BENITO GONZALEZ TRIO
Two-time Grammy nominee Benito Gonzalez is joined by legends Buster Williams and Lenny White.
Born in Maracaibo, Venezuela, Benito Gonzalez grew up immersed in traditional Venezuelan folk music before discovering jazz through the playing of Herbie Hancock, McCoy Tyner, Chick Corea, and Keith Jarrett, an early inspiration that shaped his powerful, Afro-Latin-infused approach to the piano. Gonzalez made his way to the United States by a serendipitous route, an American cultural ambassador caught one of his trio gigs and later invited him to Washington, D.C.
He went on to play with Jackie McLean in 2003, then spent nearly seven years touring with Kenny Garrett’s quartet, earning two Grammy nominations for the recordings Seeds from the Underground and Pushing the World Away. In 2019 he joined NEA Jazz Master and Coltrane protégé Pharoah Sanders as pianist and musical director. A 2005 winner of the Great American Jazz Piano Competition and a Steinway artist since 2020, Gonzalez has shared the stage with Dave Liebman, Roy Hargrove, Christian McBride, Nicholas Payton, Al Foster, and many others.
Joining him are two of the most legendary rhythm section players in jazz history. Bassist Buster Williams has anchored some of the most important recordings and bands of the past six decades, from Herbie Hancock and Miles Davis to McCoy Tyner and Ron Carter, and remains one of the most revered bassists in the music. Drummer Lenny White, a member of the original lineup of Return to Forever and a Grammy-winning legend in his own right, brings a depth of groove and history matched by few. Together, this trio represents three generations of jazz mastery converging in one room.
The Band:
Benito Gonzalez – Piano
Buster Williams – Bass
Lenny White – Drums
Cover: $38.57
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TYRONE JACKSON QUINTET
Dr. Tyrone Jackson brings his electric band to Eddie’s Attic. The quintet will explores the innovative edges of jazz and creativity. F.T.M.O. (From The Mind Of) is drawn from his critically acclaimed album From the Mind of Tyrone Jackson, where genres blur but the improvisational aspects of jazz remain central.
The Quintet:
Tyrone Kackson ~ Piano
Lavahi~vocals
Patrick Arthur ~ guitar
Joel Powell ~ bass
Robert Boone ~ drums | Grammy Winner
Cover: $23.37
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Daily Dose Of Jazz…
Joe Zawinul was born Josef Erich Zawinul on July 7, 1932 grew up in Vienna, Austria. Classically trained at the Konservatorium Wien, he played in various broadcasting and studio bands before emigrating to the U.S. in 1959 on a music scholarship to Berklee College of Music in Boston.
He went on to play with trumpeter Maynard Ferguson, where he first met Wayne Shorter after having had an influence in hiring him. Shorter left soon thereafter for Art Blakey’s group and Joe departed ways to tour and record with Dinah Washington for two years.
First coming to prominence in 1961 with saxophonist Cannonball Adderley, and during his nine-year stint composed the hit songs “Mercy, Mercy, Mercy”, “Walk Tall” and “Country Preacher”, the latter a tribute to Jesse Jackson
In the late 60s Zawinul played with Miles Davis, becoming one of the creators of jazz-fusion and one of the first to use electric pianos and synthesizers. He composed the title track on the album In A Silent Way and “Pharaoh’s Dance” on the landmark album Bitches Brew that occupied the whole of side one.[1]
In 1970, Zawinul co-founded Weather Report with Wayne Shorter bringing relatively open group improvisation with their fourth album Mysterious Traveller being their breakthrough. For the next fifteen years they would experience unparallel success with his composition “Birdland” being covered by the likes of Quincy Jones and the Manhattan Transfer and Jefferson Starship among others and winning him three Grammy awards.
Joe recorded 74 albums as a leader, sideman and collaborator; has been named Keyboardist” 28 times by the readers of Down Beat magazine, had several musicians honor him in song, written symphonies and performed and toured up until his hospitalization for a rare skin cancer where he died on September 11, 2007.
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Daily Dose Of Jazz…
Betty Smith was born on July 6, 1929 in Sileby, Leicestershire, England. She studied the saxophone as a young child and began playing the alto saxophone when she was nine in Archie’s Juveniles, not concentrating on jazz until her early teens.
1947 saw Smith touring the Middle East with pianist Billy Penrose, and then with Ivy Benson’s evening gown clad Girls’ Band, playing for off duty Nuremberg trials officials, and in 1948 with Rudy Starita’s All Girls Band to play for the troops.
Women jazz musician were rare in the Fifties, but Betty, by then playing tenor, proved herself in Freddy Randall’s Dixieland/Chicago styled band. She would be heard swinging, improvising and playing hotter jazz than her colleagues as they toured around Britain.
Following a tour of the U.S. the breakup of Randall’s band, and Betty forming a quintet in 1957, she returned to the States and toured with Bill Haley’s Comets. She worked fronting the Ted Heath Orchestra as a vocalist, got numerous radio and television jobs and had her own program on Radio Luxembourg.
She would meet trumpeter Kenny Baker, form the sextet “Best of British Jazz” and be the band’s only saxophonist for the remainder of her career until she got sick in 1985. She continued to sing and play the piano until a week before her death on January 21, 2011 in Kirby Muxloe, Leicestershire, England.
Requisites
Blowin’ Away ~ Dizzy Reece and Ted Curson | By Eddie Carter
This morning’s album from the library is an obscure gem from 1978. Blowin’ Away (Interplay Records IP-7716) is a terrific hard bop session that unites two outstanding musicians of the 50s and 60s, Dizzy Reece on trumpet (tracks: A1, A3, B2, B3) and Ted Curson on flugelhorn (track: A2) and trumpet (tracks: A3, B2, B3). They’re joined by an exceptional rhythm section: Claude Williamson on piano; Sam Jones on bass; and Roy Haynes on drums. The copy I own is the 1978 U.S. Stereo release. Dizzy and the trio open the album with Stella By Starlight by Victor Young and Ned Washington. The trumpeter gets things going with a solo introduction leading to the quartet’s medium melody. Dizzy opens and closes with two readings that are as smooth as glass. Claude contributes a fine solo in between them propelled by Sam’s and Roy’s peppy support.
Ted steps in next to lead the trio on flugelhorn for the ageless chestnut, All The Things You Are by Jerome Kern and Oscar Hammerstein II. Curson launches the first solo with a bouncy, up-tempo swing. Next up, Williamson delivers a captivating interpretation, gracefully darting around the rhythm section like fleeting shadows. Ted and Haynes close out the solos with an engaging conversation before the foursome’s exit. Bass Conclave by Dizzy Reece begins with Roy’s introduction ahead, both trumpets taking the spotlight with the mute on for the quintet’s easy beat theme. Dizzy takes the opening statement with the mute off, making every note count with surgical precision. Ted moves in next to tell a swinging story, then Claude shows youthful exuberance next. Sam makes a quick comment preceding the reprise and a quick stop.
The second side’s spotlight shines on the trio for Charlie Parker’s Moose The Mooche. Roy opens the door to this bebop classic leading to the ensemble’s swinging melody. Claude takes the opening solo for a sizzling ride, then Sam takes a short vibrant walk. The pianist and Roy share a concise conversation leading to the closing chorus. The quintet returns as the beat slows down for Marjo by Ted Curson. Claude starts things off with a pretty introduction to both horns taking charge as the theme unfolds. Ted has the first say, and gives a delicately tender opening statement. Claude is up next and delivers his message with gentle beauty, then Ted returns for a few final thoughts setting up the quintet’s restatement of the theme and the finish!
The album wraps up with the quintet turning the temperature up with the rhythm section’s introduction to Walkin’ by Richard Carpenter. The front line takes over and drives the melody. Dizzy leads the way with enough high voltage to charge a city, then Claude builds on the rising intensity in the following solo. Ted turns up the heat further in the following reading, followed by both horns chasing each other into the theme’s reprise and climax. Toshiya Taenaka produced Blowin’ Away and Mike Ewasko managed the recording console. The album delivers an exceptional soundstage in the highs, midrange, and bass with superb fidelity that makes it feel as though the quintet is performing right in front of your sweet spot. The chemistry between Reece and Curson on the three quintet tunes are a perfect complement to the rhythm section’s superb support.
If you’re in the mood for a terrific hard bop album and enjoy the music of Dizzy Reece and Ted Curson, I enthusiastically recommend Blowin’ Away the next time you’re out record-shopping. It’s a memorable entry in both their discographies, and is sure to delight novice and seasoned fans alike!
~ All The Things You Are, Stella By Starlight – Source: JazzStandards.com ~ Moose The Mooche – Source: Wikipedia.org © 2026 by Edward Thomas Carter
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