Daily Dose Of Jazz…
Theodore Malcolm Nash Sr. was born on October 31, 1922 in the Boston suburb of Somerville, Massachusetts. His goal was to become a classical flutist until he began playing saxophone in his early teens. He started playing professionally when he went on the road with a succession of dance bands. In 1944, he became tenor saxophonist for the Les Brown big band.
The late 1940s had him married and settling in Los Angeles, California where he became an active session musician in the Hollywood movie and television studios. In 1956, he recorded with Paul Weston’s orchestra the album Day by Day, with vocals by his former colleague and close friend, Doris Day.
He was the featured soloist on The Music from Peter Gunn soundtrack, performing the alto saxophone solo on the theme and on the second bridge of Dreamsville. Through the 1950s and 1960s, he worked as a sideman for June Christy, Nat King Cole, Bing Crosby, Billy Eckstine, Ella Fitzgerald, Frank Sinatra, and Nancy Wilson. During the 1970s, he worked with Judy Collins and Quincy Jones.
Retiring in the 1980s, saxophonist, flutist and clarinetist Ted Nash Sr. died on May 12, 2011.
More Posts: clarinet,flute,history,instrumental,jazz,music,saxophone
Requisites
Mulligan Meets Monk ~ Thelonious Monk and Gerry Mulligan | By Eddie Carter
This morning’s record from the library, Mulligan Meets Monk (Riverside RLP 12-247/RLP 1106), is an excellent quartet date that brings together two giants, Gerry Mulligan and Thelonious Monk, for their only collaborative album. Their influence on bop and cool jazz is immeasurable. It hit the stores in 1957, and the personnel are Gerry Mulligan on baritone sax, Thelonious Monk on piano, Wilbur Ware on bass and Shadow Wilson on drums. My copy is the 1975 Victor Musical Industries Japanese Stereo reissue (Riverside SMJ-6107).
‘Round Midnight by Thelonious Monk, Cootie Williams, and Bennie Hanighen is one of The Great American Songbook’s most beautiful and recorded jazz tunes. It opens the first side with the quartet’s elegantly tender theme. Gerry delivers a mesmerizing first solo. Thelonious is next and gives a beautifully constructed reading ahead of the theme’s reprise and climax. Thelonious Monk’s Rhythm-a-ning picks up the pace with a lively introduction by Wilson segueing into the foursome’s spirited melody. Mulligan is up first with a statement of dynamic energy; then Monk speaks assertively in the second reading. Gerry returns with an excellent improvisation ahead of the theme’s restatement.
The group’s unique and refreshing approach to Sweet and Lovely by Gus Arnheim, Jules LeMare, and Harry Tobias starts with Gerry and Thelonious’ delicately graceful theme. Monk shows a considerable amount of respect in the opening solo. Mulligan’s exquisite softness in the closer precedes a gorgeous conclusion. Decidedly by Gerry Mulligan begins Side Two with a two-instrument dialogue between Gerry and Shadow, extending into the quartet’s brisk theme. Mulligan functions most effectively in the opening statement. Monk unwraps a pleasant surprise next. Wilbur takes a short, impressive walk, Gerry takes over briefly, and Shadow wraps things up before the close.
Straight, No Chaser is one of Thelonious Monk’s perfectly structured originals. The foursome’s bluesy theme sets up Gerry’s inspired opening statement. Wilbur’s bass goes to work next in a short reading, and then the pianist sums everything up nicely before the closing chorus and finale. I Mean You by Thelonious Monk and Coleman Hawkins begins with the pianist’s introduction, leading to the ensemble’s opening chorus. Monk steps into the spotlight first, cruising comfortably, and then Mulligan puts together a few good ideas in the second solo. Ware rounds out things with a breezy walk before the group reassembles to take the song out.
Mulligan Meets Monk was produced by Orrin Keepnews and recorded by Jack Higgins. The album’s sound quality is top-notch, with a superb soundstage that makes it feel like the quartet is performing right before you. Whether you’re a bop or cool jazz fan or new to the music of Gerry Mulligan and Thelonious Monk, Mulligan Meets Monk is a must-listen on your next record-shopping trip. It’s a delightful addition to both musicians’ discographies, showcasing their talents in a way that might make it a favorite in your library!
~ ‘Round Midnight, Straight, No Chaser, Sweet and Lovely – Source: JazzStandards.com
© 2024 by Edward Thomas Carter
More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,piano,saxophone
Daily Dose Of Jazz…
David Panton was born on October 20, 1946 in the Midlands, England where his formative musical experience revolved around singing in the local church choir and later with a mixed voice choir and an amateur operatic society. He began teaching himself classical piano from the age of twelve and by fifteen had begun to compose by improvising at the keyboard. At seventeen he joined the army as a bandsman, taking up the oboe and being posted for a year in 1964 to Kneller Hall, the Military School of Music. He later attended Birmingham School of Music for piano tuition under the late William Fellowes for a year from 1966. His composing took on a more modern direction which was largely unintelligible to his military colleagues.
After four years as bandsman he resigned to pursue a musical career back in civilization, taking up the alto saxophone as a result of hearing some of the American and British free jazz players of the time such as Ornette Coleman and Mike Osborne. He formed several groups and gave solo performances at the Birmingham Arts Lab, Midlands Arts Centre, Birmingham and Midlands Institue as well as numerous pubs. He made contact with London based musicians John Stevens, Evan Parker, Derek Bailey and Maggie Nichols which led to occasional appearances around the city.
He ventured into folk music with the group Forest, followed by the experimental theatre group Chameleon Laboratory Theatre. In 1979 he received an Arts Council jazz bursary, allegedly the first provincal based musician to do so, with a second following in 1981. By 1989 he abandoned music and started up an audio cassette duplication business. When the demise of the audio cassette undermined business viability, David opted to take up a civil service post in the late Nineties from which he retired in 2006.
In 2009 he was awarded the MA in Music from the Open University and has continued to pursue music activities in academia.
More Posts: bandleader,history,instrumental,jazz,music,piano,saxophone
Requisites
The Modern Touch ~ Benny Golson Sextet | By Eddie Carter
The jazz world mourned the loss of an icon when Benny Golson passed away on September 21, 2024. His departure left a void that can never be filled. Benny was an excellent musician, arranger and composer. He co-founded the Jazztet with Art Farmer. His extensive discography as a leader and his collaborations with elite jazz musicians as a sideman are a testament to his unique talent. My mother was a fan of his, and her love for his music inspired this morning’s discussion. The Modern Touch (Riverside RLP 12-256), released in 1958, is his second album as a leader and first for the label. He’s joined by Kenny Dorham on trumpet, J.J. Johnson on trombone, Wynton Kelly on piano, Paul Chambers on bass, and Max Roach on drums. My copy is the 1974 Victor Musical Industries Japanese Mono reissue (Riverside SMJ-6070M).
Out of The Past by Benny Golson opens the album with the sextet’s leisurely melody, setting the mood for the saxophonist’s relaxing opening solo. Kenny steps into the spotlight next. He is followed by J.J., who expresses his thoughts in the following statement. Wynton gives a captivating interpretation; then Paul walks with a steady beat. Max adds the finishing touches with a short solo ahead of the reprise. Reunion by Gigi Gryce begins with the front line’s introduction to the ensemble’s upbeat melody. Golson gets right to work first and wails. Johnson takes over and is especially impressive in an inspired interpretation. Dorham follows with a superb solo, ahead of a brief comment by Roach that gives way to Chambers telling a fascinating story. Kelly sustains the excitement in the following reading, and the drummer has an exchange with the front line into the closing chorus that slowly dissolves into nothingness.
Venetian Breeze by Benny Golson takes us on a musical journey inspired by the saxophonist’s travels over the Venetian Causeway from Miami to Miami Beach. The tempo shifts to mid-tempo for the three horns in unison to drive the sextet’s theme. J.J. takes the first solo and moves with ease into a fine groove. Kenny takes over like a refreshing drink on a hot day to give a relaxing performance. Benny swings straight from the heart next, and then Wynton holds our attention leading to the theme’s restatement. Hymn To The Orient by Gigi Gryce is a happy-blowing vehicle. It starts the second side with the sextet’s upbeat theme. Kelly takes the opening chorus and gives an energetic reading. Golson is at his most effective on the subsequent interpretation. Johnson has an outstanding solo next; then Roach gives his drums a short workout before the song’s conclusion.
The pace slows down for a beautiful rendition of Namely You by Gene DePaul and Johnny Mercer. The group sets the mood with a lovely introduction, segueing into Benny’s gentle, deeply emotional melody. In the solo showcase, the saxophonist applies a little tenderness and romantic beauty before the sextet reappears for a soft summation. Blues on Down by Benny Golson is a blues affording everyone a solo opportunity. It brings the album to a close, beginning with the sextet’s leisurely melody. Dorham begins the blowing with an easy-going solo. Golson continues to communicate a laid-back feeling in the following reading. Johnson steps into the spotlight next with a breezy interpretation; then Kelly offers a mellow flow of ideas in the fourth statement. Chambers gets the nod and takes a soulful walk, and Roach takes us home in the finale, ahead of the theme.
>Orrin Keepnews produced The Modern Touch, and Jack Higgins was the recording engineer behind the dials. The album has an excellent sound and is beautifully engineered. The listener will feel like the musicians are playing for them in their listening room. Benny Golson was one of the significant contributors to hard bop jazz as an arranger, composer and musician. I had the pleasure of seeing him perform live and meeting him during the nineties when he was the leader and musical director of The Jazz Messengers during a concert in Cleveland, Ohio. He couldn’t have been more gracious and down to earth. We talked for quite a while after the group’s performance, and I consider it a highlight of my life. His career lasted just over seven decades; he was ninety-five when he died.
Anyone who’s already a fan of Benny Golson and in the mood for an excellent hard-bop album should consider The Modern Touch on your next record-shopping trip. It’s a terrific release that offers a glimpse into one of the best multi-talented jazz musicians, and a record I happily recommend for a spot in your library!
Postscript: The Modern Touch was reissued in 1962 as Reunion on Jazzland (AM 85/AS 985).
© 2024 by Edward Thomas Carter
More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,saxophone
Daily Dose Of Jazz…
Pharoah Sanders was born Ferrell Lee Sanders on October 13, 1940 in Little Rock, Arkansas, an only child. He began his musical career accompanying church hymns on clarinet but his initial artistic accomplishments were in the visual arts. When he was at Scipio Jones High School in North Little Rock, he began playing the tenor saxophone.
After graduating from high school in 1959, Sanders moved to Oakland, California, where he lived with relatives. He briefly studied art and music at Oakland City College. He earned a Bachelor of Fine Arts from an unknown art institution.
He began his professional career playing tenor saxophone in Oakland, then moved to New York City in 1962. The following year he was playing with Billy Higgins and Don Cherry and caught the attention of Eric Dolphy and John Coltrane. In 1965, he became a member of Coltrane’s band, as the latter gravitated towards the avant-garde jazz of Albert Ayler, Sun Ra, and Cecil Taylor.
Sanders first recorded with Coltrane on Ascension, followed by their dual-tenor album Meditations, then joined Coltrane’s final quintet. Pharoah released his debut album as a leader, Pharoah’s First, was not what he expected. In 1966 he signed with Impulse! and the years Sanders spent with the label were both a commercial and critical success.
The 1970s had Sanders continuing to produce his own recordings including the 30-minute wave-on-wave of free jazz, The Creator Has A Master Plan from the album Karma, featuring vocalist Leon Thomas and to work with Alice Coltrane on her Journey in Satchidananda album. Although supported by African-American radio, Sanders’ brand of brave free jazz became less popular.
His major-label return came in 1995 when Verve Records released Message from Home, followed by Save Our Children (1998). But again, Sanders’s disgust with the recording business prompted him to leave the label. In the 2000s, a resurgence of interest in jazz kept Sanders playing festivals and was awarded a NEA Jazz Masters Fellowship for 2016 and was honored at a tribute concert in Washington DC on April 4, 2016.
In 2020 he recorded the album Promises, with the English electronic music producer Floating Points and the London Symphony Orchestra. It was widely acclaimed as a clear late-career masterpiece.
Saxophonist Pharoah Sanders, known for his overblowing, harmonic, and multiphonic techniques, died on September 24, 2022 at his home in Los Angeles at the age of 81.
More Posts: bandleader,history,instrumental,jazz,music,saxophone