Daily Dose Of Jazz…

Ernesto Caceres was born on November 22, 1911 in Rockport, Texas and learned to play the clarinet, guitar, alto and baritone saxophone. He first played professionally in 1928 in local Texas ensembles. He and his brother Emilio moved to Detroit, Michigan before moving to New York City, taking work as session musicians. In 1937 they made live nationwide appearances on Benny Goodman’s popular radio series Camel Caravan which created a sensation and made them jazz stars.

In 1938 Ernesto became a member of Bobby Hackett’s band, then worked as a sideman with Jack Teagarden and Glenn Miller’s orchestra from 1940 to 1942. While with Miller, he made an appearance in the films Sun Valley Serenade and Orchestra Wives. Time with Benny Goodman, Woody Herman, and Tommy Dorsey followed later in the 1940s. In 1949 he put together his own quartet, playing at the Hickory Log in New York. He was a frequent performer with the Garry Moore Orchestra on television.

At the beginning of the 1960s he played with the Billy Butterfield Band. In 1964 he moved back to Texas and played in a band with brother Emilio from 1968 until his death. He spent some time in 1965 and 1966 at Mint Hotel in Las Vegas, Nevada and at the Holiday Hotel in Reno, Nevada with the Johnny Long Band. Saxophonist, clarinetist and guitarist  Ernesto Caceres passed away from cancer on January 10, 1971.

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Requisites

John Jenkins, Cliff Jordan, Bobby Timmons | By Eddie Carter

I begin this morning’s discussion with the 1960 collaborative album, Jenkins, Jordan, and Timmons (New Jazz NJLP 8232) by John Jenkins, Clifford Jordan, and Bobby Timmons. Joining them on this date are Wilbur Ware on bass and Dannie Richmond on drums. My copy used in this report is the 1981 Japanese Mono reissue by Victor Musical Industries (New Jazz SMJ-6299). John Jenkins’ approach to Hard-Bop and standards on the alto sax was distinctively tasteful.  His solos always showed respect and affection for the tunes he played, and he could bring imaginatively unique lines even to well-worn standards. His other album as a leader is the self-titled release, John Jenkins (1957). Clifford Jordan’s interpretations on the tenor sax were the perfect characterization of his sound, sometimes growling, sometimes purring, but always with a formidable technique and a passionately assertive tone. Here, Jordan is in great form with another horn to joust with.

Pianist Bobby Timmons was one of the most talented yet neglected figures in the annals of Jazz.  He composed two songs that are etched in the minds of many Jazz fans, Dat Dere, a mainstay in the early days of The Cannonball Adderley Quintet and Moanin’ that became a huge hit for The Jazz Messengers. Timmons appeared on the landmark album, Art Blakey and The Jazz Messengers (1958). On this date, he approaches each tune with a melodic and rhapsodic touch that’s irresistible. Wilbur Ware was an extraordinary soloist on the bowed bass; he possessed a beautiful sound that could be fat, resonant, and fluid without any loss of body on any of the songs he played. Dannie Richmond is best known for his many albums with Charles Mingus, he’s a very pleasant surprise on this record with an energetic liveliness in his playing. He also recorded with many jazz greats including George Adams, Pepper Adams, Chet Baker, Ted Curson, Booker Ervin, Duke Jordan, Herbie Nichols, Horace Parlan, and Don Pullen.

Clifford Jordan’s Cliff’s Edge starts Side One at midtempo with both saxes flexing their muscles in unison on the opening chorus. Cliff is up first with a very satisfying opening solo at an easy, unhurried pace. John continues the conversation with a pleasant zest on the second performance. Bobby tells his story last with a charming interpretation that comes across effectively anchored by Wilbur and Dannie’s support into the quintet’s ending. Up next is the 1946 jazz standard Tenderly by Walter Gross and Jack Lawrence. Timmons opens the song with a soothing introduction, then Jordan steps up first for a deeply compassionate melody and an opening statement exhibiting sensitive delicacy. Timmons comes in next, gently caressing each note of an exceptionally tasteful interpretation. Ware deftly captures the song’s subtle mood on a gorgeously warm solo, followed by Jenkins who concludes the readings and the song with a beautifully tender interpretation.

The first of two tunes from Jenkins’ pen, Princess begins with a collective mid-tempo groove. John starts the opening solo with an articulate tone dispensing absolute joy. Cliff takes the listener for a comfortable joyride on the next statement. Bobby is consistently inventive on the closing performance preceding the quintet’s exit. Side Two starts with Soft Talk by Julian Priester, an energized swinger from the start of the ensemble’s electrically charged theme. Jenkins speaks first to start this scintillating conversation with an aggressive fierceness. Jordan continues the dialogue, making every note count with high voltage power. Jenkins and Jordan soar to great heights in an invigorating exchange over the next few verses. Timmons adds his voice to the discussion next on a heated reading, then Ware walks briskly on an abbreviated statement. Richmond has the last word with energetic drumming in an exciting conversation between both saxes into the reprise and abrupt climax.

Jenkins’ Blue Jay is a laid-back midtempo blues that begins with an unaccompanied lively introduction by Ware, segueing into the quintet’s collective theme. John starts the soloing with an easy-going opening statement. Clifford responds with a marvelous interpretation. Bobby cruises into the third reading with a strong beat and Wilbur steps last into the spotlight for a concise comment that flows effortlessly to the ensemble’s closing chorus and finale. The remastering of Rudy Van Gelder’s original recording has been superbly recreated by Victor Musical Industries with all five instruments full of body, presence, and a vibrant soundstage. If you enjoy good Hard-Bop and are a fan of John Jenkins, Cliff Jordan, and Bobby Timmons, I offer for your consideration, Jenkins, Jordan, and Timmons. An excellent album that in my opinion, no library should be without!

~ Art Blakey and The Jazz Messengers (Blue Note BLP 4003/BST 84003), John Jenkins (Blue Note BLP 1573), Them Dirty Blues (Riverside RLP 12-322/RLP 1170) – Source: Discogs.com ~ Tenderly – Source: JazzStandards.com © 2021 by Edward Thomas Carter

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Daily Dose Of Jazz…

Henry “Boots” Mussulli was born in Milford, Massachusetts on November 18, 1915. His first instrument was clarinet, which he first played at age 12.

By the Forties he was playing with Mal Hallett in Massachusetts and joined Teddy Powell’s group in 1943-44. He played with Stan Kenton from 1944 to 1947, then returned to play with Kenton again on tour in 1952 and 1954.

He played with Vido Musso, Gene Krupa, Charlie Ventura, Serge Chaloff, Toshiko Akiyoshi and Herb Pomeroy.

In 1949, Boots opened a jazz club in his hometown, called The Crystal Room and from the mid-1950s, he concentrated more on music education, leading a local youth orchestra, the Milford Youth Band. They performed at the Newport Jazz Festival in 1967.

Saxophonist Boots Mussulli, based chiefly out of Boston, Massachusetts, passed away from cancer on September 23, 1967 in Norfolk, Massachusetts.

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Three Wishes

Pannonica inquired of Leo Wright, if given three, what would he wish for and he answered her by saying: 

  1. “I wish that people would be more individualistic.”
  2. “The problem in my profession, that the supply is greater than the demand… I wish that that wasn’t so.”
  3. “I wish the public in general would realize the importance of jazz.”

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

SUITE TABU 200

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The Quarantined Jazz Voyager

The masking and social distancing continues as we are heading into another month of factions of society refusing the vaccination, putting themselves and others in harm’s way. Keeping myself safe with limited exposure to outside forces, this quarantined jazz voyager remains for the most part, secluded. So this week I am selecting an album by Tia Fuller that was released on May 25, 2018 titled Diamond Cut on the Mack Avenue label.

Having known her since she was a student at Spelman College, she has since worked with Beyonce, emerged to international acclaim on the jazz scene and landed as a professor on the faculty of Berklee College of Music, while still holding down a demanding career as a solo artist.

Track Listing | 62:24 All songs composed by Tia Fuller except where noted

  1. In the Trenches ~ 6:18
  2. Save Your Love for Me ~ 5:40
  3. I Love You ~ 6:22
  4. Queen Intuition ~ 6:01
  5. Joe’n Around ~ 4:15
  6. Crowns of Grey ~ 5:55
  7. The Coming ~ 6:59
  8. Soul Eyes ~ 5:40
  9. Delight ~ 5:02
  10. Fury of Da’mond ~ 4:00
  11. Tears of Santa Barbara ~ 4:25
  12. Joe’n Around (Alternate Take) ~ 3:07
The Players
  • Tia Fuller ~ saxophones
  • Adam Rogers ~ guitar
  • James Genus ~ bass
  • Bill Stewart ~ drums
  • Terri Lyne Carrington ~ percussion 7,8
  • Sam Yahel ~ organ 2,7
  • Jack DeJohnette ~ drums 4,5,7-9
  • Dave Holland ~ bass 4,5,7-9,11
Production Team
  • Terri Lyne Carrington ~ producer 
  • Gretchen Valade ~ executive producer
  • Sharon Green (4) ~ product manager
  • Will Wakefield ~ production manager
  • Margo M. Davis ~ production manager (for EP/LPG) 
  • Paul Antonell ~ recording engineer
  • Paul Blakemore (3) ~ mastering
  • Jeremy Loucas ~ mixing engineer
  • Dean David Albak ~ editor
  • Maria Ehrenreich ~ creative director
  • Al Pryor ~ a&r (evp of a&r)
  • Raj Naik ~ art direction, design
  • Samantha Reese ~ makeup
  • Steven Blank ~ photography, set designer
  • Jerris Madison ~ photography, wardrobe stylist

CALIFORNIA JAZZ FOUNDATION

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