Daily Dose Of Jazz…
Philip L. Bodner was born June 13, 1917 in Waterbury, Connecticut and played in the Forties and 1950s as a sideman for studio recordings in New York City. He played on jazz sessions with Benny Goodman, with Miles Davis and Gil Evans in 1958.
Organizing The Brass Ring, a group modeled after Herb Alpert, in the mid-1960s they had popular success. Bodner also played with Oliver Nelson and J.J. Johnson during that decade. His associations in the 1970s included Oscar Peterson, Yusef Lateef, Peanuts Hucko, Wild Bill Davison, Ralph Sutton and he also played the signature piccolo part on the disco hit The Hustle by Van McCoy. Other work in the 1970s included playing with Ralph Sutton and Johnny Varro, working with Mingus Epitaph, and arranging Louie Bellson’s tribute to Duke Ellington’s Black, Brown and Beige.
The 1980s saw him working in a swing style with Marty Napoleon, Mel Lewis, George Duvivier, Maxine Sullivan, and Barbara Carroll. He released an album under his own name, Jammin’ at Phil’s Place, on Jazzmania Records in 1990, with Milt Hinton, Bobby Rosengarden, and Derek Smith as sidemen.
Multi-instrumentalist and studio musician Philip Bodner, active in jazz and popular music idioms. Best known as a reedist, he played clarinet, saxophone, oboe, English horn, piccolo, flute, conductor and arranger passed away on February 24, 2008 at age 90 in New York City.
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Daily Dose Of Jazz…
Bob Gordon was born in St. Louis, Missouri on June 11, 1928. Moving to Los Angeles, California in 1948 he studied at Westlake College of Music. Becoming a part of the West Coast jazz scene he was best known as a sideman for musicians like Stan Kenton, Shelly Manne, Chet Baker, Maynard Ferguson, Shorty Rogers, Spud Murphy, Red Norvo, Bill Holman, Dave Pell, Herbie Harper, and Jack Montrose.
In May 1954, only a few weeks before the sessions with Clifford Brown, Gordon recorded as a leader for Pacific Jazz titled Meet Mr. Gordon. As a co-leader, he recorded another five during his short career,
Cool jazz baritone saxophonist Bob Gordon passed away in a car accident on his way to playing at a Pete Rugolo concert in San Diego, California on August 28, 1955. He was 27.
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Requisites
Cliff Craft~Cliff Jordan | By Eddie Carter
Submitted for your approval to begin this morning’s discussion is a pleasant album that was loaned to me to audition by tenor saxophonist, Cliff Jordan. Cliff Craft (BLP 1582) is the third and final album the Chicagoan would record for Blue Note following his debut with tenor man John Gilmore, Blowin’ In From Chicago, and his self-titled album, Cliff Jordan, all three were released in 1957. My copy used in this report is the 2011 Music Matters 45-rpm Stereo audiophile reissue (MMBST-81582)! The first true Stereo reissue of Cliff Craft was discovered in Blue Note’s vaults, thanks to a master tape Rudy Van Gelder made that was released by Classic Records in 1999.
Backing him on this LP is one of my favorite musicians, Art Farmer on trumpet; alongside Sonny Clark on piano; George Tucker on bass and Louis Hayes on drums. Record One begins with Laconia, Jordan’s middle name starts with a Latin flavor on the melody that’s sheer magic. Art solos first, delivering an expressive opening solo reminiscent of Miles Davis’ sound on Round About Midnight, also released in 1957. Sonny takes the next interpretation with youthful energy as smooth as velvet; Cliff closes with a mellow tone on the final performance that’s vividly imaginative and right on the beat.
Soul-Lo Blues, the second Jordan tune occupies Side Two and starts with an impressive bass line by Tucker who’s joined briefly by Clark, then the ensemble on the main theme. Jordan shows his prowess on the first statement with an illuminating exploration that strives forward at a smooth flow. Farmer mesmerizes with impeccable chops on the second easy-going interpretation. Clark continues this bluesy adventure, swinging comfortably on the third reading, inspiring Tucker who makes a significant contribution on the closer with a relaxed delivery before a splendid closing chorus by the ensemble.
Record Two opens with the title tune, Cliff Craft by the saxophonist comes out the gate quickly with a rapid introduction and melody. Cliff takes off first with a strong performance that fuels the rhythm section with a rocking beat. Art follows with a dazzling presentation of passionate exhilaration on the next solo. Sonny responds to the previous statements with radiant verses that follow one another with confident assurance. Louis shines last in an engaging conversation with Farmer and Jordan ahead of the finale.
Up next is Confirmation by Charlie Parker that opens with Sonny playing a few bars before the quintet’s vivacious delivery of the melody. Jordan is up first with a lead solo that shows the joy in his playing and that his music comes from the heart. Farmer puts some fresh clothes on this bebop anthem with a soulful tone, then Clark instills the third interpretation with energetic exuberance supported by the solid supplement of Tucker and Hayes. The drummer gives the final statement a spirited workout illustrating his impeccable sense of time while trading choruses with Farmer and Jordan before the out-chorus and concise punctuation by Tucker at the song’s climax.
The final side starts with Sophisticated Lady by Duke Ellington, Irving Mills, and Mitchell Parish. The 1933 standard is a quartet performance handled with tender finesse by Jordan, Clark, Tucker, and Hayes. Cliff opens with a smoky, sultry reading, then Sonny follows with a regal interpretation that’s delicately gentle. George culminates the statements with a tender touch of elegance, and Louis binds the song together with compassionate timekeeping into a pretty coda.
Anthropology by Charlie Parker and Dizzy Gillespie was composed in 1945 and originally titled, Thriving From a Riff. The ensemble is firing on all cylinders for this brisk swinger; both horns fire the first shot beginning the introduction and opening chorus. Farmer takes charge first with a prodigious performance that sets the tone. Jordan is up next with a sprightly reading, then comes Clark who’s bright, lively, and cheerful on the third solo. The front line returns to exchange a few choruses with Hayes who makes the perfect comment into the out-chorus. The quality and care that go into the MMJ reissues are well-known among jazz lovers and audiophiles.
There’s the excellent remastering of Rudy Van Gelder’s analog tapes utilizing 180-gram Virgin Vinyl. Also, the high-quality of the gatefold covers and superb photography inside the gatefold could hang on the wall in your listening room. The music on Cliff Craft is exquisitely recorded with a sensational soundstage that one could listen to repeatedly. If you’re a fan of tenor sax, Hard-Bop, or in the mood for an album perfect for late-night listening, I submit for your consideration Cliff Craft by Cliff Jordan. It’s a solid record that’s capable of smoothing the rough edges from your day and enjoy with your favorite drink!
~ Blowin’ In From Chicago (Blue Note BLP 1547); Cliff Craft (BST 81582); Cliff Jordan (BLP 1565); Round About Midnight (Columbia CL 949) – Source: Discogs.com ~Confirmation, Sophisticated Lady, Anthropology – Source: JazzStandards.com ~© 2020 by Edward Thomas Carter Synopsis
Cliff Craft is an album by American jazz saxophonist Clifford Jordan featuring performances recorded at Rudy Van Gelder Studio in Hackensack, New Jersey on November 10, 1957 and released on the Blue Note label. Track Listing | 43:18
- Laconia ~ 7:06
- Soul-Lo Blues ~ 8:29
- Cliff Craft ~ 6:30
- Confirmation (Charlie Parker) ~ 7:34
- Sophisticated Lady (Duke Ellington, Irving Mills, Mitchell Parish) ~ 6:46
- Anthropology (Dizzy Gillespie, Parker) ~ 7:03
- Clifford Jordan – tenor saxophone
- Art Farmer – trumpet (tracks 1-4 & 6)
- Sonny Clark – piano
- George Tucker – bass
- Louis Hayes – drums
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Daily Dose Of Jazz…
Glenn Gray Knoblauch was born on June 7, 1900 in Metamora, Illinois. Known professionally as Glen Gray, his father was a saloon keeper and railroad worker who died when he was two years of age. Along with an older sister, his widowed mother remarried a coal miner and moved her family to Roanoke. He went on to graduate from Roanoke High School, in 1917 where he played basketball and acquired his nickname, Spike.
Glen attended the American Conservatory of Music in 1921 but left during his first year to go to Peoria, Illinois, to play with George Haschert’s orchestra. From 1924 to 1929, he played with several orchestras in Detroit, Michigan.
In 1956, he went back into the studio to record the first of what became a series of LPs for Capitol Records, which recreated the sounds of the big band era in stereo. Casa Loma in Hi-Fi was the result, with 14 high-fidelity recordings.
Swing saxophonist Glen Gray passed away from lymphoma on August 23, 1963 in Plymouth, Massachusetts aged 63.
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Daily Dose Of Jazz…
Grant Stewart was born in Toronto, Ontario, Canada on June 4, 1971. His father was a part-time jazz guitarist and at age ten, he played alto saxophone solos from saxophonists Charlie Parker, Coleman Hawkins, and Wardell Gray that had been transcribed by his father. In his early teens, he was gaining experience with such artists as Pat LaBarbera and Bob Mover. By 18 he was leading a quartet in Toronto and had a regular gig at C’est What café and pub.
A move to New York City when he was 19 saw Grant working with guitarist Peter Bernstein and saxophonist Jesse Davis. He then began playing at Smalls Jazz Club from when it opened in 1993. His younger brother, Philip, has been his drummer since 2005.
For his 2007 recording Young at Heart, Stewart chose some challenging compositions, including by Elmo Hope and Neal Hefti, as well as originals. On Around the Corner in 2010, Stewart also played soprano sax.
Saxophonist Grant Stewart continues to play steady swinging hard bop, with a current catalog of seventeen albums as a leader and has recorded with Ehud Asherie and John Swana.
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