JANE IRA BLOOM
Soaring, poetic, quick silver, spontaneous and instantly identifiable are words used to describe the soprano sound of saxophonist Jane Ira Bloom. She has been developing her singular voice on the soprano saxophone for over 45 years.
She is a pioneer in the use of live electronics and movement in jazz. Winner of the Guggenheim Fellowship for music composition, the Downbeat International Critics Poll & Jazz Journalists Association Award for soprano saxophone, the Mary Lou Williams Award for lifetime service to jazz and the Charlie Parker Fellowship for jazz innovation.
She is the first musician ever commissioned by the NASA Art Program and has an asteroid named in her honor by the International Astronomical Union (asteroid: 6083janeirabloom). Her critically acclaimed Cd “Early Americans” received a Grammy Award for Best Surround Sound Album and made numerous year end best lists.
Her duo release with bassist Mark Helias “Some Kind of Tomorrow” was featured on NPR’s Fresh Air and received 4 stars from Downbeat Magazine. Her critically acclaimed duo projects “Tues Days” with drummer Allison Miller and “See Our Way” with Helias and trio project with Helias and Bobby Previte “2.3.23” all appear on Bandcamp. Picturing the Invisible her latest project featuring duets w/ Allison Miller, Miya Masaoka, & Mark Helias was nominated for a Grammy for Best Immersive Sound Album. Bloom looks forward to the release of her most recent duet and trio recording with Bobby Previte, Mark Helias & Dominic Fallacaro on her Outline label.
Mark Helias bass, Dominic Fallacaro piano
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BOSMAN TWINS QUINTET
The Music of Miles Davis and Cannonball Adderley
Born in St. Louis, Missouri, Dwayne’s and Dwight’s passion for jazz started at an early age. They grew up listening to the sounds of great jazz artists such as Earl “Fatha” Hines, Count Basie, Duke Ellington and their father Lloyd Smith, who was a well known businessman and a side man in Basie’s and Ellington’s orchestras. Paula V. Smith, the twins’ mother and the first African American Administrator of the Wage and Hour Division for the U.S. Department of Labor under the Regan Administration, was also an avid jazz lover. Influenced by famous musicians, like family friends, Louis Armstrong, John Coltrane and Charlie Parker, by age 14 the twins were performing professionally as The Bosman Twins. Over the years, The Bosman Twins have shared their love of music and the stage with entertainment legends Freddie Cole, Branford Marsalis, Fontella Bass, Roy Ayers, David Peaston and the late trumpeter, Lester Bowie. Whether performing with their own band or accompanying other notable jazz professionals, their unique style and renditions of jazz, rhythm and blues, funk and gospel have earned them national and international acclaim.
The Group: Dwayne Bosman – saxophone | Dwight Bosman – saxophone | Kevin Fort – piano | Mark Sonksen – bass | Ernie Adams – drums
Cover: $27.75 ~ $37.75
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The Jazz Voyager
The Jazz Voyager is taking the next letter of the alphabet and continuing to head west to the Emerald City in the Beaver state. Beyond its world class athletes, home of Nike, and tech giants, this small shire also boasts its love of jazz. Eugene, Oregon is where The Jazz Station is located downtown in the heart of the entertainment corridor. This intimate 70 seat non-profit all-age venue has been a jazz mainstay of the city for over 15 years.
Taking the stage this week is saxophonist Idit Schner and I have the opportunity to do something that I so enjoy, seeing someone perform I’ve never seen before. I look forward to hearing her blend Zimbabwean folk music and jazz. As an educator of classical and jazz music at the University of Oregon, she has received several teaching awards.
The Jazz Station’s address is 124 W Broadway 97401. For more information visit https://thejazzstation.org/.
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Requisites
Blowing In From Chicago ~ Cliff Jordan & John Gilmore | By Eddie Carter
As a youngster discovering this music, I was always captivated by jazz’s unique and spontaneous nature, particularly the ‘blowing session’ or ‘jam session.’ These impromptu performances, where musicians control the flow of musical ideas from moment to moment, are a testament to the music’s excitement and unpredictability. Whether in a live setting at a club, concert, or jazz festival or captured in a studio session, jazz’s enthusiasm, vitality, and freedom are always present.
This morning’s choice from my library is an excellent LP from 1957 by two tenor saxophonists who made significant impressions in jazz, Clifford Jordan and John Gilmore. Their only album as co-leaders is titled Blowing In From Chicago (Blue Note BLP 1549), which signifies their roots in the vibrant jazz scene of Chicago. The quintet has an excellent rhythm section consisting of Horace Silver on piano, Curly Russell on bass, and Art Blakey on drums. My copy is the 1983 Pathé Marconi-EMI French Mono reissue, sharing the original catalog number. Before I proceed, let me state that this is not a DMM (Digital Metal Mastering) pressing.
The album opener, Status Quo, is a lively tune by John Neely, with both horns leading the charge through the uptempo melody. John rips into the opening solo, aggressively slicing through each verse like a sharp blade. Clifford joins him next in a short exchange, then takes off with a supercharged reading. Horace shifts into high gear on the third statement with a blazing swiftness that’s equally inspired and scintillating. Art engages in a brief conversation with both horns, then brings the solos to a close with an electric performance illustrating his incomparable artistry before the ensemble returns to the theme and quick stop. The first of two originals by Jordan follows.
Bo-Till slows the tempo to a laid-back pace with a Latin flavor. After a short introduction by the trio, the quintet states the theme collectively, stepping aside for Jordan, who makes a profound impression with a beautifully conceived statement displaying a great tone throughout. Silver gets into the groove next with an incredible, smooth reading, one of his best on the album. Gilmore delivers the closing choruses of the song proficiently with meticulous execution. Blakey constructs a concise comment during the ensemble’s end theme and close.
Blue Lights by Gigi Gryce is a catchy tune that opens with the quintet laying down a gorgeous medium beat on the theme and gives everyone a solo opportunity. John steps into the spotlight with a spirited performance. Horace follows with notes of undeniable pleasure in one of his most robust solos. Clifford weaves his way through the next musical improvisation with astounding skill. Curly puts together a condensed reading that walks for one chorus with solid bass lines. Art breezes into a straightforward interpretation that culminates into a splendid summation of the first side.
The second side gets underway with Charlie Parker’s Billie’s Bounce, which gives everyone except Russell a lengthy solo canvas on which to work. Blakey begins with a high-voltage introduction that sets the pace for the following fiery quintet theme. Clifford packs a mighty punch on the opening statement with a fire-breathing showcase, preceding John, who exhibits a robust attack on the subsequent interpretation with extremely hot choruses. Horace takes over next for a scintillating performance, taking his piano on a sizzling uptempo ride. Both horns exchange a few riffs with Art before the drummer gives an unaccompanied propulsive exhibition into the ending theme.
Clifford’s second original is a blues titled Evil Eye, which eases the throttle back from the previous burner to a medium pace with a collective melody by the quintet. Jordan opens the solos with a series of choruses that are smooth and well-structured. In the following presentation, Gilmore shows that he can also interpret blues with plenty of soul, which develops nicely. Silver delivers a lightly swinging performance that expresses pleasure as he moves masterfully through each chorus. Both horns return to share a few more thoughts. Blakey makes a short statement preceding the theme’s reprise and finish.
The album’s final track is Everywhere, a mid-tempo original by Horace Silver, which I believe made its debut on this album. It opens with a simple opening melody by the ensemble in unison, and the solo order is Gilmore, Jordan, Silver, and Blakey. John takes the stage first with a bewitchingly delightful opening statement. Clifford makes his case with a captivating contribution that moves sprightly alongside the rhythm section’s groundwork drive. Horace takes over next, communicating his points well with a pronounced beat. Art puts the joyous exclamation point on the song and album with a compelling statement that leads the group back to the ending theme and close.
Clifford Jordan recorded three albums for Blue Note; the other two LPs are Cliff Jordan and Cliff Craft. He played and recorded with many elite jazz musicians, including Charles Mingus and Max Roach. Clifford also enjoyed success recording as a leader and sideman, and in my opinion, his discography is well worth investigating. He remained in demand over the next three decades and toured worldwide. His final album was a 1992 live recording at Condon’s in New York City for Milestone, where he performed with his big band, Down Through The Years. He lost his battle against lung cancer on March 27, 1993, at age sixty-one.
Blowing In From Chicago was the first of three appearances on Blue Note by John Gilmore. The other two were as a sideman on two of Andrew Hill’s LPs, Andrew and Compulsion. He began playing the clarinet at fourteen, then pursued a musical career after a four-year stint in the United States Air Force, where he took up and played the tenor saxophone. He began a forty-year term with Sun Ra in 1953 and recorded for various labels with his group, Sun Ra Arkestra. During this time, Gilmore also toured with The Jazz Messengers and recorded with Paul Bley, Andrew Hill, Pete LaRoca, McCoy Tyner, and Dizzy Reece. After Sun Ra’s death on May 30, 1993, Gilmore led the Arkestra for two years before his death from emphysema on August 20, 1995, at age sixty-three.
As for the music on Blowing In From Chicago, it’s fantastic, as are the solos on each track, and the sound quality of this reissue is exemplary. The instruments deliver an excellent soundstage throughout the treble, midrange, and bass that places your sweet spot in the studio with the musicians. It’s a cut above the average debut album and a title I recommend as a terrific addition to any jazzophile’s library, particularly if you’re a hard-bop fan or love a good “blowing session” or “jam session.”
~ Andrew (Blue Note BLP 4203/BST 84203), Cliff Jordan (Blue Note BLP 1565), Cliff Craft (Blue Note BLP 1582/BST 81582), Compulsion (Blue Note BLP 4217/BST 84217), Down Through The Years (Milestone MCD-9197-2) – Source: Discogs.com
~ Billie’s Bounce – Source: JazzStandards.com
~ John Gilmore, Andrew Hill, Clifford Jordan – Source: Wikipedia.org
© 2024 by Edward Thomas Carter
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WYCLIFFE GORDON & ERIC REED WORKSHOP
The duo will present a workshop for musicians and jazz lovers at the Hammonds House Museum. Registration is required. To reserve your spot, click HERE.
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