Daily Dose Of Jazz…

Joe Alterman was born November 16, 1988 in Atlanta, Georgia and graduated from New York University with both a Bachelor’s and Master’s in Jazz Piano Performance.

He has performed at iconic venues including the Kennedy Center, Lincoln Center, Birdland, and Blue Note, sharing stages with jazz greats like Houston Person, Les McCann, and Ramsey Lewis. He also had the privilege of opening for Dick Gregory at the Kennedy Center.

He leads his trio or performs solo with a deep groove, bluesy touch, and an exuberance that’s hard to resist, his playing is both deeply rooted and refreshingly modern. He has recorded eight critically acclaimed albums to his name, including the 2023 release Joe Alterman Plays Les McCann: Big Mo & Little Joe, Alterman continues to evolve as a recording artist while honoring jazz’s deep traditions.

His creativity extends to his cultural leadership and writing. As the Executive Director of Neranenah, an Atlanta-based Concert & Culture series, he celebrates Jewish contributions to music and the arts. His writing has also garnered acclaim, he has penned liner notes for three Wynton Marsalis and Jazz at Lincoln Center Orchestra albums. Alterman was the subject of Nat Hentoff’s final piece on music and in 2025, he was featured on President Jimmy Carter’s Grammy-winning album, Last Sundays In Plains: A Centennial Celebration.

Pianist, composer, writer, and cultural curator Joe Alterman continues to record and swing with style all over the world.

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Daily Dose Of Jazz…

Lucy Galliher was born in Washington, D.C. on November 11, 1954. He graduated from Maret High School, received her BA in Music from Oberlin College and received a National Endowment for the Arts grant to study jazz piano with Joanne Brackeen. She went on to study at BMI Jazz Composer’s Workshop with Manny Albam, Roger Kellaway, Jim McNeely and also  studied piano with Art Lande, Mark Levine, Barry Harris, and Hansi Alt. 

She is on the faculty of Brooklyn-Queens Conservatory of Music and the Greenwich House Music School. She has held the position of East Coast Editor of Jazz Now Magazine, has performed on Broadway, cruise ships, recorded albums, and performed live in a variety of settings.

Pianist Lucy Galliher, who currently is an online Jazz Reviewer, continues to perform and record.

 

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Requisites

The Duke Ellington Song Book ~ Monty Alexander | By Eddie Carter

This morning’s selection from the library is by one of my favorite pianists. The Duke Ellington Song Book (MPS Records 821 151-1) by Monty Alexander is a sincere tribute to one of jazz’s legendary composers in a duet setting. Monty was born on June 6, 1944, in Kingston, Jamaica, and he discovered the piano at age four. He could pick out melodies by ear and became interested in jazz piano at fourteen. He attended DeCarteret College in Mandeville, then continued his education at Jamaica College. He later began playing in clubs and recording with Clue J & His Blue Blasters, subbing for his hero, Aubrey Adams, when he was unable to play. Monty Alexander is heard here on a Steinway Concert Grand Piano, and John Clayton is on bass. It was initially released in Germany, and my copy of this album is the 1984 U.S. Stereo release (Verve – MPS Series 821-151-1).

The album opener, I Let A Song Go Out Of My Heart by Duke Ellington, Irving Mills, Henry Nemo, and John Redmond, is a happy swinger that takes off with the duo’s spirited melody. The pianist continues dazzling on the first interpretation, then John flexes his muscles in a short statement before the theme’s reentry dissolves slowly. Sophisticated Lady by Duke Ellington, Irving Mills, and Mitchell Parish begins with a soft musical conversation with Clayton stating the tender theme, while Alexander’s pensive restraint supports him. Monty’s opening statement is especially moving and perfectly executed, and John responds with a gentle, understated reading, ahead of the melody’s thoughtful reprise and conclusion.

Things Ain’t What They Used To Be by Mercer Ellington and Ted Parsons was one of the Ellington orchestra’s most-played tunes, and the duo begins with a lively prance through the melody. Monty takes the solo and delivers a stimulating performance that builds to a peak before descending into the closing chorus. Up next is Love You Madly by Duke Ellington and Billy Strayhorn. Here, the duo provides another example of how the right notes delivered with impeccable timing can transform a classic into a fresh conversation between piano and bass. Their interplay is equally elegant and unhurried, allowing each verse to breathe and every nuance to shine into the theme’s restatement and soft ending.

Monty Alexander has always had a remarkable knack for selecting fresh material, steering clear of overplayed standards, and he does just that with Phil Moore’s Eastside, Westside. The duo opens with a thoughtful introduction and melody, with Alexander immediately making a memorable impact in his initial interpretation. Clayton responds with a subtle, tasteful bass line, then Monty brings everything together with a final flourish, leading into a gentle fadeout. The duo starts Side Two with In A Mellow Tone by Duke Ellington and Milt Gabler, and their introduction and jaunty melody are sure to get your body moving and your toes tapping. Monty takes the opening solo, showing off his considerable technical fluency, while John follows with a performance as enjoyable as a morning stroll in the sunshine.

Caravan, by Duke Ellington, Juan Tizol, and Irving Mills, offers Monty Alexander an expansive space for a brilliant solo performance. The pianist approaches the well-known tune with energetic enthusiasm, reimagining it through his own perspective, culminating in its reprise and conclusion. Just Squeeze Me, by Duke Ellington and Lee Gaines, expresses a longing for affection while also declaring unwavering love, even across distances. Clayton’s introduction gets things started, then Alexander joins in to complete the melody. Monty delivers the opening solo with lovely, sentimental melodic lines. John follows with a deep, thoughtful presentation until the duo gently revisits the theme, allowing the song to fade out slowly.

In A Sentimental Mood, by Duke Ellington, Manny Kurtz, and Irving Mills, is one of the most beautiful jazz standards ever written. Monty and John set a serene mood with a theme of refined grace. Alexander’s delicate touch during the sole solo showcases his remarkable talent for interpreting ballads filled with romantic feeling. Clayton adds a cozy, velvety layer under the piano, leading to a tender, heartfelt finale. The album’s cheerful closing note comes with Duke Ellington’s C Jam Blues, featuring Alexander and Clayton’s spirited opening. Alexander takes the spotlight with a lively, medium bounce that naturally swings, while Clayton adds some playful steps during a brief walk, and both musicians bring the song to a joyful end.

Hans Georg Brunner-Schwer was at the helm as producer and recording engineer for The Duke Ellington Song Book. The album’s sound quality is exceptional, creating a vivid listening experience that places the performers right in the sweet spot of your listening room with remarkable precision. Whether you're already familiar with Monty Alexander’s rich body of work or just discovering him, I highly recommend seeking out The Duke Ellington Song Book during your next record-shopping trip. This album delivers an outstanding introduction for new listeners and serves as a brilliant highlight for longtime fans!

~ C Jam Blues, Caravan, I Let A Song Go Out of My Heart, In A Mellow Tone, In A Sentimental Mood, Just Squeeze Me, Sophisticated Lady, Things Ain’t What They Used To Be – Source: JazzStandards.com © 2025 by Edward Thomas Carter

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Daily Dose Of Jazz…

William Sebastian “Sabby” Lewis was born November 1, 1914 in Middleburg, North Carolina. Raised in Philadelphia, Pennsylvania he started taking piano lessons when he was five and moved to Boston, Massachusetts in 1932 at fourteen. After working with Tasker Crosson’s Ten Statesmen two years later, he organized his own seven-piece band in 1936.

The late 1930s and early Forties saw Sabby and his band as mainstays at notable Boston jazz venues. In 1942, Lewis’ band won a listener contest on a broadcast from the Statler Hotel’s Terrace Room in Boston. The win garnered the band a regular gig on NBC’s The Fitch Bandwagon, heard on 120 stations at the time.

Though Lewis did not tour frequently nor leave Boston often, he did perform on Broadway, in ballrooms and clubs in Manhattan on 52nd Street. He performed with Dinah Washington and Billy Eckstine. During World War II his orchestra included tenor saxophonist Paul Gonsalves, and drummer Alan Dawson spent much of the 1950s in the band. His band also included trumpeter Cat Anderson, Sonny Stitt, Roy Haynes, Al Morgan, Idrees Sulieman and Joe Gordon.

Having been seriously injured in an automobile accident in 1962, his performing was greatly curtailed. Sabby became Boston’s first Black disk jockey at WBMS, which later became WILD in the Fifties. He went on to be a housing investigator for the Massachusetts Commission Against Discrimination until his retirement in 1984.

Pianist, bandleader, and arranger Sabby Lewis died on July 9, 1994.

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Quartet ~ Russ Freeman and Chet Baker | By Eddie Carter

It had been some time since I last enjoyed Russ Freeman’s piano work, so this morning I chose an excellent collaboration featuring him and trumpeter Chet Baker from my library. Quartet (World Pacific Records, PJ-1232) hit the stores in 1957 and was the eleventh album Freeman and Baker recorded together. The album showcases six original tunes alongside two standards, and they are supported by the outstanding rhythm section of Leroy Vinnegar on bass and Shelly Manne on drums. The copy of this album that I own is a King Record Company Japanese mono reissue (Pacific Jazz GFX-3104).

The first side opener, Love Nest by Otto Harbach and Louis A. Hirsch begins at a brisk pace, with Chet on muted trumpet during the lively melody, which continues into a spirited opening statement. Russ gets the next nod and delivers an energetic reading. Leroy follows up with a swinging interpretation, then Chet and Shelly engage in a brief exchange before the closing chorus returns. Fan Tan, the first of six originals by Russ Freeman, slows the pace to midtempo for the quartet’s theme. Freeman is afforded plenty of room to shape his phrases in the opening statement. Baker is back on the open horn and maintains a laid-back vibe as he effortlessly swings to the closing chorus and ending.

Summer Sketch begins with a gentle piano introduction. Chet Baker’s trumpet playing throughout the track is both poetic and tender, with each note radiating romantic beauty, softly guiding the group to a smooth, unified finish. An Afternoon At Home ends the first side with the rhythm section’s inviting introduction, allowing Baker to glide through the opening chorus at a leisurely, relaxed pace. Freeman’s lead solo is as enjoyable as spending a leisurely afternoon with friends. Then, Vinnegar takes the spotlight next for a captivating solo. Baker has the last word with a charming presentation, before the quartet brings the tune to a satisfying close.

Say When starts Side Two with the quartet’s spirited melody. Chet leads the way with an exciting opening statement. Russ soars into the following presentation, then Shelly swings with great force in a brief, exhilarating closing reading before the theme’s reappearance and the group’s exit. Lush Life by Billy Strayhorn is one of the enduring favorites among jazz standards. The song begins with Freeman’s sensitive introduction, gently segueing to Baker’s rich tone as he introduces the tender theme. The pianist’s solo possesses a sad, reflective beauty, culminating in the trumpeter’s tender and thoughtful finale.

Amblin is a slow blues, introduced by the trio’s soulful introduction, segueing to the leader’s down-home melody. Chet opens with a solo that’s thoughtfully crafted and effortlessly delivered. Russ continues letting each verse glide effortlessly next. Leroy wraps it up with plenty of heart, ahead of the quartet’s theme reprise and climax. Hugo Hurwhey takes off with a short introduction, preceding the ensemble’s upbeat theme. Baker hits an ideal groove in the opening statement. Freeman takes the reins next with a robust reading, then Vinnegar, Manne, and Freeman culminate the solos in a vigorous exchange with Baker, leading to the melody’s restatement and conclusion.

Richard Bock produced Quartet, but the identity of the recording engineer is unidentified. However, this King Record Company reissue possesses outstanding audio quality, with an excellent soundstage that brings the foursome into your listening room with impressive clarity and presence. Whether you’re a Russ Freeman or Chet Baker fan, or are just discovering the discography of either musician, I emphatically recommend and invite you to pick up Quartet on your next trip to the record store. The album is a stellar showcase for both musicians and would make a welcome addition to any jazz library!

~ Lush Life – Source: JazzStandards.com
© 2025 by Edward Thomas Carter


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