HARRY ALLEN & ROSSANO SPORTIELLO

Award-winning pianist, composer and educator, Rossano Sportiello is one of the world’s leading jazz piano players on the scene today, specialized in the styles from Harlem Stride Piano to Bebop to Contemporary Jazz.

A swinging jazz saxophonist, Harry Allen is a highly regarded performer whose musical inspiration and interpretive approach come from the giants and innovators of mainstream saxophone, including Coleman Hawkins, Ben Webster, Stan Getz, Illinois Jacquet, and Lester Young. Unlike many of his contemporaries, Allen has generally eschewed the modern, avant-garde, and impressionist schools of jazz of John Coltrane, Archie Shepp, and Ornette Coleman.

***Dinner is required with all reservations.

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Night Work ~ Sonny Stitt And The Giants | By Eddie Carter 

As a teenager growing up in the late sixties and early seventies, I was exposed to and enjoyed many different jazz saxophonists, thanks to my Mom and my uncles Ben, Bob, Emmanuel, and Mr. Leo Mintz. Sonny Stitt has always been one of my favorites. He enters this morning’s spotlight with Night Work (Black Lion Records BLP 30154) by Sonny Stitt and The Giants. It was initially recorded in 1967 but not released until 1974. Sonny Stitt is featured on alto sax (A1, A2, B1, B4), and the other giants are Howard McGhee (tracks: A1, A2, B3, B4) on trumpet, Walter Bishop Jr. on piano, Tommy Potter on bass, and Kenny Clarke on drums. My copy is the U.S. Stereo release (Black Lion BL-307).

The opener, Night Work by Howard McGhee, is an upbeat invitation to sit back, relax and ride the rhythm of the ensemble’s swift melody into Sonny’s opening solo. Howard has the next spot and delivers the goods with considerable agility, followed by Walter’s impeccably delivered reading. Howard and Sonny join forces to exchange a few ideas together before Kenny joins their conversation, leading to the reprise and ending. Matter Horns by the team of Eiger and Jungfrau slows the pace to mid-tempo for Stitt’s easygoing theme and relaxing opening statement. Howard comes in next with a pleasantly flowing solo. Walter continues the bluesy groove in the third reading. Tommy and Kenny add a great deal of pleasure to the next two interpretations ahead of the quintet, trading a few riffs together before the climax.

The second side starts with a gorgeous quartet rendition of Loverman by Jimmy Davis, Roger Ramirez, and Jimmy Sherman. It is a beautiful jazz standard that Sonny and the rhythm section begin with their exquisite melody. Sonny captures the standard’s delicacy and tenderness in the song’s lone interpretation preceding the foursome’s elegant conclusion. Both horns take a break for the rhythm section’s lovely version of Satin Doll by Duke Ellington, Billy Strayhorn, and Johnny Mercer. Walter shows a great deal of respect to Duke as he leads the trio through the introduction and melody. He continues making a personal impression on the song’s solo while Tommy and Kenny provide the support ahead of the theme’s restatement and close.

Howard steps into the spotlight with the rhythm section for Don’t Blame Me by Jimmy McHugh and Dorothy Fields. The trumpeter’s piercing tone penetrates the introduction before settling down for a pretty melody. Howard has an exceptionally fine spot as the song’s only soloist, complemented by the trio’s accompaniment culminating in a tender finale. Hello by Howard McGhee brings the album to a close and this song will remind listeners of Milt Jackson’s Bags’ Groove. McGhee’s muted trumpet shares the duties with Stitt during the melody. McGhee steps up first with an excellent muted solo. Bishop gets something cooking in the second statement, and then Stitt takes the spotlight next. Clarke gets the last word in an exchange with both horns ahead of the theme’s reprise and ending.

Alan Bates produced Night Work, and Helmuth Kolbe was behind the dials of the recording. The album’s sound quality is quite good with a solid soundstage that transports the listener to the studio as the musicians are playing. Sonny Stitt was one of the best jazz saxophonists, with a career lasting nearly four decades and a recorded discography of over one hundred albums. He was also proficient on the tenor sax and baritone sax. This is one of his best records, in my opinion, and if you are in the mood for a great sax album, I invite you to check out Night Work by Sonny Stitt and The Giants on your next record-shopping trip. If you’re looking to start a collection of his music, it’s worth seeking out for your library and a title I’m sure you’ll enjoy!

~ Don’t Blame Me, Loverman, Satin Doll – Source: JazzStandards.com

© 2024 by Edward Thomas Carter



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Jazz Voyager

It’s been a few years since the Jazz Voyager has been on the other side of the Atlantic but this week begins the tradition anew. I’ll be heading across the pond to experience a new city and a new venue. The city is Warsaw, the country is Poland, and the venue is Jassmine. It is an intimate place that fills the gap, embodying the history of a genre that has always neatly balanced on the thin line between elegance and freedom, concentration and element, reflection and downright ecstatic fun.

An old favorite alto saxophonist Vincent Herring will be performing tomorrow night who I haven’t seen in more years than I care to remember. With Joris Dudli the two musicians recall their long and fruitful collaboration with their latest, highly anticipated release Soul Chemistry. Together with rising star Erena Terakubo on saxophones, New York masters Gary Fisher on piano and Essiet Essiet on bass, this group has the perfect chemistry to create the intense, always soulful jazz of today.

The venue is located two floors below the intersection of Koszykowa and Wilcza, at Wilcza 7300-670. For more info go to https://notoriousjazz.com/event/vincent-herring-soul-chemistry.

ROBYN B. NASH

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Xocia’s Dance (Sue-sha’s Dance) ~ Harold Land | By Eddie Carter  

Harold Land takes the stage for this morning’s discussion with an excellent hard bop album, Xocia’s Dance (Sue-sha’s Dance) (Muse Records MR 5272). He was one of the best West Coast tenor saxophonists during the fifties and sixties. His resume includes playing with the Clifford Brown/Max Roach Quintet, The Curtis Counce Group, The Gerald Wilson Orchestra, and The Timeless All-Stars. Xocia’s Dance reunites Harold with Bobby Hutcherson, who co-led a quintet with him thirteen years earlier. He is joined on this date by Oscar Brashear on flugelhorn (track: B2) and trumpet (A1 to A3), Bobby Hutcherson (A2, A3, B2) on vibes, George Cables on piano, John Heard on bass, Billy Higgins on drums, and Ray Armando (B1) on percussion. My copy is the original 1982 U.S. Stereo release.

Side One opens with Dark Mood, an original by Harold Land that is introduced by the trio ahead of the quintet’s lively theme. Harold gets things started, and then Oscar follows with a clearly inspired performance. George approaches the third reading with driving enthusiasm; then, all three soloists share a moment before the closing chorus and vibrant ending. Daisy Forever is a pretty tune by Oscar Brashear that Bobby gets started ahead of the group’s lovely melody. Brashear leads the way with a solo of seductive warmth; then, Land shows great care in the following reading. Hutcherson enters for the first time and delivers a beautiful interpretation. Cables provides the final gentle verses leading to the group’s closing chorus and slow dissolve.

Xocia’s Dance (Sue-sha’s Dance) comes from the pen of Harold Land, Jr., and the pace moves upward to a lively beat. The trio’s introduction heads toward the ensemble’s medium theme. Harold Sr. has the first solo and gets into a remarkable groove. Oscar answers him with a tasty reading as sweet as honey, and then George provides an exclamation point into the theme’s restatement and close. Side Two opens with Ah, I See, a beautiful tune by Charles Tolliver that starts with Harold’s and Bobby’s tranquil yet haunting theme. Land picks up the pace for a sweetly melodic opening statement, then gives way to Hutcherson’s delightful interpretation. Cables comes in softly and with feeling next before Harold returns for a restrained ending.

The album ends with a romantic postscript by Harold Land. To Lydia, With Love is a touching tribute to his wife and the mood is delicately expressed in the introduction and theme. Harold begins the opening solo lovingly, succeeded by Bobby’s equally thoughtful reading. Oscar’s flugelhorn delights with a beautiful statement. George conveys the feeling of everlasting love in a short anecdote ahead of the ensemble’s closing chorus and fadeout. Esmond Edwards produced Xocia’s Dance, and Jim Mooney was the recording engineer. The album’s sound quality is good, except for a bit of harshness during the piano solo on Ah, I See. The music, however, is terrific and quite capable of brightening anyone’s mood after a long day or week.

In addition to Xocia’s Dance, Harold Land recorded fourteen albums as a leader and appeared in some of the best jazz albums as a sideman. He co-led groups with Billy Higgins, Blue Mitchell, and Red Mitchell. Land later became a professor at the University of California and joined the UCLA Jazz Studies. He passed away on July 27, 2001, from a stroke at age seventy-two but is still remembered as a brilliant improviser and one of the best to play the tenor sax. If you’re a fan of West Coast jazz, I invite you to check out Xocia’s Dance (Sue-sha’s Dance) by Harold Land on your next record shopping trip. It’s a hidden gem in his discography and a personally satisfying album that I can happily recommend for a spot in your library!

~ Harold Land – Source: Wikipedia.org © 2024 by Edward Thomas Carter

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ATLANTA JAZZ FESTIVAL

Atlanta Jazz Festival is regarded as one of the largest FREE jazz festivals in the country. An annual celebration of the music, culture and art of jazz begins in April and culminates each Memorial Day weekend, with an outdoor festival featuring jazz artists from all over the world.

Established in 1978, the Atlanta Jazz Festival has become a tradition that draws music lovers from all around the region to experience the latest and greatest in jazz music culture. Mayor Maynard Jackson founded the original jazz festival with the idea to spotlight jazz in the city, because, as he said, “Jazz music is America’s only original art form, and…Atlanta, with its growing reputation as an international center of the arts and education, has both the opportunity and the responsibility to promote an art form whose roots are indigenous to the South.”

Since then, Atlanta Jazz Festival has hosted luminaries of the jazz music tradition including, Lionel Hampton (1980), Dizzy Gillespie (1988/1990), Wynton Marsalis (1989), Nina Simone (2000), Ray Charles (2002), Miles Davis (1983), Herbie Hancock (2000) and many, many more.

The city’s commitment to present a free jazz festival, as it was originally named “The Atlanta Free Jazz Festival,” is representative of a commitment to ensure that everyone who resides in and visits Atlanta will have easy access to high quality cultural experiences.

Lineup:

1 PM – OKAN

3 PM – LUCA CIARLA TRIO

5 PM – JACQUES SCHWARZ-BART

7 PM – OLATUJA

9 PM – PAQUITO D’RIVERA

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