Daily Dose Of Jazz…
Burton Franklin Bales was born on April 20, 1916 in Stevensville, Montana and began playing piano at age twelve. After moving to the West Coast in the 1930s, he played in hotels and nightclubs. He performed regularly in San Francisco, California in the 1940s, with Lu Watters’s Yerba Buena Jazz Band.
Drafted in 1943 into the Army Burt only had one opportunity to record with that group on a brief session with Bunk Johnson. Discharged for myopia, he led his own band from 1943 to 1946 before taking an extended residency at San Francisco’s 1018 Club.
He played with Turk Murphy at the end of the Forties, then with Bob Scobey and Marty Marsala. Between 1954 and 1966 he played mostly solo, with one of his regular gigs being at Pier 23.
Stride pianist Burt Bales, who recorded extensively for Good Time Jazz, Arhoolie, ABC-Paramount, and Euphonic record labels, transitioned on October 26, 1989 in San Francisco.
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Daily Dose Of Jazz…
Susanna Lindeborg was born on April 18, 1952 in Gothenburg, Sweden and began classical training on piano at a young age which turned into work with jazz and improvisation, showing to be her right element. She started her professional musical career in the middle of the Seventies.
Susanna went on to mix acoustic and electronic instruments, which has been known most of all through the group Mwendo Dawa, which she leads and tours together with saxophone player Ove Johansson. Writing her own music for the group, she also toured with the female jazz group Salamander during the beginning of the 1980s. Both Mwendo Dawa and Salamander attracted a lot of attention on the European continent and in the United States.
She currently tours with her Lindeborg/Johansson Duo and Natural Artefacts. Her performances are both in the world of improvisation music, the world of electro~acoustic music, and solo improvisations. With the release of her first solo compact disc in 1989, she parlayed the acceptance into some work in Germany with some radio and TV recordings. Avant~garde pianist Susanna Lindeborg continues to push the boundaries of her music.
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Requisites
Groovin’ High ~ Hank Jones | By Eddie Carter
This morning’s discussion begins with a 1979 album by Hank Jones recalling the music of Bebop, Groovin’ High (Muse Records MR 5169). Hank was born in 1918 and was one of seven children. His mom sang, and his two older sisters also played piano. His two younger brothers, Thad and Elvin would also become successful jazz musicians. A pianist of great versatility, Hank recorded over sixty albums as a leader and appeared on numerous others as a sideman. The musicians he worked with over his extensive career reads like an Encyclopedia Britannica of Jazz. Hank’s backed by brother Thad Jones (tracks: A2, A3, B1 to B3) on cornet, Charlie Rouse (tracks: A2, A3, B2, B3) on tenor sax, Sam Jones on bass, and Mickey Roker on drums. My copy used in this report is the original US Stereo album.
Side One opens with a tune by Dizzy Gillespie titled Algo Bueno. If you don’t recognize the name, it’s better known as the jazz standard, Woody‘n You. The trio is firing on all cylinders from the start of the brightly swinging melody. Hank is up first and delivers evident enjoyment on the keys. Sam walks the bass next in a cheerful and lively performance before the threesome regroups for the ending. Anthropology by Dizzy Gillespie and Charlie Parker takes the tempo upward on the quintet’s melody. Charlie and Thad share solo duties on the lead solo, then each gives an individual statement. Hank responds with some vivacious notes next, followed by Sam and Mickey who contribute two concise comments ahead of the closing chorus.
Sippin’ at Bells by Miles Davis is up next and receives a samba treatment beginning with the quintet’s danceable theme after a brief trio introduction. Charlie takes the lead and displays incredible warmth in the opening statement. Sam steps up next for an attractive performance, followed by Thad who offers a superb example of choice notes in the third solo. Hank has the final word and closes with an especially lovely interpretation into the group’s exit. Blue Monk is the first of three tunes by Thelonious Monk in this set. The first side finale opens with the ensemble paying homage to a tune Monk recorded the most. Hank begins with an alluring reading, then Sam’s closing statement adds some gentle lines leading to the climax.
Dizzy Gillespie’s jazz standard, Groovin’ High begins Side Two as a quartet performance with Thad establishing a nice momentum on the theme using a mute. He continues with an endearing opening performance that winks to Dizzy as it unfolds. Hank breezes into the second reading making a profound impression, and Mickey exchanges a brief conversation with Thad and Hank before the close. Monk’s second contribution, I Mean You is a lively little jam affording everyone a solo opportunity and gets underway with the ensemble’s spirited theme. Rouse gets into a vivacious groove on the first reading. Thad swings sprightly on the second solo, then Hank comes next with an impressive interpretation. Sam follows with some solid bass lines and Mickey fuels the finale with some brisk brushwork.
Monk’s Jackie-ing starts deceptively at a relaxed tempo with the quintet playing a march, then Thad delivers some exciting fireworks on the first solo. Charlie cooks for a few scintillating choruses next. Hank shifts into high gear on the third reading and Mickey takes us home with a fiery finale culminating with the group’s reprise and slow fade. Groovin’ High was produced by Fred Seibert and Rudy Van Gelder was the man behind the dials. The sound quality of this album is first-rate. The instruments come alive with an impressive soundstage for an album that’s over four decades old. If you enjoy jazz piano, are a Bebop fan, or are just discovering this talented musician, I invite you to audition Groovin’ High by Hank Jones for a spot in your library. It’s a thoroughly entertaining album that’s a pleasure to hear any time of the day or evening!
~ Blue Monk, Groovin’ High, Woody’n You – Source: JazzStandards.com ~ Anthropology – Source: Wikipedia.org © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
Han Bennink was born April 17, 1942 in Zaandam, Netherlands, the son of a classical percussionist. He began playing the drums and the clarinet during his teens. He also went on to learn to play the violin, banjo and piano, which feature him on some of his recordings.
Through the 1960s, while in his t,wenties he was the drummer with a number of American musicians visiting the Netherlands, including Dexter Gordon, Wes Montgomery, Sonny Rollins and Eric Dolphy.
He subsequently became a central figure in the emerging European free improvisation scene. In 1963 he formed a quartet with pianist Misha Mengelberg and saxophonist Piet Noordijk which performed at the 1966 Newport Jazz Festival. The following year Han co-founded the Instant Composers Pool with Mengelberg and Willem Breuker, which sponsored Dutch avant garde performances. Late in the decade he played in a trio with saxophonist Peter Brötzmann and Belgian pianist Fred Van Hove, which became a duo after Van Hove’s departure in 1976.
From the late 1980s through the early 2000s, Bennik collaborated closely with Dutch post-punk band The Ex, simultaneously playing through the 1990s in Clusone 3, a trio with saxophonist/clarinetist Michael Moore and cellist Ernst Reijseger.
He has recorded twenty albums as a solo or leader and recorded over a eight dozen albums as a sideman with the likes of Derek Bailey, Conny Bauer, Don Cherry and Alexander von Schlippenbach, Steve Lacy, Lee Konitz, Ray anderson, Gary Bartz, Jckie McLean, Paul Bley, Annette Peacock, Anthony Braxton, Marion Brown, Uri Caine, Myra Melford, and Sonny Rollins. (partial list)
His style is wide-ranging, running from conventional jazz drumming to highly unconventional free improvisation. Drummer Han Bennink is best known as one of the pivotal figures in early European free jazz and free improvisation, and he continues to push forward the envelope of his music at 80.
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The Jazz Voyager
Two years ago the Jazz Voyager commenced lockdown against a very serious pandemic that was taking lives without discretion. Though I am beginning to get out and experience life outside with talks, films and music in open air spaces, the airlines has sent another important message by extending my eCredit another year until December 2023. Still aware that the pandemic is not over, I remain vigilant with mask wearing and social distancing in enclosed spaces such as markets, doctor’s offices. It is our duty to keep others safe as well by doing our individual part.
This week we are traveling musically back and taking down off the shelves to listen to We Three, the 1958 recording led by Roy Haynes by a trio of players who made their mark on the genre. Though the group was short-lived, the trio made the best of the time they spent together and delivered this album.
The album was recorded on November 14, 1958 at the Van Gelder Studio in Hackensack, New Jersey, produced by Esmond Edwards, and was released in May the following year on the New Jazz record label.
Track List | 39:29- Reflection (Ray Bryant) ~ 4:24
- Sugar Ray (Phineas Newborn, Jr.) ~ 6:25
- Solitaire (King Guion, Carl Nutter, Renee Borek) ~ 8:54
- After Hours (Avery Parrish) ~ 11:21
- Sneakin’ Around (Bryant) ~ 4:24
- Our Delight (Tadd Dameron) ~ 4:01
- Roy Haynes – drums
- Phineas Newborn Jr. ~ piano
- Paul Chambers ~ bass
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