporary jazz artistry.

Cover: $54.15 ~ $66.15

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Sphere On Tour ~ Sphere | By Eddie Carter

This morning’s album from the library is a 1985 live recording by the bop quartet Sphere. Sphere on Tour (Red Record VPA 191) was the first of two live dates in their small discography and one of two records they recorded for the Italian label. Sphere took the pianist’s middle name and was originally formed to honor Thelonious Monk’s legacy after his death. The quartet quickly broadened its focus by recording albums that also featured its own original compositions. The group consists of two former members of Monk’s group, tenor saxophonist Charlie Rouse and drummer Ben Riley, and is anchored by pianist Kenny Barron and bassist Buster Williams. The copy I own is the 1986 Italian stereo release.

Dual Force by Buster Williams opens the set with the foursome’s lively melody setting the tone. Kenny gets things started with a spirited lead solo, then Charlie wails enthusiastically in a lengthy performance. Buster takes a short, scintillating statement leading to the theme’s restatement and an upbeat finish. Beautiful Friendship by Donald Kahn and Stanley Styne slows the pace when the rhythm section’s pretty introduction moves to an upbeat theme when Charlie enters. Kenny is up first to give a charming solo, then Charlie cooks at an easy groove next. Buster evokes a sense of intimacy in a short statement, and Ben has the last word before the theme returns and the song ends softly.

Scratch by Kenny Barron begins with the foursome’s offbeat introduction and melody. Charlie’s opening statement pushes his solo to the outer limits of musical boundaries. Kenny follows with a bit of quirky fun, then Buster takes an interesting walk, preceding the quirky theme reprise and abrupt stop. Tayamisha by Buster Williams starts Side Two at midtempo with the bassist’s introduction to the opening ensemble. Charlie leads the way with a smoothly flowing interpretation. Kenny comes in next for a delightful display of evident pleasure, then Buster takes us home in a short walk of consummate ease ahead of the quartet’s theme restatement and ending.

Up next is Spiral by Kenny Barron. Kenny brings the song to life, segueing into the quartet’s melody. Charlie sets the tone in the first solo with warmth, deep conviction and melodic beauty. Kenny follows with an exquisite, elegant statement, then Buster communicates his heart before the foursome regroups for the theme’s return. To conclude the album, the quartet dresses up one of Thelonious Monk’s most popular tunes, Well, You Needn’t, mistakenly listed as “Will, You Needn’t,” with a spirited introduction by Riley and the rhythm section, ahead of the ensemble melody. Charlie is off to the races with an intense drive. Kenny builds upon his solo with a steady attack, then Buster takes a short, swift walk leading back to the ending theme, band introductions and a pleasant goodnight to the audience.

Sphere on Tour was produced by Red Records co-founders Alberto Alberti and Sergio Veschi. Gianni Grassilli was the recording engineer, and the album’s sound quality is superb, with a soundstage that transports the listener to the audience as the musicians perform. The original group, consisting of Rouse, Barron, Williams, and Riley, recorded six albums from 1982 to 1988. They disbanded briefly after Rouse’s death, then made one final album with Gary Bartz in 1997. If you’re in the mood for live bop from a fabulous quartet who effortlessly blend innovation and tradition, I invite you to check out Sphere on Tour on your next record shopping trip. It’s a terrific introduction to their music collectively and might become a welcome addition to your jazz library!

~ A Beautiful Friendship, Well, You Needn’t – Source: Wikipedia.org
© 2026 by Edward Thomas Carter



CALIFORNIA JAZZ FOUNDATION

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Sonny Clark was born Conrad Yeatis Clark on July 21, 1931 in Herminie, Pennsylvania, learned to play the piano and by age 12 was living in Pittsburgh. When visiting an aunt in California at age 20, he decided to stay and began working with saxophonist Wardell Gray. Clark went to San Francisco with Oscar Pettiford and after a couple months, began working with clarinetist Buddy De Franco in 1953, subsequently touring the U.S. and Europe until 1956. It was then he became a member of The Lighthouse All-Stars, led by bassist Howard Rumsey.

Wishing to return to the east coast, Clark served as accompanist for singer Dinah Washington in 1957, allowing him to relocate to New York City. He became an often-requested sideman partly because of his rhythmic comping. Frequently recording for Blue Note Records, Sonny held a sideman chair for such luminaries as Kenny Burrell, Donald Byrd, Paul Chambers, John Coltrane, Dexter Gordon, Art Farmer, Curtis Fuller, Grant Green, Philly Joe Jones, Hank Mobley, Charles Mingus, Lee Morgan and Billie Holiday among a host of others.

As a leader Clark recorded albums Dial “S” For Sonny, Sonny’s Crib, Sonny Clark Trio with Paul Chambers and Philly Joe Jones, Cool Struttin’ and Sonny Clark Trio with George Duvivier and Max Roach.

Pianist Sonny Clark, who mainly worked in the hard bop idiom, died of a heart attack in New York City on January 13, 1963. It is thought by some commentators that his drug and alcohol abuse contributed to his premature death.

 

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