Daily Dose Of Jazz…

Stanley William Tracey was born on December 30, 1926 in Denmark Hill, South London, England. The Second World War disrupted his formal education, and he became a professional musician at the age of sixteen as a member of an Entertainments National Service Association touring group playing the accordion, his first instrument. He joined Ralph Reader’s Gang Shows at the age of nineteen, while in the RAF and formed a brief acquaintance with the comedian Tony Hancock.

Later, in the early 1950s, he worked in groups on the transatlantic liners Queen Mary and Caronia and toured the UK with Cab Calloway. By the mid-1950s, he had also taken up the vibraphone, but later ceased playing it. During the decade he worked widely with leading British modernists, including drummer Tony Crombie, clarinettist Vic Ash, the saxophonist-arranger Kenny Graham and trumpeter Dizzy Reece.

1957 saw Tracey touring the United States with Ronnie Scott’s group, and then became the pianist with Ted Heath’s Orchestra for two years at the end of the Fifties, including a US tour with singer Carmen McRae. Although he disliked Heath’s music, he gained a regular income and was well featured as a soloist on both piano and vibes. He contributed compositions and arrangements that stayed in the Heath book for many years.

He first recorded in 1952 with the trumpeter Kenny Baker, then recorded his first album as leader in 1958, Showcase, for English Decca label and Little Klunk in 1959. From 1960 until about 1967 Stan was the house pianist at Ronnie Scott’s Jazz Club in Soho, London, which gave him the opportunity to accompany many of the leading musicians from the US who visited the club. It is Tracey on piano that film viewers hear behind Rollins on the soundtrack of the Michael Caine version of Alfie. At the same time, he became active in Michael Horovitz’s New Departures project, mixing poetry performances with jazz, where the musicians interacted spontaneously with the words.

The early 1970s were a bleak time for Tracey. He began to work with musicians of a later generation, who worked in a free or avant-garde style. He continued to work in this idiom with Evan Parker at the UK’s Appleby Jazz Festival for several years, but this was always more of a sideline for Tracey, lasting 18 years that the festival existed. Stan formed his own label In the mid-1970s titled Steam, and a number of commissioned suites. These included The Salisbury Suite, The Crompton Suite and The Poets Suite.

He led his own octet from 1976 to 1985 and formed a sextet in 1979 and toured widely in the Middle East and India. He had a longstanding performance partnership from 1978 with saxophonist Art Themen, and his own son, drummer Clark Tracey. He shared the billing with arranger Gil Evans,  Sal Nistico and Charlie Rouse. He went on to record over four dozen albums as a leader or co~leader, thirty as a sideman and on two soundtracks over the course of his career.

Pianist and composer Stan Tracey, who received the honor of the Officer of the Order of the British Empire (OBE) and appointed Commander of the Order of the British Empire (CBE), transitioned from cancer on December 6,

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Daily Dose Of Jazz…

Rupert Theophilus Nurse was born the only child in Port of Spain, Trinidad on December 26, 1910. He spent some of his childhood in Venezuela before returning to the island to complete his education. He absorbed local calypso music traditions, and started working as a teacher in Tobago.

He taught himself piano, and learned arranging skills from a mail order Glenn Miller book, before returning around 1936 to Trinidad where he worked in an electronics business. He also learned to play the tenor saxophone and with Guyanese saxophonist Wally Stewart, formed the Moderneers or Modernaires, the first American-style big band in Trinidad. During the Second World War he played with visiting Americans on the island, and began writing jazz arrangements of calypsos.

Travelling to London, England in 1945, he began playing double bass with guitarist Fitzroy Coleman and pianist Cyril Jones in the Antilles jazz club near Leicester Square. He joined trumpeter Leslie “Jiver” Hutchinson’s mostly-black band, with whom he played on radio and toured in Europe, before working with entertainer Cab Kaye in the Netherlands. He also increasingly worked with musicians newly arriving in Britain from the West Indies, including popular pianist Winifred Atwell, and Lord Kitchener and his band. He began experimenting with electronic instruments along with Lauderic Caton.

By 1953, Nurse was appointed as musical director of the Melodisc record label, which increasingly sought to release records to appeal to Britain’s growing Afro-Caribbean community. He led the label’s house band, arranged and produced Kitchener’s recordings, and recorded many other musicians of Caribbean origin, including jazz saxophonist Joe Harriott. He continued to perform as a pianist, and became bandleader at the Sunset Club in Carnaby Street and then at the more upscale Sugar Hill club in St James’s, where he met and later recorded with pianist Mary Lou Williams.

He increasingly used an electric piano and organ, and worked widely in clubs and restaurants in London as a solo performer and with other musicians including steel pan player Hugo Gunning, bassist Coleridge Goode, and pianists Iggy Quail and Russ Henderson. He taught, devised arrangements for other musicians, and worked as a library cataloguer in London until 1976.

Retiring to Arima, Trinidad he continued to mentor musicians and write arrangements for them. Pianist, tenor saxophonist and double bassist Rupert Nurse, who was influential in developing jazz and Caribbean music in Britain, particularly in the 1950s,  transitioned there on March 18, 2001 at the age of 90.

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BETH LEDERMAN

Beth’s group Jazz Con Alma feature jazz that grooves. Drawing especially from latin rhythms, they love taking standards and pop music and adding their own special twists. From Coltrane and Gershwin to the Beatles and Stevie Wonder anything that embraces the creativity which embodies jazz is fair game. With Mary Petrich on sax, Jon Murray on bass, Adam Clark on drums and Frank Valdes on percussion.

Her music is melodic, fun, fluid, passionate, innovative, heartfelt, rhythmic, eclectic, honest, artistic, humorous, spontaneous…and great!

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CARMEN LUNDY

Carmen Lundy’s work as a vocalist and composer has been critically acclaimed by Jazz Times, Downbeat, Jazziz, The New York Times, The Wall Street Journal, The Los Angeles Times, Variety, The Washington Post, and Vanity Fair among numerous other foreign publications. Lundy acted as Resident Clinician at Betty Carter’s Jazz Ahead at The Kennedy Center in Washington, D.C. for 20 years. She has conducted Master Classes around the world, among them the Thelonious Monk Institute of Jazz and The Sibelius Academy in Helsinki.

As a composer, Ms. Lundy’s catalogue numbers over 150 published songs, one of the few jazz vocalists in history to accomplish such a distinction. Her compositions have been recorded by such artists as Kenny Barron, Ernie Watts, Terri Lyne Carrington, Straight Ahead and Regina Carter. Carmen’s far-reaching discography also includes performances and recordings with such musicians as brother and bassist Curtis Lundy, Ray Barretto, Bruce Hornsby, Mulgrew Miller, Kip Hanrahan, Courtney Pine, Roy Hargrove, Jimmy Cobb, Ron Carter, Randy Brecker, Oscar Castro-Neves, Robert Glasper, Jamison Ross, Patrice Rushen, and the late Kenny Kirkland and Geri Allen among others.

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Daily Dose Of Jazz…

Reinhold Svensson was born December 20, 1919 in Husum, Germany. He recorded as a solo artist in 1941-1942, then joined the ensemble of violinist Hasse Kahn. In 1948, Putte Wickman took leadership of the group, and he worked with it until 1960 as a performer, arranger, and composer.

Reinhold appeared at the Paris Jazz Festival in 1949, worked with Arne Domnerus’s orchestra, and played with Charlie Norman in 1950-1951 as a duo under the names Ralph & Bert Berg and the Olson Brothers.

He also recorded with his own ensembles including Ragtime Reinhold. Domnerus, Jack Noren, Simon Brehm, and Thore Jederby were sidemen of his in the late 1940s and early 1950s.

Pianist, Hammond organist and composer Reinhold Svensson transitioned on November 23, 1968 in Stockholm, Sweden.

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