Daily Dose Of Jazz…
Rainer Brüninghaus was born on November 21, 1949 in Bad Pyrmont, Lower Saxony, Germany. From the age of nine he was educated in classical piano and founded his first jazz trio when he was 16. He studied sociology at the University of Cologne and music during the same time. In 1970, he founded the experimental jazz rock group Eiliff, which recorded two albums and one single.
In 1973, he joined the band of German jazz guitarist Volker Kriegel. From 1973 until 1985, he was a frequent guest in the jazz ensemble and the big band of Hessian Broadcasting Corporation. In 1975, with bassist Eberhard Weber and Charlie Mariano, he formed the band, Colours. Rainere played duo concerts with Manfred Schoof and in his quintet and big band.
In 1976, Brüninghaus first played a piano solo concert at the Heidelberg Jazz Days Festival. At the German Jazz Festival Frankfurt of 1978, he performed a suite of pieces lasting 50 minutes, which he composed as commissioned work for the festival.
The Eighties saw Brüninghaus working mainly as a bandleader, putting effort into his own projects, Freigeweht with Kenny Wheeler and Jon Christensen. He alsoe founded his own trio in which Markus Stockhausen and Fredy Studer played until the end of 1984.
John Abercrombie and Trilok Gurtu joined the band in 1985, and for some of the performances, Charlie Mariano, Hugo Read, and Jo Thönes played in the band. In 1988, Rainer began a long association with Jan Garbarek. He has written music for symphony orchestras, big bands, small ensembles, and solo piano, as well as for film and television.
He has also worked with Carla Bley, Bob Brookmeyer, Gary Burton, Bobby McFerrin, Jim Hall, Manu Katché, Albert Mangelsdorff, Paul McCandless, Alphonse Mouzon, Archie Shepp, and Steve Swallow.
He taught piano and music theory at the Akademie Remscheid, at the University of Cologne, and from 1990 to 1993 at the Hochschule (University) for Frankfurt University of Music and Performing Arts. He has published essays on music theory and was a member of the artistic advisory board for the Union of German Jazz Musicians.
>Pianist, composer and university teacher Rainer Brüninghaus, who has performed solo Grand Piano conerts, continues to perform and record.
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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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