Daily Dose Of Jazz…

Harry Percy South was born on September 7, 1929 in Fulham, London, England. Coming into prominence in the 1950s, he subsequently performed with Joe Harriott, Dizzy Reece, Tony Crombie, and Tubby Hayes. In 1954, he was in the Tony Crombie Orchestra, together with Dizzy Reece, Les Condon, Joe Temperley, Sammy Walker, Lennie Dawes, and Ashley Kozak.

After returning from a nine-month stint in Calcutta, India, with the Ashley Kozak Quartet, he spent four years with the Dick Morrissey Quartet, where he both wrote and arranged material for their subsequent four albums.

Forming his own jazz big band in 1966, featuring UK musicians Hayes, Dick Morrissey, Phil Seamen, Keith Christie, Ronnie Scott, and Ian Carr, and recorded an album for Mercury Records. In the mid-1960s, he began working with British rhythm & blues singer and organist Georgie Fame, with whom he recorded the album Sound Venture. At that time he was also composing and arranging for Humphrey Lyttelton, Buddy Rich, Sarah Vaughan, and Jimmy Witherspoon.

Working for a time as the musical director to Annie Ross, Harry later branched out into session work, writing themes for television and music libraries, and having written the scores for the Pete Walker films, he is also credited with the arrangements for Emerson, Lake & Palmer, again arranged for Annie Ross and Georgie Fame in collaboration on what was to be Hoagy Carmichael’s last recording, In Hoagland.

Pianist, composer, and arranger Harry South, who was honored with the CD Portraits ~ The Music of Harry South released by the National Youth Jazz Orchestra, passed away on March 12, 1990 in Lambeth, London at age 60.

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Requisites

Dancing In The Dark ~ The Fred Hersch Trio | By Eddie Carter

I recently reacquainted myself with one of the most accomplished pianists in jazz.  Fred Hersch has been playing since he was four, composing music since he was eight, and recorded over seventy original tunes. Fred’s worked with many great musicians and vocalists, performed as a classical soloist with orchestras and in chamber settings plus led his own groups. He’s also appeared at the Jazz Standard and Village Vanguard, has an extensive discography, and has been nominated for several Grammy Awards including one for the album I’m discussing this morning.

I first heard this record at the 1994 Consumer Electronics Show in Las Vegas. It was one of the most auditioned audiophile LP’s heard on the turntables of various high-end manufacturers. Dancing In The Dark (Chesky Records JR 90) is a stellar album by The Fred Hersch Trio that I’m really happy to have in my library. Joining the pianist are Drew Gress on bass and Tom Rainey on drums. My copy used in this report is the 1993 US Stereo Audiophile pressing.

Side One starts with Dancing In The Dark, written by Arthur Schwartz and Howard Dietz. The song’s first appearance was in the 1931 musical revue, The Band Wagon. It was later reprised in the 1953 film version. Fred displays a delicate touch on the trio’s graceful melody, then goes right to the heart with a strong statement expressing happiness enhanced by Drew and Tom’s supportive energy into a tender fade. I Fall In Love Too Easily is a 1944 song by Jule Styne and Sammy Cahn first heard in the film Anchors Aweigh a year later. The threesome eases into a tranquil opening chorus. Gress starts with a slow, seductive groove of beguiling warmth, then Hersch gradually builds gentle cascades into a passionately tender performance.

Secret Love by Sammy Fain and Paul Francis Webster was first recorded in 1953 by Doris Day who also sang it in the musical film, Calamity Jane. The group takes this tune for a midtempo spin and each member gives an entertaining interpretation. The first side concludes with If I Should Lose You, composed in 1935 by Ralph Rainger and Leo Robin. This song comes from the 1936 film, Rose of The Rancho. Hersch makes this a solo showcase, beautifully characterizing the melody into an intimate dialogue that casts a spell of sensual beauty ahead of an exquisite ending.

Side Two starts with a spirited rendition of the 1948 Cole Porter composition, So In Love, first heard in the Broadway musical, Kiss Me, Kate. The mood is jubilant from the start of the trio’s theme treatment, and Fred swings into an enthusiastic workout before the slow-tempo out-chorus. For All We Know is a song composed in 1934 by J. Fred Coots and Sam M. Lewis that’s very popular among jazz and pop vocalists. Hersch lovingly performs the first chorus solo, then Gress and Rainey add their sinuous support to the remainder of the melody. Fred’s infectiously grooving interpretation showcases the pianist’s dazzling dexterity.

My Funny Valentine by Richard Rodgers and Lorenz Hart is one of the most beautiful songs ever written.  It premiered in the 1937 Broadway musical, Babes In Arms. The trio paints on a subtle palette for the nostalgically tender theme.  Fred’s lead solo is thoughtfully elegant and Drew crafts a deliciously inviting reading preceding the pianist’s reprise and soft summation. Dancing In The Dark was produced by David Chesky and Fred Hersch.

The album was recorded by Bob Katz, engineered by David Merrill, Jeremy Kipnis, and Peter Cho. It was mastered at Record Technology Incorporated and pressed on premium 180-gram audiophile vinyl. It’s a great demonstration record for your audio system with crystal-clear highs, a sharp midrange, and deep bass for a stunning soundstage.  If you’re a fan of piano jazz and enjoy the standards, I invite you to go Dancing In The Dark with The Fred Hersch Trio. Your ears will be rewarded with an extremely enjoyable album that’s just right for a romantic evening with that special someone!

~ Dancing In The Dark, For All We Know, I Fall In Love Too Easily, If I Should Lose You, My Funny Valentine – Source: JazzStandards.com

~ Fred Hersch, Secret Love (Columbia 40108), So In Love – Source: Wikipedia.org

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The Quarantined Jazz Voyager

The Quarantined Jazz Voyager is continuing to practice social distancing and as my personal quarantine continues, I’m selecting one of my favorite albums, Speak Like A Child by Herbie Hancock.

This is the sixth album by pianist Herbie Hancock, recorded and released by Blue Note Records in 1968. This session features Hancock’s arrangements for an unusual front line of alto flute, bass trombone and flugelhorn.

The pianist wanted to represent here a childlike, but not childish, philosophy. He felt this music didn’t reflect the social turmoil of the late 1960s in America, that is riots and a problematic economy but a picture of a more upbeat, brighter future, He wanted to go back and rediscover certain childhood qualities that are lost to adulthood. There is a purity, a spontaneity that children have and it is then they are at their best. Hence this album aims to translate as think and feel in terms of hope, and the possibilities of making our future less impure.

The cover photograph was taken by David Bythewood, an acquaintance of Hancock. The photo depicts Hancock in silhouette kissing his wife-to-be, Gigi Meixner.

Track Listing | 37:05

All compositions by Herbie Hancock, except First Trip, composed by Ron Carter.

Side A

1. Riot ~ 4:40
2. Speak Like a Child ~ 7:50
3. First Trip ~ 6:01

1. Toys ~ 5:52
2. Goodbye to Childhood ~ 7:06
3. The Sorcerer ~ 5:36

• Herbie Hancock — piano
• Ron Carter — bass
• Mickey Roker — drums
• Jerry Dodgion — alto flute (not on #3)
• Thad Jones — flugelhorn (not on #3)
• Peter Phillips — bass trombone (not on #3)

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Daily Dose Of Jazz…

Gil Coggins was born Alvin Gilbert Coggins on August 23, 1928 in New York City to parents of West Indian heritage. His mother was a pianist and had her son start on the piano from an early age. Attending school in both New York City and Barbados, he went to the High School of Music & Art in Harlem.

In 1946, Gil met Miles Davis while stationed at Jefferson Barracks in Missouri. After his discharge he began playing piano professionally, working with Davis on several of his Blue Note and Prestige releases. He went on to record with John Coltrane, Sonny Rollins, Lester Young, Art Blakey’s Jazz Messengers, Ray Draper, and Jackie McLean.

Coggins retired from playing jazz professionally in 1954 and took up a career in real estate, only playing music occasionally. He did not record as a leader until 1990, when Interplay Records released Gil’s Mood. He continued performing through the 1990s and the early years of the 2000s.

On February 15, 2004 pianist Gil Coggins, whose second album as a leader Better Late Than Never was released posthumously, passed away from complications sustained in a car crash eight months earlier in Forest Hills, New York.

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Three Wishes

When inquired, Joe Knight told Nica that his three wishes would be: 

1. 1. “I would like to be inordinately healthy, to give me the strength to do anything of which I am capable to the fullest extent.”

   2. “I would like to have a certain peace of mind – which could be obtainable from the result of number one.”

   3. “I would like to develop, within the span of my lifetime, the art of music.”

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

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