Daily Dose Of Jazz…
Meredith Irwin Flory, was born on August 27, 1926 in Logansport, Indiana and was encouraged by his organist mother to learn clarinet as a child. During World War II he was an Army Air Force pilot and after his discharge went on to matriculate through Indiana University, graduating with a degree in philosophy.
Known professionally as Med Flory, in the early 1950s he played in the bands of Claude Thornhill and Woody Herman, before forming his own ensemble in New York City. 1955 saw him relocating to California and starting a new group, which played at the 1958 Monterey Jazz Festival. In the late 1950s, he played with Terry Gibbs, Art Pepper, and Herman again, playing both tenor and baritone saxophone. He was cast in twenty-nine episodes from 1956 to 1957 of the ABC variety show, The Ray Anthony Show.
In the 1960s Med turned his attention away from music and concentrated on acting and screenwriting in television and film. His long list of credits include mostly westerns and crime dramas, which were popular at the time.
By the mid Sixties Flory returned to music and worked with Art Pepper and Joe Maini on transcriptions and arrangements of Charlie Parker recordings. In 1972, he co-founded Supersax, an ensemble devoted to Parker’s work. Supersax’s debut album, Supersax Plays Bird, won a Grammy Award.
Tenor and baritone saxophonist, bandleader, and actor Med Flory transitioned on March 12, 2014 in North Hollywood, Los Angeles, California.
Bestow upon an inquiring mind a dose of a Logansport saxophonist to motivate the perusal of the genius of jazz musicians worldwide whose gifts contribute to the canon…
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Three Wishes
Nica was curious as to the three wish of Ben Webster but he had only one answer and that was:
- “Right now, I wish I could write a couple of tunes.”
*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter
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Requisites
Saturday Night at The Montmartre ~ Ben Webster | By Eddie Carter
This morning’s subject submitted for your consideration is a delightful live date by tenor saxophonist, Ben Webster. Saturday Night at The Montmartre (Black Lion Records BLP 30155) is the first of three LPs chronicling his quartet’s January 30 performance at the renowned club shortly after Ben moved to Europe. Midnight at The Montmartre and Sunday Morning at The Montmartre (1977) complete the evening’s concert. He’s joined on stage by Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Alex Riel on drums. My copy used in this report is the 1974 US Stereo release (Black Lion Records BL-302).
The rhythm section begins the evening with a bit of relaxed cooking on the introduction to Our Love Is Here To Stay by George and Ira Gershwin. Ben takes the lead on the theme and swings effortlessly on the first interpretation. Kenny and Niels-Henning are completely at ease in the next two readings. Alex and Ben engage in a delightful conversation preceding the theme’s reprise and finish. The pace slows down for a gorgeous rendition of My Romance by Richard Rodgers and Lorenz Hart. A brief introduction by Kenny opens the way for Ben’s richly toned, emotional expression on the melody. The pianist starts the solos with an enchanting presentation, next Webster gives an incredibly beautiful performance ahead of the song ending quietly.
Blues For Herluf is Ben Webster’s uptempo tribute to Jazzhus Montmartre’s manager, Herluf Kamp-Larsen. Kenny kicks off this tune with a brief introduction that evolves into the foursome’s invigorating theme. Ben opens with a hard-blowing swinger. Kenny tells a vigorously spirited story on the second solo. Niels-Henning goes for a short walk in the third spot and Alex’s drums dance briefly with the leader into the finale. The quartet slows the tempo again to begin Side Two with a very pretty song, Londonderry Air. The trio begins their introduction gracefully, then Webster touches a soft spot in everyone’s heart on the theme and provides a wonderful feeling of peaceful serenity as the song’s only soloist into a lovely finale.
Mack The Knife by Kurt Weill, Mark Blitzstein, and Bertolt Brecht first appeared in The Threepenny Opera (1928). The rhythm section introduces this song at midtempo leading to the collective melody led by Ben who also sparkles on the first reading. Kenny and Niels-Henning contribute something fun on the next two solos. Alex and Ben exchange a few riffs before the conclusion. I Can’t Get Started by Vernon Duke and Ira Gershwin is one of the most beautiful standards in The Great American Songbook. The trio introduces the song leading to a sincerely poignant theme by Webster. Drew speaks to the listener intimately in the opening statement. Webster’s passion for ballad interpretation is abundantly evident in a delicately pretty reading perfectly matched to the trio’s sensuous support.
The Theme by Miles Davis brings this set to a close in rapid fashion. The foursome launches the theme collectively, next Ben, Kenny, Niels-Henning, and Alex give four quick statements ahead of the melody’s reprise and the audience’s approval. Saturday Night at The Montmartre and its companions were produced by Alan Bates, and Birger Svan was the recording engineer. The album’s sound quality is amazing with a breathtaking soundstage placing the listener in a seat among the audience as the quartet performs. If you’re a fan of Ben Webster and like your jazz swinging and soulful, I invite you to check out Saturday Night at The Montmartre on your next search for vinyl treasure. It sets the mood for a great evening of jazz that’s perfect to enjoy with the lights dimmed and your favorite drink as you listen!
~ Midnight at The Montmartre (Black Lion Records BLP 30173), Sunday Morning at The Montmartre (Black Lion Records BLP 30182) – Source: Discogs.com ~ I Can’t Get Started, Mack The Knife, My Romance, Our Love Is Here To Stay – Source: JazzStandards.com © 2022 by Edward Thomas Carter
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The Quarantined Jazz Voyager
This week while maintaining social distancing and continued mask wearing I’ve selected the 1974 album Skylark saxophonist Paul Desmond featuring Gábor Szabó. It was recorded on November 27~28 and December 4, 1973 at Van Gelder Sturio in Englewood Cliffs, New Jersey. The recording engineer was Rudy Van Gelder, the producer was Creed Taylor, and Don Sebesky wrote all the arrangements. It was released in 1974 on Taylor’s CTI label.
Desmond adapted to the changing times music was facing as did Taylor with his innovative photography used as his covers injected a sense of adventure, a bit of fantasy and a freedom that the 1970s exuded. It’s a change of pace for the saxophonist and a welcomed addition to the label’s stable.
Tracks |53:28- Take Ten (Paul Desmond) ~ 6:08
- Romance De Amor (Traditional) ~ 9:40
- Was A Sunny Day (Paul Simon) ~ 4:52
- Music For A While (Henry Purcell) ~ 6:45
- Skylark (Hoagy Carmichael, Johnny Mercer) ~ 5:21
- Indian Summer (Al Dubin, Victor Herbert) ~ 4:00
- Music For A While [alternate take] (Purcell) ~ 5:56
- Skylark” [alternate take] (Carmichael, Mercer) ~ 5:39
- Indian Summer” [alternate take] (Dubin, Herbert) ~ 5:27
- Paul Desmond ~ alto saxophone
- Bob James ~ piano, electric piano
- Gene Bertoncini ~ guitar
- Gábor Szabó ~ guitar (all solos)
- Ron Carter ~ bass
- Jack DeJohnette ~ drums
- Ralph MacDonald ~ percussion
- George Ricci ~ cello
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Daily Dose Of Jazz…
Sam Butera was born on August 17, 1927 and raised in an Italian-American family in New Orleans, Louisiana where his father ran a butcher shop and played guitar in his spare time. Hearing the saxophone at seven for the first time at a wedding, with his father’s encouragement he began to play.
His professional career blossomed early, beginning with a stint in big band drummer Ray McKinley’s orchestra directly after high school. At eighteen Butera was named one of America’s top upcoming jazzmen by Look magazine and by his early twenties, he had landed positions in the orchestras of Tommy Dorsey, Joe Reichman, and Paul Gayten.
As the big band era wound down Sam re-settled in New Orleans, where he played regularly at the 500 Club for four years. The club, owned by Louis Prima’s brother, was the connection that led him to his Las Vegas, Nevada collaborations with Prima and Keely Smith.
Prima transitioned from big band to Vegas and the Sahara and called Butera to assemble a band posthaste. They drove from New Orleans to Las Vegas and without a name on opening night in 1954 when Prima asked Butera before a live audience he responded spontaneously, “The Witnesses”, and the name stuck, remaining the bandleader for more than twenty years.
Noted for his raucous playing style, his off-color humor, and the innuendo in his lyrics, he also wrote arrangements, composed music. Sam is widely regarded as the inspiration for the vocal style of fellow New Orleans-born jazz singer Harry Connick, Jr. He went on to appear on television and in movies. Tenor saxophonist Sam Butera transitioned from pneumonia in Las Vegas on June 3, 2009 at the age of 81.
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