Three Wishes
When Nica quizzed Rocky Boyd that if he had three wishes that could be granted he gave her the following reply:
- “That I can work fifty weeks out of every year.”
*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…
Joseph Copeland Garland was born on August 15, 1903 in Norfolk, Virginia and studied music at Shaw University and the Aeolian Conservatory. He started by playing classical music but joined a jazz band, Graham Jackson’s Seminole Syncopators, in 1924, where he first recorded.
He had a long run of associations as a sideman on saxophone and clarinet from 1925 to the end of the decade with Elmer Snowden, Joe Steele, Henri Saparo, Leon Abbey Charlie Skeete and Jelly Roll Morton. By the 1930s he was playing and arranging with Bobby Neal and the Mills Blue Rhythm Band from 1932 to 1936. When Lucky Millinder replaced him, he joined Edgar Hayes in 1937, then Don Redman the following year, and Louis Armstrong from 1939 to 1942.
In the 1940s, he played with Claude Hopkins and others, and then returned to Armstrong’s band mid decade for two years. Following this he played with Herbie Fields, Hopkins again, and Earl Hines. In the 1950s, he went into semi-retirement.
Garland wrote a number of well-known swing jazz hits, including Serenade To A Savage and Leap Frog. He is credited as the composer with lyricist Andy Razaf for In the Mood which became a Glenn Miller hit. Saxophonist, composer, and arranger Joe Garland transitioned on April 21, 1977 in Teaneck, New Jersey.
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Requisites
Blue Train ~ John Coltrane | By Eddie Carter
John Coltrane steps into the spotlight for this morning’s discussion with his only release for Alfred Lion’s label, Blue Train (Blue Note BLP 1577/BST 81577). It was recorded in 1957 and released a year later, has stood the test of time, and is considered one of the essential records to own in the tenor saxophonist’s discography. Blue Train is his third album as a leader and also highlights his compositions, he wrote four of the five selections and personally picked the musicians who accompany him on this date. Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass, and “Philly” Joe Jones on drums round out the sextet. My copy used in this report is the Classic Records Mono audiophile reissue sharing the original catalog number.
Side One leaves the station with Blue Train, a mid tempo blues that the sextet sets in motion to an easy-going beat. John soars effortlessly through the rhythm section in the first solo. Lee follows with a happy, relaxed groove, then Curtis gives a perfectly crafted, full-toned reading. Kenny shapes the next statement with some bluesy dialogue and Paul covers plenty of ground in the finale preceding the ensemble’s reprise and climax. Moment’s Notice is next and it’s ablaze from the start of the melody. Coltrane takes the lead with a pulse-quickening performance. Fuller comes in for an energetic excursion next, then Morgan swings vibrantly into the third reading. Chambers goes for a short walk and Drew gets a scintillating presentation on the closer leading to the ending theme.
Locomotion speeds down the track to begin Side Two and the sextet gives the uptempo melody a workout. John takes a swift run on the opening solo; next Curtis jumps into the second reading aggressively, then Lee follows with a stunning showpiece. Kenny raises the energy level of the following interpretation. Philly closes the proceedings on a few fiery phrases before the sextet takes it out. I’m Old Fashioned by Jerome Kern and Johnny Mercer starts with a tender melody by Coltrane who continues caressing the first solo with sultry notes. Fuller brings out breathtaking beauty in the next statement. Drew compliments them with sincere elegance subtly supported by Chambers and Jones. Morgan closes with a great delicacy that’s beautifully executed.
The sextet steps back into high gear on Lazy Bird with a nimble opening chorus. Lee leads the charge with electric energy. Curtis follows with fiery passion on the second statement, then John swings with fierce intensity. Kenny tears into the next reading enthusiastically, next Paul does a brief bit of bass walking. “Philly” adds a fitting closer with an exhilarating drum solo ahead of the ensemble’s finish. Blue Train was originally produced by Alfred Lion, and Rudy Van Gelder was the recording engineer. Bernie Grundman mastered the album from the original analog tapes. This reissue was pressed on 200-gram Quiex SV-P audiophile vinyl. The sound quality is sensational with a superb soundstage that’s a sonic treat, and the record is absolutely quiet until the music starts. If you like jazz, I can’t think of a better choice for your library than Blue Train by John Coltrane. The album is a bona fide classic that you can enjoy endlessly and a must-have for any jazz fan!
~ I’m Old Fashioned – Source: JazzStandards.com © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
Donald Vernon Burrows was born on August 8, 1928 Marrickville, New South Wales, Australia and attended Bondi Public School. In 1937, visiting flutist and teacher Victor McMahon inspired him to start learning the flute, beginning on a B-flat flute. By 1940 he was captain of the Metropolitan Schools Flute Band and studying at the Sydney Conservatorium of Music.[2]
In 1942, Burrows had begun playing clarinet and appeared on The Youth Show, a Macquarie Radio show. In 1944 he was invited to play and record with George Trevare’s Australians. He became well-known in Sydney jazz circles and was performing in dance halls, nightclubs and radio bands.
During the 1960s and 1970s, Burrows had many engagements in Australia and the United States, including six years performing at the Wentworth Hotel in Sydney. In 1972, he was invited to perform at the Montreux Jazz Festival[4] and later the Newport Jazz Festival.
He received his first gold record in 1973 for his record Just the Beginning, instigating the first jazz studies program in the southern hemisphere, at the New South Wales Conservatorium of Music. He was appointed a Member of the Order of the British Empire (MBE) and appointed Chair of Jazz Studies at the conservatorium.
Though he mostly performed to classical music audiences through tours with Musica Viva and the Australian Broadcasting Corporation concert series, he had an extensive recording career with his groups and performed on albums by others. He also worked with Frank Sinatra, Dizzy Gillespie, Nat King Cole, Oscar Peterson, Tony Bennett, Stéphane Grappelli, Cleo Laine, and the Sydney Symphony Orchestra.
His arthritis from age 38, though making it somewhat difficult to play, never stopped him. In later years he had Alzheimer’s disease and lived in a nursing home in northern Sydney. Saxophonist, flutist and clarinetist Don Burrows transitioned on 12 March 12, 2020, aged 91.
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Requisites
Cherry ~ Stanley Turrentine With Milt Jackson | By Eddie Carter
Two of my favorite musicians are the subject of this morning’s discussion, Stanley Turrentine With Milt Jackson. Cherry (CTI Records CTI 6017) hit the stores in 1972 and was Turrentine’s fourth album on CTI. On this date, the tenor saxophonist’s leading an all-star sextet. Milt Jackson on vibes, Bob James on piano (track: A2), electric piano (tracks: A1, A3, B1 to B3), Cornell Dupree on guitar, Ron Carter on bass, and Bill Cobham on drums. My copy used in this report is the original US Stereo release.
Side One starts with the rhythm section’s spirited introduction to Speedball by Lee Morgan. The ensemble’s theme leads off this happy swinger, then Stanley cruises into the opening solo. Milt gets into a bluesy groove next, and Bill exchanges the finale with Stanley, Milt, and Bob ahead of the climax.
I Remember You by Johnny Mercer and Victor Schertzinger is a beautiful 1941 ballad that was first heard in the film, The Fleet’s In, a year later. Milt and the rhythm section introduce the song discreetly, segueing into a gentle opening chorus. Jackson is up first with a tender reading, then Turrentine gives an elegant presentation leading to a serene ending. The Revs by Milt Jackson swings at a leisurely tempo with the sextet in unison during the melody. Stanley steers a nice course for everyone with a carefree, bouncy first solo. Milt follows with melodic lines that emerge effortlessly from his vibes. Bob and Cornell close out the statements with two lightly swinging readings preceding the sextet taking the song out.
Side Two starts with Sister Sanctified by Weldon Irvine Jr who also arranged this tune. The sextet starts this swinging jazz service with a funky groove on the melody that’s sure to get the listener snapping their fingers and tapping their toes. Turrentine sets the tone on the opening statement with a soulful sermon. Jackson preaches the second solo rocking all the way. Dupree hits the sweet spot on the next reading and Cobham makes a brief comment leading to the theme’s reprise and fade-out. Cherry by Ray Gilbert and Don Redman begins with the vibist setting down a subtle theme at a slow tempo. Stanley opens with a wonderful expression of incredible beauty, then Milt responds with a delicately pretty performance moving towards a gorgeous finale.
Weldon Irvine Jr. also composed and arranged the album’s closer, Introspective. This is a mid tempo jaunt of pure pleasure leading off with Turrentine’s cheerful theme and lighthearted opening solo. Jackson comes in next for a delightful interpretation. James follows with a fine reading and Cobham swings the door shut with his brushwork. Cherry was produced by Creed Taylor and the man behind the dials was Rudy Van Gelder. This is a great recording and an excellent vinyl pressing for a 1970s album with a splendid soundstage. The instruments come through your speakers vividly and surround your sweet spot with music that’s sure to make you smile. Both Stanley Turrentine and Milt Jackson are a joy to hear together with a wonderful supporting cast. If you’re a fan of either musician, I recommend and invite you to check out Cherry on your next vinyl hunt. It’s a great album that still stands up fifty years later and your ears will thank you for adding it to your library!
~ I Remember You – Source: JazzStandards.com © 2022 by Edward Thomas Carter
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