TYRONE JACKSON

The name Tyrone Jackson is the quintessential jazz piano player. His boundless creativity coupled with harmonic mastery, utilizes the piano as a blank canvas.  Jackson is nationally recognized and has traveled the world as a solo artist and sideman. As a composer, Jackson has composed original music for Pulitizer Prize winning author Natasha Tretheway’s book of poems “Native Guard” turned theatrical play, Pearl Clege’s play, “Tell Me My Dream”, “Ethel” and this year’s Alliance Theater production of “Nick’s Flamingo Grill.” Jackson has recorded 4 Albums—“Dedicated”, “Another Voyage”, “Melody In Nede”, and new release “From The Mind Of.”

Currently Tyrone Jackson is a professor at Kennesaw State University where he is Lecturer of Jazz Piano and teaches a myriad of classes including: Aural Skills III & IV, Jazz Improvisation I, II & III, Jazz Combo, Jazz Theory, Applied Jazz Piano, Group Jazz Piano and History of the Blues.  Jackson is also a clinician and teacher for the Rialto Arts Jazz program for middle school and is a clinician for Clayton County Arts Association.

Jackson has performed with Steve Turre, Larry Carlton, Carmen Bradford, Earl Klugh, Wynton Marsalis, Branford Marsalis, Wycliffe Gordon, Vincent Gardner, Joe Lovano, Dave Douglas, Wes Anderson, Greg Dawson, Jennifer Holliday, Karen Briggs, Clay Jenkins, Russell Gunn, David Sanchez, Damaris Carbough, Russell Malone, and Marcus Miller.

Hosted by Lori Williams

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Daily Dose Of Jazz…

Alfred “Fred” Böhler was born July 26, 1912 in Zurich, Switzerland.  He started on violin as a child but later switched to piano. He led his own ensemble starting in 1936, which featured Eddie Brunner and Hazy Osterwald, among others, as sidemen. This group made several tours of Switzerland during World War II and recorded copiously for Columbia Records.

In 1943, Böhler conducted an orchestral ensemble that played symphonic jazz. While he recorded most often on piano, he also used Hammond organ early in a jazz context. He would eventually play with Marcel Bianchi, Edith Piaf, Josephine Baker, and Pierre Cavall among others.

Pianist, Hammond organist and bandleader Fred Böhler transitioned on January 10, 1995 in  Zumikon, Switzerland.

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Requisites

Listen Here ~ The Gene Harris Quartet | By Eddie Carter

After a long week, I wanted to hear something to help me unwind, so I picked out a wonderful 1989 album, Listen Here (Concord Jazz CJ-385), by The Gene Harris Quartet. I was introduced to pianist Gene Harris as a child when he was a member of The Three Sounds and grew up listening to their Blue Note albums. One of my favorites is Blue Hour, the group’s collaboration with Stanley Turrentine. The trio disbanded in the seventies, and Harris embarked on a successful solo career recording for Blue Note, JAM, and Concord Jazz. On this album, he’s working with Ron Escheté on guitar, Ray Brown on bass, and Jeff Hamilton on drums. My copy is the original U.S. Stereo release.

This Masquerade by Leon Russell opens the album with the quartet’s gentle introduction. Gene brings out the song’s beauty with a light touch during the delicately gorgeous melody and the song’s only solo. The group reconvenes for the closing chorus, and Ron takes the song out in a tender dissolve. Up next is Don’t Be That Way by Benny Goodman, Edgar Sampson, and Mitchell Parish. The foursome’s lively and spirited theme gets things off to a great start. Escheté is up first with a joyously infectious reading. Harris moves through the rhythm section like a musical twister on the following solo ahead of the closing chorus and exit.

The pace slows down for I’ve Got A Feeling I’m Falling by Billy Rose, Harry Link, and Thomas “Fats” Waller. The quartet begins this old favorite with an elegantly tender melody. Gene’s opening solo is a mix of lyrical beauty and nostalgia. Ron has a short statement that’s soft and tender before the leader’s return for the closing chorus. The title song, Listen Here, by Eddie Harris, opens with Brown’s introduction, joined by Escheté and Hamilton into Harris’ feisty melody. The pianist continues grooving on the lead solo, then Eschete cooks on the following statement. Brown wraps it up with a brief reading preceding Gene’s return for the vibrant finale.

Blues For Jezebel is named for Gene’s cat; from the infectious beat of Jeff’s introduction, she must have been quite a pet. The quartet begins with a smooth-flowing melody, then Ron indulges in some fun on the opening solo. Gene follows with a relaxing reading as enjoyable as a favorite pair of shoes into the ensemble’s closing chorus. Sweet and Lovely, by Gus Arnheim, Charles N. Daniels, and Harry Tobias, is an old thirties chestnut that receives a beautiful treatment from the ensemble. Harris starts the gracefully moving introduction and melody. Escheté applies a tender touch to the first solo. The leader follows with a sultry, soulful statement ahead of the closing chorus and slowly dissolves.

Lullabye by Chuck Mangione is not a children’s song. It’s a pretty tune that Gene introduces alone, segueing into an attractive ensemble melody that’ll have your toes tapping along. Gene takes a playful romp in the only interpretation, with the rhythm section complimenting him into a solo fade out by Ron and Ray. Irving Berlin’s The Song Is Ended is taken at a laid-back tempo, beginning with Gene’s introduction into the quartet’s leisurely melody. Escheté is up first with a carefree interpretation, including a brief walk by Brown before it concludes. Gene takes it up a notch with a rousing statement before the ensemble reprises the theme, and the pianist ends softly.

Concord Jazz’s founder, Carl E. Jefferson, produced Listen Here. Phil Edwards and Stuart Hirotsu were the recording engineers, and George Horn was the mastering engineer. The album’s sound quality is stunning, with an excellent soundstage that transports the listener to the studio as the quartet is recording. The pressing is flat and quiet until the music starts. Gene Harris used Ron Escheté whenever he could and always with great results. They recorded nine albums together on Concord Jazz and eleven overall. If you’re a fan of this talented pianist and only know him from The Three Sounds, I invite you to add Listen Here by The Gene Harris Quartet to your record shopping list. It’s a perfect choice to kick back and listen to after a long day or week or when your quiet moments are at a premium!

~ Don’t Be That Way, Sweet and Lovely – Source: JazzStandards.com ~ I’ve Got a Feeling I’m Falling; The Song Is Ended, This Masquerade – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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Three Wishes

While hanging out with Nica the three wishes inquiry was broached and Kenny Drew gave her his three wishes as follows:

1. “To play.”
2. “To play.”
3. “To make love.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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Daily Dose Of Jazz…

Charlie LaVere was born Charles LaVere Johnson on July 18, 1910 in Salina, Kansas to a Union Pacific Railroad blacksmith and where he first acquired an interest in music. His first musical instrument was a cornet, then later acquired an upright baritone horn, on which he learned to play many popular songs of the day. Studying piano in the 4th grade was the turning point in his decision to make it his instrument of choice.

At age twelve, after attending a Willard Robison and his Deep River Orchestra he gained an interest in jazz. He studied piano throughout high school and performed in various recitals and assemblies. At the age of eighteen he visited Oklahoma City, Oklahoma where he was introduced to Jack Teagarden, his brother Charlie Teagarden and where he studied Music at the University of Oklahoma at Norman. He performed with Frank William’s Oklahomans on campus and in local venues. He would go on to tour in 1929 during the Wall Street Crash, with brief stints in various bands including Louis Armstrong.

Relocating to Chicago, Illinois in 1932 he shared an apartment with the Teagarden’s and their spouses. He began playing regularly with Joe and Marty Marsala, Floyd Towne, Jim Barnes, Ray Biondi, Shorty Cherock, Larry Russel, Clark Galehouse, Carl Bean and Wingy Manone. He would perform his first recorded sessions supporting Wingy Manone and Teagarden in addition to leading his own bands.

After touring Texas and the mid-west with Eddie Neibauer and Dell Coon in 1934, he returned to local Chicago venues, working regularly with Joe Marsala. He assembled a multiracial group of musicians, befriended writer and jazz critic Helen Oakley, and recorded for Brunswick Records and Columbia Records. LaVere then found steady work in radio, performing on the Fibber McGee and Molly show for NBC. He also sang and arranged songs for a vocal group. Charlie briefly relocated to Fort Worth, Texas to perform in Paul Whiteman’s group and later touring throughout Texas, Oklahoma, and Kansas, before heading West.

He worked as a recording artist for Decca Records at their studios on Melrose Avenue with The Andrew Sisters, Victor Young, John Scott Trotter, and Gordon Jenkins, and under his own name.

In 1944 he formed the LaVere’s Chicago Loopers featuring Billy May, Artie Shapiro, Floyd O’Brien, Joe Venuti, Matty Matlock, Nick Fatool, and George Van Eps. He would go on to perform for Walt Disney, Gordon Jenkins, George Burns, Bobby Darin, Bob Crosby and Wingy Manone.

As rock music became more popular his work became more sporadic and in 1964 LaVere accepted a position as assistant conductor at the Melodyland Theater. He performed piano and accordion on cruise ships, arranged and performed with Russ Morgan in Las Vegas, Nevada and continued to work with Gordon Jenkins, performing on Harry Nilsson’s album of jazz standards. From the 1960s onward he ran his own piano repair shop in the San Diego, California area, in addition to performing solo residencies at resorts in California, Oregon, and Colorado.

Pianist, vocalist, bandleader, and composer Charlie LaVere transitioned on April 28, 1983 in Ramona, California.

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