Requisites

Still Hard Times ~ David “Fathead” Newman | By Eddie Carter

David “Fathead” Newman, a versatile multi-instrumentalist, enters this morning’s spotlight with his vastly underrated album, Still Hard Times (Muse Records MR 5283). This musical feast delights any jazz aficionado, offering a satisfying blend of David’s proficiency on the alto sax (track: B2), flute (B1, B3), soprano sax (A3), and tenor sax (A1, A2, B1). On his second Muse Records date, he joins forces with an talented ensemble of musicians: Charlie Miller on trumpet (A1, A2, B1, B2), Hank Crawford on alto sax (A1, A2, B1 to B3), Howard Johnson on baritone sax (A1, A2, B1, B2), Steve Nelson on vibraphone (A3, B3), Larry Willis on piano, Walter Booker on bass, and Jimmy Cobb on drums. My copy is the 1982 U.S. Stereo release.

The album opens with the septet’s introduction to Shana by David Newman, segueing into a mid-tempo melody that sets the mood. David indulges in delightful fun on a vibrant performance with playful energy and a lively tone. Larry adds an extra layer of excitement with a vibrant solo before the ensemble wraps up the song. Blisters by Hank Crawford opens with the rhythm section’s bluesy introduction, irresistibly getting your fingers snapping and your foot tapping. The theme starts as the front line launches this musical meal. Newman’s easygoing first course whets the appetite; then it’s on to Crawford, who delivers a splendid main course. Willis unfolds the perfect ending in a delicious treat for dessert, leading to the song’s conclusion.

Newman’s switch to the soprano sax for One For My Baby by Harold Arlen and Johnny Mercer is a moment of profound emotion. Larry introduces the jazz standard, ascending to David’s deeply poignant theme. He continues telling the melancholic story delicately. In the following tender presentation, Steve reveals the song’s melodic beauty, which precedes David’s serene fadeout. To Love Again is a beautiful ballad by Hank Crawford featuring “Fathead” in a heartfelt flute and tenor sax performance. Side Two opens with Newman’s flute introduction, followed by his gentle melody on the tenor sax with the ensemble in the background. In the song’s only solo, “Fathead” conveys heartwarming and precious thoughts in every note until the group returns for the gentle closing chorus.

The album’s title track, Still Hard Times by David Newman, places the leader on alto sax as the septet’s soulful theme begins. David leads off with an easy-flowing interpretation as enjoyable as something comfortable to wear. Larry brings a cheerful spontaneity to the second statement, complimenting David’s performance preceding the ending theme, which fades out gently. Percy Mayfield’s blues ballad, Please Send Me Someone To Love, receives a regal treatment by the sextet with Newman’s return to the flute, accompanied by Nelson’s vibes complementing the rhythm section as “Fathead” unveils the melody. The highlight is Crawford’s funky down-home performance until the group’s theme reprise and finale!

Still Hard Times was produced by Michael Cuscuna. Vince Traina was behind the dials of the recording, and Joe Brescio mastered the album. It has superb sound quality, with a rich soundstage transporting the listener to the studio as the musicians perform. David “Fathead” Newman’s versatility is remarkable, and the rhythm section’s steady foundation enhances the front line’s performance throughout each track. Whether you’re a soul jazz fan or discovering his music, I highly recommend checking out Still Hard Times by David “Fathead” Newman on your next record hunt. It’s a perfect album for a relaxing evening with friends or when enjoying the quiet, listening alone. It’s become a cherished part of my library, and I hope that after you hear it, it will become a treasured part of yours!

One For My Baby, Please Send Me Someone To Love – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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KENNY GARRETT

Newly named an NEA Jazz Master in 2023, saxophonist Kenny Garrett is one of the most powerfully expressive, uplifting, and influential instrumentalists and bandleaders of our time. Kenny’s fiery quintet swings into Keystone Korner Baltimore for 2 nights, Saturday & Sunday, April 26th & 27th, to celebrate his latest release, Sounds From The Ancestors, which reflects the rich jazz, R&B, and gospel history of his hometown of Detroit and deeply resonates with the Afro-Caribbean rhythms of Cuba, Nigeria and Guadeloupe.

With his illustrious career that includes hallmark stints with Miles Davis, Art Blakey and The Jazz Messengers, Donald Byrd, Freddie Hubbard, Woody Shaw and the Duke Ellington Orchestra, as well as a heralded career as a solo artist that began more than 30 years ago, Kenny Garrett is easily recognized as one of modern jazz’s brightest and most influential living masters. And with the marvelous Sounds From The Ancestors, the GRAMMY® Award-winning Garrett shows no signs of resting on his laurels.

Kenny Garrett ~ saxophones
Keith Brown ~ piano
Corcoran Holt ~ bass
Rudy Bird ~ percussion
Ronald Bruner ~ drums
Melvin Santa ~ vocals & keys

Tickets: $45 – $55 | $4.16 – $4.86 Fees

Shows: Saturday ~ 6:00pm & 8:30pm | Sunday ~ 5:00pm & 7:30pm

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SALUTE TO FREDDIE HUBBARD & CANNONBALL ADDERLEY

Among the giants of jazz’s hard-bop and post-bop eras, Freddie Hubbard and Cannonball Adderley were distinctive pacesetters who stretched their talents while still making exciting, accessible music.

Their profound influence on contemporary headliners trumpeter Jeremy Pelt and saxophonist Vincent Herring cannot be underestimated and this all-star quintet pays tribute to their massive contributions. Last year, Herring and Pelt collaborated with other top NY musicians forming the supergroup Something Else!, named after a classic Cannonball recording.

The Players: Jeremy Pelt ~ Trumpet |  Vincent Herring ~ Saxophone | Rick Germanson ~ Piano | Richie Goods ~ Bass | Louis Hayes ~ Drums

Tickets: $35.00 +fee

Saturday 7:00pm Show Sold Out

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BILL EASLEY TRIO

He began playing music at the age of 13 and studied at Memphis State University during the 1960s. Easley worked with George Benson in the late 1960s and with Isaac Hayes in the 1970s. He also did sessions at Stax and Hi Records with Ann Peebles and Al Green). He moved back to New York in 1980.

He has worked with Roland Hanna, Jimmy McGriff, Jimmy Smith, Ruth Brown, James Williams, Bill Mobley, George Caldwell, Mulgrew Miller, Grady Tate, Victor Gaskin, Panama Francis, Mercer Ellington, and Billy Higgins.

Bill Easley ~ Alto & Tenor Saxophone | Dino Losito ~ Organ | Jimmy Johns ~ Drums

Tickets: $17.00

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Daily Dose Of Jazz…

Harvey Wainapel  was born in Ellenville, New York on March 31, 1951. Growing up in the small town in the Catskills, he started his musical journey on clarinet at the age of eight. By high school he discovered jazz by playing along with tunes on New York City radio stations. Longing to play saxophone he didn’t get his first horn, an alto, until his freshman year at the University of Pennsylvania. Working at the college radio station, he discovered the music of Cannonball Adderley, John Coltrane and Joe Henderson.

Initially intending to follow the family tradition of pursuing a career in medicine or science, he ended up taking the plunge into music at Berklee in 1971. It was a heady era, and Wainapel played with fellow students, guitarist John Scofield, pianist Kenny Werner, trumpeter Claudio Roditi, and tenor saxophonist Joe Lovano.

During his Boston years Harvey recorded and performed in Carnegie Hall with vibraphonist Gary Burton. After two years at Berklee he toured Tunisia with drummer Jamey Haddad, and made the trip to North Africa. Settling in Amsterdam, Netherlands he made a living before moving to Frankfurt, Germany with the HR Radio Big Band.

By 1979 he returned stateside, landing in New York City, and became enamored with Brazilian music. He quickly landed a gig playing with Thiago de Melo, alongside drummer Duduka da Fonseca, trumpeter Roditi and pianist Marcos Silva, the latter turning Wainapel on to other Brazilian artists. ​Not cut out for the city, he relocated to the San Francisco Bay Area, after a year on the road with Ray Charles. He became one of the most in-de-mand players in the region while keeping his European presence. Back at home, Wainapel can often be found playing Brazilian music, performing with Rio-born vocal improviser Claudia Villela.

Saxophonist and clarinetist Harvey Wainapel, who debuted as a leader with 1994’s At Home/On the Road, leads his own post-bop combos, freelances extensively, and performs with Beth Custer’s Clarinet Thing.

CALIFORNIA JAZZ FOUNDATION

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