AXEL TOSCA’S CUBAN JAM

Axel Tosca Trio and the Legendary Xiomara Laugart | The Cuban Jam

Three time Grammy-nominated Cuban pianist Axel Tosca. Blending jazz, classical, hip-hop, and Afro-Cuban rhythms, Tosca creates a genre-defying soundscape that captivates audiences. Born into a prestigious musical family, he was a prodigy on stage by age seven, learning under jazz greats like Miriam Valdez. Tosca has performed with legends such as Roy Hargrove, The Roots, and George Clinton. His weekly “Jam” features collaborations with jazz icons and showcases his virtuosic talent.

Xiomara Laugart has performed Cuban Nueva trova, jazz standards, and Broadway numbers on local and international stages. She joins her son Axel and combines the beloved Cuban sounds of home from the 1950s to today with Tosca’s eclectic take on modern jazz, swing, and bebop.

Cover: $35.00

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Requisites

Bud Powell – A Portrait of Thelonious | By Eddie Carter

Submitted for your approval this morning is an underrated, yet excellent 1965 trio album by pianist Bud Powell. A Portrait of Thelonious (Columbia CL 2292/CS 9092) is a wholehearted tribute to Thelonious Monk, one of the most influential figures in jazz. Pierre Michelot joins him on bass, and Kenny Clarke is on drums. Together, this trio of giants captures the spirit, complexity, and emotional depth of four Monk compositions, one standard and three little- known originals, as seen through Powell’s interpretations. The chemistry between the musicians yields a dynamic exploration of Monk’s repertoire, rendering the album both a reverent homage and a fresh reimagining of the jazz piano tradition. My copy of this album is the 1980 U.S. Columbia Jazz Odyssey Series stereo reissue (PC 36085).

Monk’s Off Minor opens the first side at a medium beat for the friendly melody. Bud is the featured soloist and glides through an enchanting performance with Pierre and Kenny providing a crisp, driving foundation right up to the song’s finish. There Will Never Be Another You by Mack Gordon and Harry Warren is a joyous interpretation that the trio brings to life with a playful spirit during the theme, which is sure to bring a smile to the listener’s face. Again, Powell is the lone soloist and provides a leisurely presentation, possessing a carefree zest that’s consistently rewarding, leading to the theme’s reprise and climax.

Thelonious Monk created some of jazz’s most memorable standards, and Ruby, My Dear is one of his most beautiful compositions, named for his first love, Rubie Richardson. The trio opens with a delicate melody. Bud presents a haunting, poignant performance, marked by gentle sensitivity, layered over the warm, supportive accompaniment of Pierre and Kenny, ahead of a gorgeous conclusion. No Name Blues by Earl Bostic is a catchy tune that begins with the trio’s effective medium-tempo beat for the theme. Powell’s lead solo is an ear-pleaser that swings comfortably into Michelot’s relaxing performance, fueled by Clarke’s brushwork preceding the trio’s bouncy closing chorus.

Thelonious is another of Monk’s inventive melodic ideas from 1947, like Off Minor and Ruby, My Dear. The trio immediately grabs the listener with a catchy hook and a solid medium-tempo groove during the introduction and theme. Powell swings effortlessly in the song’s only solo before the ensemble’s reprise and ending. Monk’s Mood is a pretty ballad by Thelonious Monk that’s luxurious yet straightforward. Powell has the solo spotlight to himself and delivers a gorgeous performance of beauty, elegance, and affectionate warmth, while Michelot and Clarke keep close preceding the song’s peaceful conclusion.

The beat moves upward for I Ain’t Foolin’ by Charles Albertine next. It’s a toe-tapper from the start of the ensemble’s bubbly introduction and melody. Bud navigates the tune’s lively structure in a spirited performance blending bebop lines and Monk-inspired blues inflections until the theme’s restatement and exit. Squatty by Brian Fahey concludes the album, with Clarke setting the tone ahead of the trio’s infectious groove on the melody. Powell establishes a relaxed rhythm, inviting listeners to unwind during the first solo. Michelot steps forward next with a concise reading of lively notes before the trio’s finale.

Julian “Cannonball” Adderley produced A Portrait of Thelonious, and it’s unknown who the original engineer was.Arthur Kendy was behind the dials of the reissue. The album’s sound quality across the highs, midrange, and bass is superb, placing the musicians in your listening room. Each instrument is captured with remarkable clarity, and the balanced mix highlights the interplay between the trio, making every note feel immediate and intimate. If you’re seeking a superb piano trio album for your library, I enthusiastically invite you to check out A Portrait of Thelonious by Bud Powell on your next record shopping trip. It’s an excellent introduction to his music that’s sure to become a welcome addition to any fan’s library who appreciates piano jazz!

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Daily Dose Of Jazz…

Gordon James Beck was born on September 16, 1935 in Brixton, London, England where he attended Pinner County Grammar School. He studied piano in his youth, but decided to pursue a career as an engineering technical draughtsman and moved to Canada in 1957 for this reason.

Largely self-taught, he returned to music after returning home from Canada in 1958, where he had been exposed to the works of George Shearing and Dave Brubeck. He became a professional musician in 1960 and played with saxophonist Don Byas in Monte Carlo. Beck joined the Tubby Hayes group in 1962, then led his own bands from 1965, including Gyroscope, from 1968, a trio with bassist Jeff Clyne and drummer Tony Oxley.

1967 saw the Gordon Beck Quartet record the album Experiments with Pops released on Major Minor MMLP 21 in 1968. That same year they recorded with Joy Marshall and released as When Sunny Gets Blue decades later.

Beck first played with vocalist Helen Merrill in 1969 and continued the relationship into the 1990s when she toured Europe. From 1969 to 1972 he toured with saxophonist Phil Woods’s European Rhythm Machine.

In the Sixties and Seventies he was a house pianist at Ronnie Scott’s Jazz Club. Beck played experimental funk with George Gruntz from1973-75), and free jazz with improv drummer John Stevens and  was a member of Nucleus between 1973 and 1974.

From middle age, Beck played predominantly in mainland Europe, recorded albums with Allan Holdsworth, Henri Texier, Didier Lockwood and others. He often played solo from the 1980s and started teaching music at the same poin and toured Japan with Holdsworth in 1985.

Pianist Gordon Beck stopped performing around 2005 because of poor health and died in Ely, Cambridgeshire, England on November 6, 2011.

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Requisites

Stablemates ~ Jon Eardley and Al Haig | By Eddie Carter

You really know your godchildren truly care and love you when they surprise you for your birthday with an album by two artists whose music you’re aware of, yet whose records have never found a place in your library. This morning’s spotlight shines on flugelhorn and trumpet player Jon Eardley, who was passing through London on a brief 1977 tour and pianist Al Haig, who was in town to visit friends. The two musicians seized the moment to head into the studio to record their only album together, Stablemates (Spotlite Records SPJ LP11). It was released two years later, and rounding out the ensemble are Art Themen on tenor sax, Daryl Runswick on bass, and Alan Ganley on drums. My copy of this album is the 1979 U.K. stereo release.

The first side opener, Tangerine by Johnny Mercer and Victor Schertzinger, begins with Al’s upbeat piano intro to Jon’s lively melody. Art kicks off the opening solo briskly, then Al flows smoothly into the following reading. Jon entersnext with a strong, assertive tone. Art and Jon share a final conversation leading back to the theme’s reprise and close. Speak Low by Ogden Nash and Kurt Weill raises the temperature with the quintet’s swinging melody. Themen opens the solos with an inspired improvisation that sets the tone. Eardley follows with plenty of bounce and effervescence on the second statement. Themen is off to the races next with impeccable precision, then Runswick and Ganley engage in a spirited exchange until the theme’s restatement fades out.

‘Round Midnight by Bernie Hanighen, Thelonious Monk and Cootie Williams is a quartet showcase that opens with Al and Daryl’s pensive introduction ahead of Jon’s tender melody. Al begins the opening solo with dreamlike softness, then the pace moves upward slightly for Jon’s elegant interpretation before the ensemble’s gentle ending. The second side gets underway with the pianist’s soothing introduction to Embraceable You by George and Ira Gershwin. Eardley states the gentle melody with Themen. In the first solo, Haig offers a tender, thoughtful statement with a soft touch of elegant beauty. Eardley truly shines in the closing reading with notes so deeply heartfelt that it’s bound to move you to tears, leading to Themen’s closing chorus and a gentle climax.

Don’t Blame Me by Dorothy Fields and Jimmy McHugh receives a gorgeous treatment by the quintet, beginning with Jon’s slow-paced theme that radiates inviting warmth, and Art’s perfectly placed inserts. Al leads off, skillfully blending composure and gentleness, before Art continues this lovely standard with a solo that truly touches the spirit. Jon delivers an exquisitely soft, poignant horn passage preceding the theme’s return. The beat moves upward on final time for Eardley’s theme to Love Walked In by George and Ira Gershwin. Themen opens the solos with an energetic drive, then Haig contributes a robust interpretation. Eardley matches the intensity with swift execution, and Ganley and Runswick meet on common ground in the closer, leading to the theme’s reprise and climax.

Tony Williams produced the album, and Steve Waldman served as the recording engineer. It delivers an exceptional soundstage, as though the ensemble is performing live in your listening room. The mix is impressively balanced, offering remarkable clarity and fidelity from your speakers. Stablemates is one of six albums Jon Eardley led as a leader, and he contributed as a sideman on ten additional records. Al Haig, meanwhile, led twenty-five albums and played as a sideman on eight more. If you haven’t yet experienced the artistry of Jon Eardley or Al Haig, I highly encourage you to seek out Stablemates on your next search for great jazz records. This outstanding album invites fresh appreciation with each play and remains as relevant today as it was over forty years ago!

~ Don’t Blame Me, Embraceable You, Love Walked In, ‘Round Midnight, Speak Low, Tangerine – Source: JazzStandards.com

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Daily Dose Of Jazz…

Eddie Moore was born in Houston, Texas on September 14, 1940 and began his musical journey at Texas Southern University where he earned a Bachelors in Arts and immersed himself in the Houston music scene.  He relocated  to Kansas City, studied under Bobby Watson at the University of Missouri-Kansas City and received a M.A in Jazz Studies.

He formed a jazz fusion group Eddie Moore & The Outer Circle in 2012, with diversity and inclusiveness defining him as an artist. His debut album, The Freedom of Expression, was released in 2013. With a performing and visual arts curator he created an experimental platform in partnership with Charlotte Street that pairs time-based artists, producers and musicians.

Eddie has received awards and a 2017 residency at the Kemper Museum of Contemporary Art. He has composed music that has been featured commercially for Sprint,  Netflix’s Queer Eye,  Morgan Cooper’s short film Room Tone, and Peacock’s Bel-Air.

He has shared the stage and recorded with Tia Fuller, Pam Watson, Logan Richardson, Maurice Brown, Boys II Men, Brian Blade and the Fellowship, John Baptiste, Erykah Badu, Mos Def, Bilal, Ledisi, Chantae Cann, Krystal Warren,  Andre Hayward, Tivon Pennicott,  and Various Blonde.

As an educator his passion for teaching sent him on a course as a jazz lecturer at the  University of Kansas, created a pilot Incubator,  Tribe Studios, which programs master classes, music business meet-ups, and provides creative/maker space for musicians and visual artists.

Pianist and bandleader Eddie Moore is an integral member of the music community in Kansas City, as well as an advocate for change and resources for professional artists.

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