Daily Dose Of Jazz…
George Dixon was born on April 8, 1909 in New Orleans, Louisiana but grew up throughout the South traveling with his father as he ministered. He began playing trumpet as a child, then while living in Natchez, Mississippi at age thirteen he began playing the violin. He would go on to study the instrument at Arkansas State College, where he picked up the alto saxophone.
Dixon’s move to Chicago in 1926 would have him playing with Sammy Stewart from 1928, including a tour of New York City in 1930. His longest and most important residency was with Earl Hines and for nearly twelve years he would play trumpet, saxophone and arrange for the band.
During World War II George led a Navy band in Memphis, Tennessee, then returned to Chicago playing with Floyd Campbell, Ted Eggleston and others. During the Forties into the next decade he led his own band at the Circle Inn. Never recording as a leader, from about the mid-1950s trumpeter and multi-instrumentalist George Dixon stopped playing full-time, though he continued to play occasionally up until his death on August 1, 1994.
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Requisites
Yardbird Suite ~ Frank Morgan Quartet | By Eddie Carter
A few evenings ago, I spent the time listening to a few saxophonist albums, and one in particular inspired thismorning’s discussion. I first heard Yardbird Suite (Contemporary Records C-14045) by the Frank Morgan Quartet on WNOP 740 AM, Cincinnati, Ohio’s then jazz station, when I lived there, and I forgot what an entertaining record it was. Recorded and released in 1988, it was my introduction to alto saxophonist Frank Morgan and was his seventh as a leader. On this homage to both bebop and Charlie Parker, Morgan is joined by an outstanding supporting cast: Mulgrew Miller on piano; Ron Carter on bass; and Al Foster on drums. The copy I own is the original U.S. Stereo Release.
The album opener is the title tune, Yardbird Suite by Charlie Parker. Mulgrew’s happy introduction sets the stage for the quartet’s lively melody. Frank opens with a splendid study of soulful improvisation, then Mulgrew relishes every moment of the following statement. Ron takes a short walk through the third reading, and Frank and Al share a brief conversation ahead of the group’s reprise and dead stop. The group maintains its swinging momentum with Night In Tunisia by Dizzy Gillespie and Frank Paparelli. Morgan takes the lead with a spirited solo, then Miller responds with a sizzling interpretation propelled by Carter and Foster into the theme’s restatement and soft summation.
Billie’s Bounce by Charlie Parker is taken at a medium pace and affords everyone solo space. The trio introduces the song, segueing into Frank's melody. Mulgrew leads the way with a vibrant performance. Frank soars joyously into the second solo, then Ron walks with spirit and vitality next. Frank and Al engage in a short exchange of ideas before the foursome’s closing chorus takes it out. Side Two opens with Star Eyes by Gene de Paul and Don Raye. The trio’s warmth and charm in their introduction lead to Morgan’s relaxed, mellow melody. He continues building the opening solo smoothly. Miller develops the following reading with finesse before the song concludes on an uplifting note.
The beat moves upward for Scrapple From The Apple by Charlie Parker, with the rhythm section’s introduction to Frank’s spirited theme. He then launches into the opening solo aggressively. Mulgrew takes over and hits an ideal groove in the following reading, then both soloists share a scintillating dialogue of musical ideas before the theme returns and the song ends. Skylark by Hoagy Carmichael and Johnny Mercer is one of the few songs Parker didn’t record during his lifetime. The quartet pays homage to the standard, beginning with the trio’s tender introduction to Morgan’s gorgeous melody. As the song’s only soloist, he creates an elegantly thoughtful interpretation ahead of the theme’s gentle reprise and close.
Orrin Keepnews produced Yardbird Suite, and Danny Kopelson was behind the recording console for this session. George Horn mastered the album, and it was recorded to and mastered from digital tape, using the Mitsubishi X-80 digital tape recorder. The album’s sound quality is superb, placing the musicians in the sweet spot of your listening room with a tremendous soundstage across the highs, midrange, and low end. If you’re in the mood for bop and are a fan of the alto saxophone, I invite you to check out Yardbird Suite by the Frank Morgan Quartet on your next record store visit. It’s an enjoyable album of great music by one of the jazz saxophonists, in my opinion, deserving of greater recognition!
~ Skylark, Star Eyes – Source: JazzStandards.com
© 2026 by Edward Thomas Carter
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GRACE KELLY
You loved her before, so we’re bringing her back. Grace Kelly is an unequivocal musical prodigy, singer-saxophonist-songwriter-composer, and band leader. She has rocked the jazz world with her joyous sold-out concerts, acclaimed albums and a resume that includes performing at the Hollywood Bowl and as part of the house band for “The Late Show with Stephen Colbert” – all before reaching her mid-twenties.
Kelly has performed and recorded with renowned artists including Lin Manuel- Miranda, Dave Brubeck, Phil Woods, Huey Lewis, Harry Connick Jr., Gloria Estefan, Questlove, and Wynton Marsalis. It will be an evening of joy-filled jazz!
Tickets: $76.70
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BOBBY WATSON QUARTET
Bobby Watson sits among the pantheon of present-day jazz greats. Born in Lawrence, Kansas, his career now spans more than four decades. A multi-Grammy-nominated saxophonist, composer, bandleader, educator and producer, Watson trained formally at the University of Miami and then, from 1977-1981, earned his “doctorate” as musical director of Art Blakey’s Jazz Messengers. During his four-plus years with the legendary drummer, the saxophonist contributed to 14 Jazz Messengers recordings, more than anyone else in the group’s 35-year (1955-1990) storied history.
Early on, in addition to Blakey, the saxophonist also worked with notable jazz icons and elder statesmen such as Max Roach, Louis Hayes, George Coleman and Sam Rivers, as well as sharing music experiences with innumerable noteworthy peers and colleagues as well as legendary vocalists such as Joe Williams, Lou Rawls, Betty Carter, Dianne Reeves and Carmen Lundy.
Not surprisingly, Watson has received a number of well-deserved awards that in various ways recognize his musical contributions throughout his career. In 2011 the saxophonist was inducted into the Kansas Music Hall of fame. In 2013 he received the prestigious Benny Golson Jazz Masters Award from Howard University in Washington, D.C. Simultaneously, the Black National Caucus officially recognized his work in the Congressional Record.
On August 23, 2014 – serendipitously Watson’s 61 st birthday – he was selected as one of the first inductees into the then-newly established 18th and Vine “Jazz Walk of Fame.” Joining him was Pat Metheny as the only other living selection; four of the city’s jazz cornerstones also received recognition: Count Basie, Jay McShann, Parker and Mary Lou Williams.<
The Band:
Bobby Watson / Alto Saxophone
Jordan Williams / Piano
urtis Lundy / Bass
ictor Jones / Drums
Admission: $40.00
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Daily Dose Of Jazz…
Herbert “Herb” Hall was born on March 28, 1907 in Reserve, Louisiana. He began on banjo and guitar with the Niles Jazz Band, then settled on reeds playing clarinet. In 1926 he played with Kid Augustin Victor in Baton Rouge, then moved to New Orleans the following year. Hall played briefly with trumpeter Sidney Desvigne’s outfit, and then teamed up with bandleader Don Albert played for many years from 1929-40. Following this stint he moved to San Antonio with him and remaining there until 1945.
After this Herb moved to Philadelphia playing with Herman Autrey; a few years later he was in New York, working with Doc Cheatham and toured Europe with Sammy Price in the mid-Fifties. He was a regular at the New York clubs of Jimmy Ryan and Eddie Condon in the late 1950s and 1960s. In 1968-69 he was on the road again touring with Wild Bill Davison’s Jazz Giants, and then a stint with an offshoot band of The Jazz Giants, called “Buzzy’s Jazz Family”.
Hall worked with Don Ewell, and appeared in Bob Greene’s Jelly Roll Morton revue show in the Seventies. Herb Hall, the highly skilled stylist, clarinetist, alto and baritone saxophonist who produced an impressive body of work, passed away on March 5, 1996.