Daily Dose Of Jazz…

Lynne Arriale was born May 29, 1957 in Milwaukee, Wisconsin. She was adopted as an infant only to discover the piano keyboard at three. Her initial training being classical, eventually earned her Master’s from the Wisconsin Conservatory of Music. However, it wasn’t until after college that her interest in the works of Keith Jarrett and Herbie Hancock led her to jazz.

She gained renown in the 1990s with her collaborator, drummer Steve Davis and bassist Jay Anderson. Lynne first came to prominence when she won the 1993 International Great American Jazz Piano Competition and performed at the Jacksonville Jazz Festival. She has toured Japan with the acclaimed 100 Golden Fingers ensemble, performed with jazz legends Hank Jones, Tommy Flanagan, Kenny Barron, Harold Mabern, Junior Mance, Monty Alexander, Roger Kellaway, Ray Bryant, and Cedar Walton.

An active educator and adjudicator pianist Lynne Arriale is a member of The Jazz Education Network has adjudicated the Montreux Jazz Competition, American Pianists Association Fellowship Awards, and The Kennedy Center’s Mary Lou Williams Competition, and the Jacksonville Piano Competition. She is currently Associate Professor of Jazz Studies and Director of Small Ensembles at The University of North Florida in Jacksonville and conducts educational clinics and master classes as she continues to perform and tour throughout the world.

 

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Daily Dose Of Jazz…

Rubén González was born on May 26, 1919 in Santa Clara, Cuba. He learned to play piano at the music high school of Cienfuegos. He studied medicine for a time, abandoned it due to financial difficulties and began playing with groups in Las Villas. In 1940, he moved to Havana, where he played in the charangas of Paulina Álvarez and Paulín, with Arsenio Rodríguez, Kubavana and Senén Suárez and in the big bands Siboney and Riverside.

By 1943, he released his first recording with Arsenio Rodriguez and during the 50s he served as a member of the Orquesta America, Orquesta de Enrique Jorrin and CMQ. Between 1957 and 1961, he worked in Venezuela but very soon he became known in Cuba and other parts of Latin America. In the early 1960s Rubén became the pianist for the Orquesta de Enrique Jorrín for 25 years, took over leadership after Jorrín’s death in 1987, but retired soon after.

It wasn’t until a meeting with Ry Cooder that González came out of retirement, recorded his first solo album in years and became a part of the Buena Vista Social Club with a host of veteran Cuban musician whose fame became worldwide.

Pianist Ruben González’s last public appearances were in Mexico and Cuba in 2002 and the next year the pianist passed away on December 8, 2003 at age 84.

 

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QUATRE

Bassist Joel Powell, drummer Chris Burroughs, pianist Tyrone Jackson and trumpeter Joe Gransden take to the stage on a Sunday evening of jazz at the Red Light Cafe.

These four musicians have been individually holding down the jazz scene in Atlanta and the metropolitan area for more than thirty years. They have played off and on with one or more in different configurations and come together as a quartet for a one night only performance.

Cover: $15.00 advance | $20.00 at door

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Requisites

Portraits at The Penthouse – Live in Seattle ~ Bill Evans –| By Eddie Carter

I was still in a mindset to hear another pianist-led release after listening to Mal Waldron, so I chose a Bill Evans album that has become a favorite in my household. Portraits at The Penthouse: Live in Seattle (Resonance Records HLP-2979) is the 8th album reissued by the Bill Evans estate and captures the pianist and his trio in performance over two May nights. The program consists of eight originals and two standards. Sharing the spotlight with Bill Evans are Eddie Gomez on bass and Joe Hunt on drums. The copy I own is the 2025 U.S. Record Store Day, Deluxe Edition, Limited Edition, mono audiophile pressing. Number 1849 of 5000.

The trio’s introduction welcomes the audience into the Penthouse’s intimate atmosphere. They then begin the first night’s set with a lively rendition of How My Heart Sings by Earl Zindars, the title tune from Bill’s 1964 release. Bill steps up first after the opening chorus for a jaunty statement, with an almost dance-like resilience. Eddie takes over, showing how he can build an outstanding solo, while Joe provides excellent support behind them into the reprise and close. ’Round Midnight by Thelonious Monk, Bernie Hanighen and Cootie Williams is one of jazz’s most beloved and recorded standards. The trio honors the classic by beginning the theme that gently glows like embers in a hearth. Evans opens with a graceful solo, radiating warmth and charm. Gomez responds with a tender, heartfelt statement, leading to a beautiful conclusion.

Up next is Come Rain or Come Shine by Harold Arlen and Johnny Mercer, which begins with Bill’s solo introduction, segueing into the ensemble’s medium melody. Bill gets things off to a good start in the opening statement with an infectious swing. Eddie comes in next and conveys his message with authority, preceding the trio’s theme restatement and soft climax. The second night’s set gets underway with Nardis by Miles Davis, and the trio begins by cruising comfortably on the opening melody. Eddie kicks off the opening solo with a lengthy, leisurely walk that swings easily. Bill comes in next and dines on a splendid performance, leading to the theme reprise and soft finale that receives a warm ovation from the club audience.

Earl Zindars’ second contribution to the album is his beautiful ballad, Elsa, which first appeared on “Explorations.” Bill has the stage to himself for the introduction, ahead of the lovely opening ensemble. Evans sets things in motion with a lyrical solo that builds to an effective climax. Eddie follows with one of his most thoughtfully sensuous interpretations, and Bill brings the trio back to the ending theme with a few final thoughts. The second side starts with Bill’s gorgeous introduction to Time Remembered by Bill Evans. The trio’s melody gets things going before stepping aside for Bill’s opening solo that gradually shifts from a gentle, understated mood to a livelier one. Eddie steps in next with a tender reading, until the groups return to the ending theme, with approving applause from the crowd.

Who Can I Turn To? by Leslie Bricusse and Anthony Newley debuted in the 1965 Broadway musical, “The Roar of the Greasepaint – The Smell of the Crowd.” Bill’s solo introduction adds emotional depth, leading to the trio’s lightly swinging theme. Eddie sets the tone with a wonderfully delicate interpretation, then Bill rolls ahead in the following solo before the trio’s closing chorus ends the song on a good note. The beat slows down again for Bill’s tender introduction to Detour Ahead by Lou Carter, Herb Ellis, and Johnny Frigo. The lightly swinging pace picks up for the group’s theme. Eddie is up first and walks with a lively bounce that’s easy to listen to. Bill then effectively illustrates a few melodic ideas, leading back to the out-chorus and the crowd’s approval.

A sprightly piano introduction by Evans sets the tone for Autumn Leaves by Jacques Prévert, Johnny Mercer, and Joseph Kosma. The trio’s melody dresses up this old favorite for Eddie’s opening statement, shared with Joe’s spirited brushwork. Bill follows with a short solo that sizzles with exhilaration ahead of the theme’s restatement and ovation from the audience. The ensemble’s theme returns, a bright-tempoed rendition of How My Heart Sings by Earl Zindars, beginning with a lively opening chorus. Bill leads the way in the first of two solos, and his first swings with scintillating skillfulness, matched by the steady support of Eddie and Joe. Eddie follows with energetic exuberance on the second statement, then the pianist cooks on a vigorously spicy comment before the group takes it out.

I Should Care by Sammy Cahn, Alex Stordahl, and Paul Weston brings the album to a close with a fun tune from the first few notes of the trio’s brisk theme. Eddie has the solo spotlight to himself in a happy, effervescent performance, which flows efficiently to the out-chorus and a very fulfilling finish. Zak Shelby-Szyszko was the album’s production manager. Zev Feldman produced Portraits at The Penthouse for release. Charlie Puzzo, Jr., and Zak Shelby-Szyszko were the associate producers. George Klabin was the executive producer, and Jim Wilke was the engineer. Matthew Lutthans mastered the album. It’s a good recording, but not perfect. The piano tends to be somewhat subdued and less forward in the mix compared to the bass. Occasionally, tape is noticeable, though it doesn’t persist throughout the album.

The record was pressed on 180-gram vinyl in a deluxe-edition gatefold and transferred from the original master tapes. Also included in this album is a 16-page booklet with rare photos by David Azoze and others, plus interviews with Joe Hunt, Eddie Gomez, and Bob James. Even though a few tracks may not have perfect sound quality, fans of Bill Evans seeking relaxing music after a busy day or week will find Portraits at The Penthouse to be an enjoyable live album with comforting moments and musical gems you’re sure to enjoy!

~ Explorations (Riverside RLP 351/RLP 9351), How My Heart Sings (Riverside RM 473/RS 9473) – Source: Discogs.com Autumn Leaves, Come Rain or Come Shine, I Should Care, ‘Round Midnight – Source: Jazz Standards.com ~ Detour Ahead, Nardis, Time Remembered, Who Can I Turn To? – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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LAVIE & ALLEN PAUL TRIO

C

aribbean vocalist LaVie performs alongside pianist Allen Paul for an outdoor concert on Ocean Drive as part of the Promenade Sunday Concert Series.

Known for her expressive vocals and stage presence, LaVie blends elements of soul, pop and inspirational music, while Allen Paul brings a background in composition, arranging and live performance shaped by his work as a musical director and educator in South Florida. Together, the performance offers a mix of familiar songs and original material in a relaxed, open-air setting.

Cover: Free

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