The Quarantined Jazz Voyager

We Are Sent Here By History is an acclaimed studio album by Shabaka Hutchings, a British-Barbadian musician, under his band Shabaka and the Ancestors, composed of South African musicians. It was released on March 13, 2020 on Impulse! Records.

We Are Sent Here by History has charted in Germany, Scotland, U.S. and UK and reached number 3 on the latter. The album was recorded at Milestone Studio and Sumo Sounds Studio in Johannesburg, mixed at The Crush in London, produced by Shabaka Hutchings and Dilip Harris, the creative director was Josh Cheuse, and the illustration was by Daniela Yohannes.

1. They Who Must Die ~ 10:10
2. You’ve Been Called ~ 6:29
3. Go My Heart, Go To Heaven ~ 6:41
4. Behold, The Deceiver ~ 6:01
5. Run, The Darkness Will Pass
6. The Coming Of The Strange Ones ~ 6:28
7. Beast Too Spoke Of Suffering ~ 2:58
8. We Will Work (On Redefining Manhood) ~ 5:24
9. ‘Til The Freedom Comes Home ~ 7:06
10. Finally, The Man Cried ~ 5:48
11. Teach Me How To Be Vulnerable ~ 2:45

• Tenor Saxophone, Clarinet ~ Shabaka Hutchings
• Alto Saxophone ~ Mthunzi Mvubu
• Double Bass ~ Ariel Zamonsky
• Drums – Tumi Mogorosi
• Electric Piano, Fender Rhodes ~ Nduduzo Makhathini (track: 2, 4)
• Percussion ~ Gontse Makhene
• Piano ~ Thandi Ntuli (track: 2, 11)
• Trumpet ~ Mandla Mlangeni (track: 7)
• Voice ~ Siyabonga Mthembu

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Daily Dose Of Jazz…

Born in Boggs, Oklahoma on December 7, 1906, George James began his career late in the 1920s, in the bands of Charlie Creath and Johnny Neal. Moving to Chicago, Illinois in 1928, he played with Jimmie Noone, Sammy Stewart, Ida Marples, Jabbo Smith, and Bert Hall.

In 1931 on into 1932 he toured with Louis Armstrong, then remained in New York City at the end of the tour. He went on to join the Savoy Bearcats and, later, Charlie Turner’s Arcadians. Fats Waller assumed leadership of the Arcadians in the middle of the decade, and James played under him until 1937.

Finishing the Thirties decade playing in the Blackbirds Revue, in the early 1940s George worked with James P. Johnson, Benny Carter, Teddy Wilson, and Lucky Millinder.  He led his own band in 1943-44 and later in the decade he played with Claude Hopkins and Noble Sissle.

He was active both as a leader and a sideman into the 1970s, playing with Clyde Bernhardt and the Harlem Blues and Jazz Band in that decade. Saxophonist, clarinetist, and flautist George James passed away on January 30, 1995 in Columbus, Ohio.

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Requisites

Tune~Up! ~ Sonny Stitt | By Eddie Carter

Sonny Stitt was equally fluent on alto sax (tracks: A2, A4, B2, B3) and tenor sax (tracks: A1, A3, B1, B3) with a pure tone that could be carefree, fiery, or seductive. This morning’s choice from the library is a superb example of him at his best. Tune-Up! (Cobblestone CST 9013) is an excellent 1972 quartet session anchored by Barry Harris on piano, Sam Jones on bass, and Alan Dawson on drums. Stitt’s birth name was Edward Hammond Boatner, Jr. and he came from a musical family. Sonny’s father sang baritone, was a composer, and was a college music professor. His mom taught piano, and his brother was a classically trained pianist. He was later adopted by a family named Stitt and gave himself the name Sonny. The musicians he’s played with reads like the encyclopedia of jazz. Stitt’s also recorded over one hundred albums as a leader and sideman. My copy used in this report is the original US Stereo album.

Side One opens with a speedy rendition of Tune-Up by Miles Davis. Sonny’s tenor sax is emotionally charged from the start of the melody. He launches a ferocious workout on the first statement at breakneck speed. Barry is up next for a vigorously energetic reading leading to a final heated discussion by the leader before the quartet’s exit. I Can’t Get Started by Vernon Duke and Ira Gershwin is a gorgeous song from the film, Ziegfeld Follies of 1936. Stitt’s on alto sax for this tune and shows profound respect to the standard beginning with a thoughtfully tender opening chorus and lyrically beautiful serenade. Harris indulges in nostalgic reminiscing and reflection on the second interpretation and Jones follows with a delicately pretty performance. Stitt makes a genuinely touching and gracefully poignant presentation into the group’s charming climax.

Idaho by Jesse Stone was composed in 1942 and pays homage to the state. This original starts at a jaunty tempo with a cheerful melody. Sonny steps up first with a high-spirited opening statement. Barry takes the reins next for a concise performance of nimble agility. The saxophonist adds a brief bit of fire to the tune with a fitting closer ahead of the quartet’s exit. Side One closes on an upbeat note with a popular song about two lovers who are now Just Friends. It was written in 1931 by John Klenner and Sam M. Lewis. Stitt leads the group through a brisk melody, then kicks it up a notch on the opening chorus with combustible bop chops. Harris fills the second solo with a restless, bristling energy, matched by the rhythm section’s swinging support. Stitt brings out the best on a few final vivacious thoughts preceding the quartet’s closing moments.

Side Two opens on the saxophonist’s slow blues tribute to Lester Young and Charlie Parker, Blues For Prez and Bird. The trio begins with a soulful introduction, then Sonny applies an appropriately warm tone to the melody and first interpretation. Barry is especially endearing on a short statement that swings softly. Stitt arrives at a beautiful conclusion after speaking with deep emotion on the finale. Dizzy Gillespie’s Groovin’ High is a 1945 uptempo standard from the book of Bebop. The quartet comes out cooking on the opening chorus, then Stitt shifts into another gear with a dazzling reading of sheer exuberance. Harris also shows remarkable nimbleness on the second performance matching the saxophonist step for step. Stitt slices through the closing statement with razor-sharpness before the ensemble’s vigorous climax.

I Got Rhythm by George and Ira Gershwin is a jazz standard that was introduced in the musical Girl Crazy (1930). The ensemble deceptively starts slowly at the song’s bridge, rather than the beginning. Sonny has the first solo, erupting on tenor sax with the dynamic force of an active volcano. Barry takes over on the second statement with a fierce intensity, then Stitt kicks up a storm on alto sax for the next presentation. Jones makes a concise comment preceding Stitt ending the song on tenor the way it began. Tune-Up! was produced by Don Schlitten and recorded by Paul Goodman. The album has an exceptionally good soundstage with great clarity throughout the highs, midrange, and bass. If you’re in the mood for an outstanding album of alto and tenor sax, I proudly recommend and submit for your consideration, Tune-Up! by Sonny Stitt. He’s in top form here, and every track’s a winner!

~ I Can’t Get Started, Just Friends, Groovin’ High, I Got Rhythm – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Daily Dose Of Jazz…

Eugene Sufana Allen was born on December 5, 1928 in East Chicago, Indiana. He began playing clarinet and piano as a child, and was playing with Louis Prima at age 15 in 1944. He stayed in Prima’s band until 1947, then worked with Claude Thornhill for two years in 1949, and from 1951 to 1953 he played with Tex Beneke.

In 1953 he began playing with the Sauter-Finegan Orchestra, playing with them intermittently until 1961, and also worked with Tommy Dorsey, Benny Goodman, and Hal McKusick in the 1950s. Toward the end of the decade, and into the early 1960s, Gene worked with Gerry Mulligan, Manny Albam, Woody Herman, Thelonious Monk, and Bob Brookmeyer.

His later associations include work with Urbie Green, Mundell Lowe, Rod Levitt, and Rusty Dedrick. In the calendar year of 1963, Allen successfully played in and recorded with the big bands of Benny Goodman, Thelonious Monk, and Woody Herman.

Baritone saxophonist and bass clarinetist Gene Allen passed away on February 14, 2008.

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Daily Dose Of Jazz…

Paul Desmond was born Paul Emil Breitenfeld on November 25, 1924 in San Francisco, California.  His father was a pianist, organist, arranger, and composer who accompanied silent films in movie theaters and produced musical arrangements for printed publication and for live theatrical productions. He started his study of clarinet at the age of twelve and continued while at San Francisco Polytechnic High School. During high school he developed a talent for writing and became co-editor of his high school newspaper.

As a freshman at San Francisco State College he began playing alto saxophone, however, he was drafted into the U.S. Army, where he spent three years in the Army band stationed in San Francisco. After his discharge in 1946 he legally changed his name to Desmond. Working in the San Francisco Bay Area as a backing musician, occasionally with Dave Brubeck.

Following a breakup and a reunion with Brubeck, the quartet became especially popular with college-age audiences, often performing in college settings like on their ground-breaking 1953 album Jazz at Oberlin at Oberlin College. The group played until 1967, when Brubeck switched his musical focus from performance to composition and broke the unit up. During the 1970s Desmond joined Brubeck for several reunion tours, with Brubeck’s sons Chris, Dan and Darius.

He worked several times during his career with baritone saxophonist Gerry Mulligan, guitarist Jim Hall, Chet Baker, and Ed Bickert.  Alto saxophone and composer Paul Desmond, who was one of the most popular musicians to come out of the cool jazz scene, passed on May 30, 1977, not of his heavy alcohol habit but of lung cancer, the result of his longtime heavy smoking.

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