Daily Dose Of Jazz…
Tony Jackson was born Antonio Junius Jackson an epileptic on October 25, 1882 into a poor Black family of freed slaves in Uptown New Orleans, Louisiana. His twin brother died at fourteen months of age. Showing musical talents at a young age by 10 he constructed a crude properly tuned harpsichord out of junk in his backyard. He played hymns he heard in church and soon the neighborhood was offering the use of their pianos and reed organs to practice on. This led to his first musical job at age 13, when he began playing piano during off hours at a Tonk run by bandleader Adam Olivier.
Jackson became the most popular and sought after entertainer in the red light district Storyville. Able to remember and play any tune he had heard once and was hardly ever stumped by obscure requests. His singing voice was also exceptional, and he was able to sing operatic parts from baritone to soprano range. He became a mentor to Jelly Roll Morton.
Tony wrote many original tunes, a number of which he sold rights to for a few dollars or were simply stolen from him; some of the old time New Orleans musicians said that some well known Tin Pan Alley pop tunes of the era were actually written by Jackson.
Well dressed always with a pearl gray derby, checkered vest, ascot tie with a diamond stickpin, with sleeve garters on his arms to hold up his cuffs as he played. This became a standard outfit for ragtime and barrelhouse pianists.
Moving to Chicago, Illinois hoping to have more of an influence on his career. Jackson was a resident performer at the De Luxe and Pekin Cafes in the city. In his later years his voice and dexterity were impaired by disease, syphilis or cirrhosis of the liver in addition to chronic epilepsy. Pianist, singer, and composer Tony Jackson died on April 20, 1921.
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The Jazz Voyager
The Jazz Voyager is heading west once again to the Los Angeles/San Fernando Valley where film producer Mack Sennett built his studio lot on twenty acres in 1927 and subsequently where the surrounding area became known as Studio City. It is there that I will be entertained at The Baked Potato jazz club. This small storied venue offers up an array of its namesake and world class jazz.
I’ll be flying in a day early to visit LA’s Natural History Museum, a nostalgic architecture drive-by of the Brady Bunch house and for some stargazing at the Griffith Observatory. This weekend performance heating up the stage is by six time Grammy winner, pianist and composer Billy Childs. A recipient of several commissions he has worked with orchestras and symphonies, as well as leading his ouw groups.
The Baked Potato is located at 3787 Cahuenga Boulevard, Studio City, CA 91604. For more information visit https://www.thebakedpotato.com.
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Daily Dose Of Jazz…
Rick DellaRatta was born October 23, 1961 in Schenectady, New York. The oldest of five children, he studied at the New England Conservatory, earning a bachelor’s degree in Piano Performance and a master’s degree in Jazz Composition. He studied jazz piano with Jackie Byard, Kenny Werner, Charlie Banacos, and Richie Bierach and classical piano with Thomas Stumpf.
In 1997 Rick along with Eddie Gomez, Dave Liebman, and Lenny White released the album Thought Provoking. In 2000 he was nominated for a MAC award for Recording of the Year.
Witnessing the 9/11 attacks from a New York City rooftop Rick was inspired while watching the unfolding tragedy to write a poem which became known as Jazz for Peace. The poem would later become a worldwide movement promoting peace through jazz.
Pianist and singer Rick DellaRatta, who has recorded five albums, continues to perform, tour and record.
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Daily Dose Of Jazz…
Gus Clark was born Gustave De Clercq on October 21, 1913 in Antwerp, Belgium. While still in his teens he led local dance bands and also played in the groups of musicians such as Harry Pohl, Maurice Pinto, and Jack Hoedemaeker.
In the 1930s Gus played with his own group in Brussels, Belgium, and Coleman Hawkins performed with this ensemble. He later set up a new ensemble of all-Black musicians in Belgium, which included Lauderic Caton as a sideman.
Clark performed with Jean Omer, Jean Robert, and Gus Deloof as a sideman, and continued recording as a leader in the 1940s and 1950s.
Pianist Gus Clark died in his native city on April 10, 1979.
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JOHNNY O’NEAL TRIO
After more than 45 years as a professional pianist, vocalist and entertainer, Johnny O’Neal has earned the title of “master” with fellow musicians and audiences around the world. Highlights of his awe-inspiring career include stints with Ray Brown, Milt Jackson and Art Blakey’s Jazz Messengers, as well as a Carnegie Hall debut in 1985 on solo piano opening for Oscar Peterson and induction into the Alabama Jazz Hall of Fame in 1998. While playing with Blakey, he accompanied some of the great jazz divas, including Sarah Vaughan and Carmen McRae. O’Neal has also been tapped for appearances by Dizzy Gillespie, Joe Pass, Nancy Wilson, Anita O’Day, Lionel Hampton, Kenny Burrell, Sonny Stitt, Benny Golson, Eddie “Lockjaw” Davis and Clark Terry, among others.
Performances in Canada, Europe, Australia, Japan, China, Israel and South Africa have gained him an international following, and he is beloved by audiences around the U.S. Yet, he remains a fixture on the New York jazz scene, regularly playing in local clubs or stopping by a jam session to check out the young talent. A stint in his band has become a coveted apprenticeship among young players, comparable to that of Betty Carter or Art Blakey. He is the tie that binds the classic jazz traditions to the evolution of the form, making him legendary in his own right.
The Detroit native considers himself a piano player first, but was encouraged to sing in his sets more by Joe Williams. He recalls Williams advising him, “If you’ve got it, flaunt it!” Astonishingly, he is largely self-taught. His playing evokes the influences imbued in him by his idols Oscar Peterson and Art Tatum, with a nod to bebop master Barry Harris (who first heard O’Neal play as a teenager in Detroit). He has reshaped these elements into his own very swinging and melodic approach.
In live performances, he is apt to catch his audience off-guard with his blues shouting, soulfully rendered yet unpretentious vocalizations or seemingly effortless scatting. No two sets are ever alike. O’Neal explains, “I’m a tune guy. I know 1,500 songs. My father was a pianist and singer who emphasized that learning lyrics creates dynamics and a better interpretation of melody. I rehearse so that the bassist, drummer and I can get familiar with each other’s styles—not to set the songs we’ll play.”
Cover: $25.00 ($3.50 fee)
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