The Jazz Voyager
Leaving Miami for the cold climes of our nation’s capital and heading to my old stomping grounds that have been gentrified and transformed into a multicultural hangout. The laction is U Street, the venue is JoJo Restaurant & Bar. This is where the Jazz Voyager will be spending an evening dining on calamari and grilled vegetables while taking in some great jazz.
On tap for this week’s adventure in jazz is the Tedd Baker Trio who is bringing his trio to the stage. The Boston native has been playing professionally since he was a teenager around the city before venturing out. He has worked with a host of musicians such as Barry Harris, David Sanborn, Arturo Sandoval, Slide Hampton, Eddie Daniels, George Duke, Victor Lewis, Orrin Evans, Jason Moran, Wycliffe Gordon, and Kurt Elling.
JoJo Restaurant & Bar is located at 1518 U Street NW, Washington, DC 20009. For more information visit https://www.jojodc.com.
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Daily Dose Of Jazz…
Ze Luis was born José Luis Segneri Oliveira was born December 17, 1957 in Rio de Janeiro, Brazil and as a child lived next to Antonio Carlos Jobim in the historic Ipanema neighborhood. Early on Oliveira began playing flute and he graduated from Pro-Art Conservatoire in flute and traditional harmony in 1975. Two years later he continued his studies in Performance Arts at Villa-Lobos Institute and soon after studied with renowned Brazilian saxophonist and clarinet player Paulo Moura.
The mid-70s saw him becoming heavily influenced by the album Native Dancer, a collaboration between Wayne Shorter and Milton Nascimento. He was also drawn to the music of Ian Anderson, leader and flutist of the British band Jethro Tull.
Zé’s first professional engagement began with Brazilian vocalists Ney Matogrosso and Luiz Melodia. Oliveira met pianist Tomás Improta while working with Brazilian actress and singer Zezé Motta, who at that time was working with emerging Caetano Veloso and recorded on his album and eventually joined Veloso’s newly formed band.
During this time Oliveira worked extensively with Gilberto Gil, The Wailers, Chico & Caetano on Globo TV and played with Chico Buarque, Rita Lee, Milton Nascimento, João Bosco, Elza Soares, and Mercedes Sosa.
He moved to New York City in 1990 and began studying with saxophonists Joe Lovano and Ted Nash at New York University. In 2004, Oliveira received his Masters in Composition and Arranging from the Juilliard School. His career includes multiple Grammy Award nominations.
Throughout the 1990s, Oliveira continued to record and perform with hundreds of artists from different genres, composed and performed for choreographer and dancer Patricia Hoffbauer and became a part of the New York Samba Band with Duduka da Fonseca, Romero Lubambo, Cyro Baptista and Nilson Matta.
Saxophonist and flutist Zé Luis Oliveira is the current producer of Just Play, a traveling improvisational music series and global storytelling project.
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EITHER/ORCHESTRA
In the decades since the Either/Orchestra debuted on December 17, 1985 at the Cambridge MA Public Library, the group has made over 1000 performances in 38 of the United States and 12 foreign countries, as well as releasing a dozen albums and being nominated for a Grammy, winning five Boston Music awards and numerous Downbeat Critics Poll placements, among many other honors. From prestigious festivals like Glastonbury Pop and Chicago Jazz to tiny clubs, schools and churches in out of the way places, the group has been “dependably marvelous,” according to the Village Voice.
No obstacles deterred leader Russ Gershon and his intrepid musical explorers from visiting new musical worlds – until the Covid pandemic. The band’s most recent performance was in December of 2019 at Tufts U., with one of their distinguished Ethiopian collaborators, vocalist Teshome Mitiku. But now, they’re coming back!
To celebrate the exact 40th anniversary of their first show, the Either/Orchestra returns to the stage not a mile from where they started. The E/O began playing the Regattabar when the club was band new in the ’90’s. There is no better and more appropriate venue for them to inaugurate their fifth decade.
The E/O will be making selections from their vast catalog of originals and original arrangements of classic and obscure jazz, as well as dipping into their unparalleled repertoire of Ethiopian music in honor of their upcoming release, éthiopiques 32: Nalbandian the Ethiopian.
Their second release on the legendary éthiopiques series features music by Nerses Nalbandian, a teenage refugee of the Armenian genocide who rose to become music director of Emperor of Ethiopia Haile Selassie’s National Theater in Addis Ababa. Nalbandian’s interest in American music helped set the stage for the birth of the modern Ethiopian pop music which has bewitched music aficionados the world over the past couple of decades. His music has seldom been played since the totalitarian revolution which deposed Haile Selassie in 1974, and the E/O was asked by the Nalbandian family and éthiopiques producer Frances Falceto to reconstruct and play it at the National Theater of Ethiopia. The album is a record of that labor of love.
E/O personnel:
Tom Halter | trumpet
Dan Rosenthal | trumpet
Joel Yennior | trombone
Sam Spear | alto sax
Russ Gershon | tenor sax
Charlie Kohlhase | baritone sax
Alexei Tsiganov | piano
Rick McLaughlin | bass
Brooke Sofferman | drums
Vicente Lebron | congas
Cover: Sold Out
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TEDD BAKER TRIO
Tedd Baker has worked with a wide variety of jazz greats and contemporary artists including Barry Harris, David Sanborn, Arturo Sandoval, Slide Hampton, Eddie Daniels, George Duke, Victor Lewis, Orrin Evans, Jason Moran, Wycliffe Gordon, Kurt Elling, Allison Miller, Fitz and The Tantrums, Sean Jones, Michael Mossman, Warren Wolf, 8-Bit Big Band, Ryles Jazz Orchestra w Jon Faddis, Artie Shaw Orchestra, and Donny McCaslin among others. He has also recorded with David Sanborn, Bobby Caldwell (“After Dark”), New York Voices (“Let It Snow”), Bohemian Caverns All-Stars, Amina Figarova Sextet, and the Smithsonian Jazz Masterworks Orchestra under the direction of David Baker.
He began playing professionally around Boston’s Back Bay, North End, and downtown in his teens. In 2000 he won the Hilton Head Jazz Society Competition and led a quartet of past awardees. In 2001 he toured 8 weeks in South America, Central America, and Jamaica for the State Department Jazz Ambassador Program as part of the Richard Johnson trio. In 2002 he joined the Airmen of Note, USAF Premier Band, Washington, D.C. and has been featured on many of the “Note’s” performances and recordings.
Dining & Jazz Cover: $10.00 per person
Bar & Jazz: No Cover
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Requisites
That’s Where It’s At ~ Stanley Turrentine | By Eddie Carter
Stanley Turrentine was an exceptionally prolific tenor saxophonist who garnered numerous admirers throughout his career. He is widely recognized as a key contributor to the evolution of blues-inspired hard bop and soul jazz, as well as a trailblazer in smooth jazz. This morning’s featured album submitted for your approval is a 1962 release, That’s Where It’s At (Blue Note BLP 4096/BST 84096). This record was his second collaboration with pianist Les McCann and bassist Herbie Lewis, coming on the heels of their live performance at the Village Gate just a week prior. Drummer Otis Finch completes this dynamic quartet. The copy in my library is the 2020 Blue Note Tone Poet Series stereo reissue, which maintains the original catalog number.
The album opener, Smile, Stacey by Les McCann, begins with a brief dialogue between Stanley and Les that leads into the foursome’s theme. Stanley takes charge first, delivering a driving energy and brisk articulation. Les then swings in for the second interpretation. Herbie takes a short, sharply executed walk next, which Les finishes, then
Stanley and Les share a brief exchange with Otis before the ensemble’s soft fadeout. The quartet then cools down for Soft Pedal Blues by Stanley Turrentine, which starts with the trio’s slow-burning, soulful intro. Turrentine’s notes are placed with thoughtful precision during the melody and opening statement. McCann caresses each note of the second solo, and Turrentine delicately shapes a final comment into the theme’s restatement and slow fade.
Pia by Les McCann begins with the quartet easing into a mellow groove as the melody is introduced. Les initiates the solos with some good down-home cooking. Stanley steps in next, maintaining the calm atmosphere with a thoughtful message before the ensemble reunites for the closing chorus, which gently fades away. We’ll See Yaw’ll After While, Ya Heah by Les McCann is the pianist’s lively composition with a distinctly Southern flavor. After the quartet’s theme gets things off to a good start, Turrentine leads off the first solo, delivering each verse with precise articulation. McCann responds with a spirited interpretation that gets listeners tapping their feet and grinning along until the group’s return for the ending theme.
The tempo slows down again for Dorene, Don’t Cry, I, by Les McCann, a haunting ballad that begins with the ensemble’s beautiful melody. Stanley fully embraces the opening statement by gently attending to every note with careful lyricism and sensitivity. Les follows with something significant to say in a gorgeous performance preceding the tender reprise and close. Light Blue, by Stanley’s brother, Tommy Turrentine, brings this entertaining album to a close with a lightly swinging melody that invites listeners to sit back and enjoy the ride. McCann takes the lead with a loose, relaxed reading, then Lewis provides a few moments of pure joy. Turrentine offers the final memorable moment ahead of the group’s out chorus.
Alfred Lion produced the initial session of That’s Where It’s At, and Rudy Van Gelder was behind the dials of the recording. Joe Harley supervised the audiophile reissue, and Kevin Gray mastered the album from the original analog tapes at Cohearant Audio. The album’s sound quality is outstanding, with a stunning soundstage that transports the musicians to the sweet spot in your listening room with superb fidelity. The record was pressed on 180-gram Virgin Vinyl at RTI and is dead silent until the music begins. You’re also getting high-definition gatefold photos and superb cover packaging worthy of hanging on the wall. If you’re already a member of the Stanley Turrentine or Les McCann fan club, I highly recommend That’s Where It’s At on your next record hunt. If you aren’t already familiar with either musician, this record is an excellent introduction to their extensive discographies!
~ Les McCann Ltd. In New York (Pacific Jazz PJ-45/ST 45) – Source: Discogs.com © 2025 by Edward Thomas Carter
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