Daily Dose Of Jazz…

Vido William Musso born Vito Gugliermo Musso on January 16, 1913 in Palermo, Sicily. He moved with his family to the U.S. in July 1920, having arrived at the Port of New York on the Italian steamship Patria. They lived in Detroit, where Musso started learning to play clarinet. Ten years later, he went to Los Angeles, California and formed a big band with Stan Kenton in 1935.

Musso dropped out the next year to work with Gus Arnheim, Benny Goodman, and Gene Krupa. He accompanied Billie Holiday and pianist Teddy Wilson on recordings in the late 1930s. He replaced Bunny Berigan as the leader of his band and tried unsuccessfully at other times during the 1930s and 1940s to be a big band leader. However, most of his career was spent as a sideman.

Returning to Goodman, he was a member of big bands led by Harry James, Woody Herman, and Tommy Dorsey. He went back to play with Kenton during the middle 1940s and  having moved to California, he retired around 1975.

Saxophonist Vido Musso, who recorded as a leader in the Forties and Fifties for Savoy, Trilon, Arco, Fantasy, RPM, Crown, and Modern record labels, transitioned on January 9, 1982 in Rancho Mirage, California.

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Requisites

It’s About Time ~ McCoy Tyner and Jackie McLean | By Eddie Carter

This morning’s discussion brings two jazz giants together for their only collaborative album. It’s About Time (Blue Note BT 85102) is a 1985 release by pianist McCoy Tyner and alto saxophonist Jackie McLean (tracks: A1 to A3, B1) that rekindles a sixties Hard-Bop or Post-Bop date and is one of the best kept secrets in both musician’s discographies. The supporting cast is a stellar one, Jon Faddis (tracks: A1, B1) on trumpet, Ron Carter (tracks: A1, B1, B2) on acoustic bass, Marcus Miller (tracks: A2, A3, B3) on electric bass, Al Foster on drums, and Steve Thornton (tracks: A2, A3, B3) on percussion. My copy used in this report is the 1985 US Stereo Full Digital Recording.

Side One opens with the first of five tunes from Tyner’s pen, Spur of The Moment begins with a lively opening chorus in unison. Jon opens the opening solo with tremendous fire and spirit, followed by Jackie who produces some commanding choruses on the second performance. McCoy cooks confidently on the finale with inexhaustible energy into the climax. You Taught My Heart To Sing is a beautiful ballad that’s a showcase for McLean who gives the melody and first solo a warm and moving treatment. Tyner is up next with a delicately gentle reading shadowed by Miller, Foster, and Thornton who anchor both soloists with gorgeous groundwork preceding McLean’s return for the reprise and Tyner’s quiet ending.

It’s About Time begins with a tropical flavor in its blood on a delightfully, feisty midtempo theme led by Jackie who also leads the solos this time with an effective groove, then McCoy follows with a perfectly crafted closing statement. Marcus and Steve provide the spicy compliment that keeps our fingers popping and toes tapping into the group’s soft fadeout. Side Two opens with Hip Toe, a mid~tempo swinger that starts with the front-line and Tyner cruising comfortably into the infectious opening chorus. McLean is up first and comes out swinging on a peppy reading. Faddis answers him with a sharp, zesty statement that builds to a satisfying conclusion. Tyner provides the exclamation point on an extremely happy closing solo before the theme’s return and disappearance.

No Flowers Please by Ron Carter is a trio performance of tranquil beauty that the bassist introduces thoughtfully. McCoy takes the first solo and paints an intimate portrait. Ron closes with a polite, considerate reading executed with fingertip delicacy leading to a tender climax. Travelin’ invites us to take a mid~tempo trip without leaving the comfort of our sweet spot. Miller is the highlight here and demonstrates some stellar bass playing on the opening solo after Tyner’s opening chorus propelled by the rhythm section and Thornton’s percussion. Tyner makes a very personal statement on the closing reading with a grand delivery that brings us safely home after this six-song journey into a gentle culmination.

It’s About Time was produced by Jeffrey Weber and was digitally recorded by Ron Saint German. The sound quality is superb with an outstanding soundstage and excellent stereo separation matching the exceptional interaction between the musicians. The music also flows smoothly and is reminiscent of a classic Blue Note recording of the late fifties or early sixties. If you’re a fan of McCoy Tyner and Jackie McLean, I invite you to audition It’s About Time at your earliest opportunity. It’s an album of wonderful jazz music deserving further investigation for a spot in your library!

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Daily Dose Of Jazz…

Dave Schildkraut was born on January 7, 1925 in New York, New York and started playing professionally in 1941, first with Louis Prima. He followed this five year residency with Buddy Rich and Anita O’Day through the end of the decade and into the Fifties.

He moved on to hone his craft further by working with Stan Kenton, Pete Rugolo, Oscar Pettiford, Miles Davis, George Handy, Tony Aless, Ralph Burns, Tito Puente, Johnny Richards, and Kenton again in 1959. During the 1960s, Dave freelanced around New York City, appearing regularly with Eddie Bert at the West End Cafe. Later in his life he went into semi-retirement.

His playing was fluid and brilliant in pure bebop style but Schildkraut only recorded one album as a leader, in 1979. However, the album wasn’t released until 2000 by Endgame Records as Last Date. As a sideman he recorded sixteen albums.

Alto saxophonist Dave Schildkraut, whose style mimicked Charlie Parker but later showed influences of John Coltrane, Warne Marsh and Lee Konitz, transitioned on January 1, 1998 in Darien, Connecticut.

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The Quarantined Jazz Voyager

Life is full of choices and the choice not to protect yourself should only impact you. As another surge is underway it is your responsibility to protect others from your irresponsible choices. For those of us who remain vigilant I say well done. So with that in mind, I feel I am selecting the right choice to open up this 2022 year.

Out of the stacks comes the studio album The Natural Soul by alto saxophonist Lou Donaldson. It was recorded on May 9, 1962 at the Van Gelder Studios in Englewood Cliffs, New Jersey and released on Blue Note Records in March of 1963. The producer was Alfred Lion and the cover design was by Reid Miles of Capital Punishment. His use of lower case letters give this funky, greasy, soul jazz album suitably comfortable and informal.

Donaldson leaves his hard bop world to continue delving into the soul~jazz foray. He likes to groove and on this one he does just that. So sit back and enjoy the ride!

Tracks | Original LP ~ 41:54 w/CD Bonus Track ~ 49:07 All compositions by Lou Donaldson except where noted

1. Funky Mama (Big John Patton) – 9:08
2. Love Walked In (Gershwin, Gershwin) – 5:12
3. Spaceman Twist – 5:38
4. Sow Belly Blues – 10:13
5. That’s All” (Alan Brandt, Bob Haymes) – 5:36
6. Nice ‘n’ Greasy (John Adriano Acea) – 5:27
7. People Will Say We’re in Love (Hammerstein II, Rodgers) – 7:53 (CD Bonus Track)

• Lou Donaldson – alto saxophone
• Tommy Turrentine – trumpet
• Grant Green – guitar
• Big John Patton – organ
• Ben Dixon – drums

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Daily Dose Of Jazz…

Brian Smith was born on January 3, 1939 in Wellington, New Zealand and studied piano in his youth but was primarily an autodidact on reeds. He played locally in pop and jazz groups before moving to England in 1964, where he played with Alexis Korner’s Blues Incorporated.

Following this stint he played at Ronnie Scott’s Jazz Club from 1966 to ‘67 and in the big bands of Tubby Hayes and Maynard Ferguson from 1969 to 1974. Smith went on to work with the group Nucleus from 1969 to 1982. During the next two decades he also performed with Mike Westbrook, Neil Ardley, Mike Gibbs, the Spontaneous Music Ensemble, Keith Tippett, Pacific Eardrum and Paz.

1982 saw the return to New Zealand, where Brian began playing with his own quartet. His 1984 album Southern Excursions was named Australian Jazz Record of the Year.  Based out of Auckland, working with Frank Gibson, Jr. later in the Eighties, his Moonlight Sax albums were chart successes in New Zealand. Saxophonist and flautist Brian Smith continues to perform and record.

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