Daily Dose Of Jazz…

Tony Lee, born Anthony Leedham Lee on July 23, 1934 in Whitechapel, London, England. He learned the rudiments of the piano from his elder brother, Arthur, who was self-taught and preferred to use the black keys rather than the white. As a consequence, he became fluent in keys such as G flat and B natural, before moving on to more standard keys, leaving him with the ability to transpose effortlessly his entire repertoire into any key.

He played as a regular for many years with his trio comprising bassist Tony Archer and drummer Martin Drew or Terry Jenkins at The Bull’s Head in Barnes, South West London, a few miles from his home in Kingston upon Thames, Surrey.

During a visit by tenor saxophonist Billy Mitchell who came to play at the Bull’s Head, both Mitchell and Lee got on so well together that the Bull’s Dan Fleming organized for both of them a 1984 U.S. tour. Despite his sketchy knowledge of musical theory, he was a complete master of his instrument, and blessed with large hands, stretching an 11th with ease, all played in a lyrical style, and swinging like a garden gate. He was arguably the greatest British exponent of the Erroll Garner piano style, though his playing embraced a much wider compass.

He appeared on at least two recordings with Phil Seamen, a live recording featuring U.S. bassist Eddie Gómez, and a solo debut, Electric Piano, earned many comparisons to the works of Burt Bacharach. Lee led at least four other album sessions, including Tony Lee Trio, probably the quintessential album of his career.

His 40-year association with bassist Tony Archer in the Tony Lee Trio, also had them playing together in the sextet The Best of British Jazz formed in the early 1970s with drummer Jack Parnell, trumpeter Kenny Baker, trombonist Don Lusher and tenor saxophonist Betty Smith.

Pianist Tony Lee, influenced by Errol Garner, Oscar Peterson, and Art Tatum, passed away on March 2, 2004 in Esher, Surrey, England.

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Daily Dose Of Jazz…

Paul Moer was born Paul Moerschbacher on July 22, 1916 in Meadville, Pennsylvania. He attended the University of Miami, graduating in 1951, and following this moved to the West Coast. There he frequently played on the jazz scene with Benny Carter, Vido Musso, Zoot Sims, Stan Getz, Bill Holman, and Shorty Rogers.

He did extensive work in Los Angeles, California studios as a pianist and an arranger. In the late 1950s, Paul led his own trio with Jimmy Bond and Frank Butler. In 1960 he toured Australia with Benny Carter and also recorded with Charles Mingus, Jack Montrose, John Graas, Paul Horn from 1960 to ‘63, then with Ruth Price, and Buddy DeFranco.

As a sideman he recorded with Jack Montrose, John Graas, Paul Horn, Jimmy Witherspoon, Dave Pell, Jack Sheldon, Emil Richards, Paul Whiteman, Rosemary Clooney, and Maynard Ferguson. Playing little after the 1960s, he made a comeback with a release in 1991 of Elmo Hope tunes and released his final album, Get Swinging, in 2005. Pianist Paul Moer passed away on June 9, 2010.

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Requisites

I’m a huge fan of jazz piano, so I was delighted to be introduced to The Kirk Lightsey Trio recently. I first heard him on the 1987 album Heads Up by David Newman and recently acquired a copy of this morning’s record to discuss.  Isotope (Criss Cross Jazz 1003) is a marvelous session featuring Lightsey on piano, Jesper Lundgaard on bass, and Eddie Gladden on drums. My copy used in this report is the original 1983 Netherlands Stereo release.

The title tune was written by Joe Henderson who recorded it on the 1965 album, Inner Urge. It kicks off Side One with a sprightly collective theme, then Kirk crackles with excitement on the opening statement. Jesper gives a spirited performance as bright and sunny as a hot summer day next. Kirk presents a few final lines before closing on a vivacious note. Oleo by Sonny Rollins premiered on the 1954 album, Bags Groove by Miles Davis. Lightsey starts this swift swinger with a brief intro of the melody segueing into a breakneck main theme and first solo.  Lundgaard delivers some ferociously spirited bass lines next and Gladden makes a prominent comment into the coda.

Pee Wee is a very pretty tune by Tony Williams that was first heard on the 1988 album, Angel Street. The trio’s rendition opens with an affectionately warm melody. Kirk’s opening and the closing chorus is exceptionally tender and intimately sincere. Jesper follows with a gentle reading of serene beauty in-between the leader’s statements with Eddie’s compassionate brushwork backing both soloists into a lovely finale.

Witch Hunt by Wayne Shorter was first heard on the saxophonist’s 1966 album, Speak No Evil. The trio swings into the main theme with remarkable ease and Lightsey shapes the first solo with effortless spontaneity. Lundgaard walks his bass with a delightful, laid-back bounce that’s perfectly easy and natural before the pianist makes a final comment ahead of the closing chorus.  A Monk’s Dream was written by Johnny Griffin and originally recorded on the 1979 album, Return of The Griffin. The ensemble opens with a very friendly melody and Kirk infuses the song’s only solo with an insightful performance that’s passionate and rewarding.

Little Daphne is by Rudolph Johnson and made its debut on the composer’s 1971 record, Spring Rain.  It ends the date with a lovely, charming rendition by the trio opening with a gorgeous melody.  Lightsey establishes a vivacious momentum on the opening solo with an expertly crafted performance.  Lundgaard takes the next turn for an eloquent reading that’s vividly expressive and the leader adds the finishing touches on a brief reprise preceding the coda.

Isotope was produced by Criss Cross Jazz founder Gerry Teekens and engineered by the owner of Studio 44, Max Bolleman. The sound of the album is superb with an exquisite soundstage amid the highs, midrange, and low-end that’s a sonic treat I’m sure you’ll enjoy.  Kirk Lightsey has eighteen albums under his leadership and twenty-eight as a sideman. If you’ve not yet heard him and are looking for a trio jazz album for a spot in your library, I offer for your consideration Isotope by The Kirk Lightsey Trio.  In my opinion, it’s a perfect choice to begin your day or end your evening of listening with a smile!

~ Angel Street (Blue Note B1-48494); Bags Groove (Prestige 7109); Inner Urge (Blue Note BLP 4189/BST 84189); Return of The Griffin (Galaxy GXY-5117); Speak No Evil (Blue Note BLP 4194/BST 84194); Spring Rain (Black Jazz Records BJ 4) – Source: Discogs.com

Isotope is an album by pianist Kirk Lightsey that was recorded at Studio 44, Monster, Holland on February 14, 1983 and released by the Dutch Criss Cross Jazz label.

Tracks | 48:21

1. Isotope (Joe Henderson) – 6:54
2. Oleo (Sonny Rollins) – 4:59
3. Pee Wee (Tony Williams) – 9:46
4. Witch Hunt (Wayne Shorter) – 7:59
5. A Monk’s Dream (Johnny Griffin) – 5:30
6. Little Daphne (Rudolph Johnson) – 12:43

• Kirk Lightsey – piano
• Jesper Lundgaard – bass
• Eddie Gladden – drums

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Daily Dose Of Jazz…

Mthutuzeli Dudu Pukwana was born on July 18, 1938 in Walmer Township, Port Elizabeth, South Africa. He grew up studying piano in his family, but in 1956 he switched to alto saxophone after meeting tenor saxophone player Nikele Miyake In 1962, Pukwana won first prize at the Johannesburg Jazz Festival with Moyake’s Jazz Giants. In his early days, he also played with Kippie Moeketsi. Chris McGregor then invited him to join the pioneering Blue Notes, a sextet, where he was the principal composer and played along with Mongezi Feza, Nikele Moyake, Johnny Dyani and Louis Moholo.

As mixed-race groups were illegal under apartheid, the Blue Notes, increasingly harassed by authorities, emigrated to Europe in 1964, playing in France and Zürich, Switzerland before settling in London, England. After they split in the late 1960s, Pukwana joined McGregor’s Brotherhood of Breath Big Band, which featured his soloing and composing. He wrote Mra, one of the best-loved tunes by the Brotherhood.

1967 saw Dudu receiving his first mention of success with the Bob Stuckey Trio in America’s DownBeat magazine, which later expanded to a quartet when Phil Lee joined on guitar. He went on to form two groups with Feza and Moholo. One was the afro rock band Assagai, the other Spear, with whom he recorded the seminal afro-jazz album In The Townships in 1973 for Virgin Records at The Manor Studio.

His fiery voice was heard in many diverse settings including recordings of Mike Heron, Centipede and Toots and the Maytals. In 1978, Pukwana founded Jika Records and formed his own band, Zila, featuring South Africans Lucky Ranku on guitar and powerful vocalist Miss Pinise Saul. In duo with John Stevens, he recorded the free session They Shoot To Kill in 1987, dedicated to Johnny Dyani. In 1990, Pukwana took part in the Nelson Mandela Tribute held at Wembley Stadium.

Alto saxophonist, pianist, and composer Dudu Pukwana, who was not known for his piano playing, passed away in London, England of liver failure on June 30, 1990, not long after the death of his longtime friend and colleague McGregor.

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Daily Dose Of Jazz…

William Osborne Kyle was born on July 14, 1914 in Philadelphia, Pennsylvania and began playing the piano in school. By the early 1930s, he was working with Lucky Millinder, Tiny Bradshaw, and later the Mills Blue Rhythm Band. In 1938, he joined John Kirby’s sextet but was drafted in 1942. After the war, he worked with Kirby’s band briefly and also worked with Sy Oliver. He then spent thirteen years as a member of Louis Armstrong’s All-Stars, performing in the 1956 musical High Society.

A fluent pianist with a light touch, Kyle never achieved much fame, but he always worked steadily. He had a few opportunities to record as a leader, seventeen songs in all, just some octet and septet sides in 1937, two songs with a quartet in 1939, and outings in 1946 with a trio and an octet.

He is credited as the co-author of the song Billy’s Bounce recorded by the Modern Jazz Quartet in 1992 with Bobby McFerrin on the album MJQ and Friends. He didn’t record during his Armstrong years, however, he recorded with Al Hibbler and Buck Clayton.

Pianist Billy Kyle, best known as an accompanist, passed away on February 23, 1966  in Youngstown, Ohio.

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