HOUSTON PERSON QUARTET

Nothing, it seems, stops Houston Person, reigning King of the Boss Tenor, now in his sixth decade of performing. His tone has gotten bigger even as his delivery has mellowed. He’s recorded over 75 albums as a leader. With his robust sound and swinging style, Houston is a master’s master.

Concert Location: Dobbs Ferry

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PAQUITO D’RIVERA

Paquito D’Rivera has won a combined 16 Grammy and Latin Grammy Awards (5 Grammy and 11 Latin Grammys). He is celebrated both for his artistry in Latin jazz and his achievements as a classical composer.

Born in Havana, Cuba, he performed at age 10 with the National Theater Orchestra, studied at the Havana Conservatory of Music, and at 17, became a featured soloist with the Cuban National Symphony. As a founding member of the Orquesta Cubana de Musica Moderna, he directed that group for two years, while at the same time playing both the clarinet and saxophone with the Cuban National Symphony Orchestra.

He eventually went on to premiere several works by notable Cuban composers with the same orchestra. Additionally, he was a founding member and co-director of the innovative musical ensemble Irakere. With its explosive mixture of jazz, rock, classical and traditional Cuban music never before heard, Irakere toured extensively throughout America and Europe.

The Band:

Paquito D’Rivera – Clarinet, Alto Saxophone
Alex Brown – Piano
Oscar Stagnaro – Electric Bass
Mark Walker – Drums
Pernells Saturnino – Percussion
Victor Provost – Steel pans

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TEDD BAKER QUARTET

Teddy Plays Eddie: The Music of Eddie Harris

The Tedd Baker Quartet celebrates the music of the great Eddie Harris! One of Baker’s many influences, Eddie’s sounds on the saxophone, his compositions, publications, and the stories surrounding him, are “near and dear… His music is as current now as when first released.” Eddie played the original Keystone Korner many times, and “All The Way Live” was recorded there with organ great Jimmy Smith. Baker has gotten to know the Harris family over the years and asked permission to present this program. Join the fun for an evening of exciting music with very special guests!

The Band:

Tedd Baker ~ saxophone
Harry Appelman ~ piano & organ
Hamilton Price ~ bass
Quincy Phillips ~ drums

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Requisites

The Sound Of The Wide Open Spaces ~ James Clay and David “Fathead” Newman | By Eddie Carter

This morning’s album from the library brings together two Texas tenor saxophonists for the first of two recordings together. The Sound of The Wide Open Spaces (Riverside RLP 12-327/RLP 1148) is a 1960 release that marks the debut of James Clay and the second album by David “Fathead” Newman. The album’s title refers to the vast landscape of the Lone Star state. This hard bop blowing session allows both musicians to have a superb showcase in which to work. Wynton Kelly on piano, Sam Jones on bass, and Arthur Taylor on drums complete the quintet. My copy is the 1986 U.S. Original Jazz Classics Stereo reissue (Riverside OJC-257).

The quintet starts Side One with the opening ensemble to Wide Open Spaces by Babs Gonzales. David gets right down to business first. James takes the baton and gives an exhilarating interpretation; then Wynton comes in for a spirited reading. Clay and Newman return to share an energetic exchange ahead of the closing chorus. The front line eases up on the gas to begin They Can’t Take That Away From Me by George and Ira Gershwin. James steps into the opening statement with extreme confidence. David returns the compliment on the following reading, and then Wynton closes things out with masterful ease, leading to the theme’s reprise and ending.

Side Two begins with the rhythm section’s introduction to Some Kinda Mean by Keter Betts ahead of the front line’s laid-back theme. James is up first and moves leisurely through the opening solo. David is equally easygoing in the following reading. Wynton’s carefree interpretation precedes the theme’s restatement and the trio’s climax. James switches to the flute for the Johnny Burke, Bob Haggart standard, What’s New? The trio opens gently ahead of David’s tender melody. James leads the way with an emotionally sensitive statement. Wynton comes in next for a beautiful reading, and David delivers a gorgeous finale leading to the polite ending.

Figger-ration by Babs Gonzales takes off with the rhythm section’s quick introduction to the front line’s brisk melody. David is off to the races in the opening solo, then James takes a vigorous romp next. Wynton illustrates his agility in the following interpretation. Sam takes a short walk leading to a vigorous exchange by both horns ahead of the reprise and close. Julian “Cannonball” Adderley produced The Sound of The Wide Open Spaces and Jack Higgins was the recording engineer. The sound quality of this OJC reissue is exceptional, with an excellent soundstage allowing the instruments to come through your speakers vibrantly, as if the musicians are playing in front of your sweet spot, providing an immersive experience for the listener.

The Sound of The Wide Open Spaces by James Clay and David “Fathead” Newman is an overlooked, but wonderful album that, in my opinion, is a perfect place to start if you’re beginning your journey into either musician’s discography. Its got good tunes with great solos by five remarkable musicians who together have created an album that should appeal to any jazz collector and become a welcome addition to any jazz fan’s library!

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Daily Dose Of Jazz…

Everette Harp was born August 17, 1961 in Houston, Texas and was the youngest of eight children. His mother played the organ and gospel music was one of his earliest influences. He started playing jazz in middle school at Marshall Junior High under the tutelage of drummer Buddy Smith. He attended the High School for Performing and Visual Arts in Houston, then North Texas State University as a music major in the early 1980s.

He worked as an accountant for a short time, and played in local bands, most notably a jazz/funk group called The Franchise which released a 1987 album locally with the first recording of Harp’s There’s Still Hope. 1988 saw him moving to Los Angeles, California and touring briefly with Teena Marie, then Anita Baker.

Two years later George Duke signed him to a contract with Capitol Records to record with his group 101 North. Bruce Lundvall of Blue Note Records signed Harp to a solo contract before the group album was released. Harp’s album was produced by Duke and released by Blue Note in 1992.

Harp appeared at the Montreux Jazz Festival, would go on to appear on The Arsenio Hall Show, on Sax by the Fire, and perform on the theme songs for Entertainment Tonight and Soul Train and shared the stage with President Bill Clinton at the Arkansas Ball in 1992.

Harp has worked with Stanley Clarke, Natalie Cole, Neil Diamond, Aretha Franklin, Wayne Henderson, Al Jarreau, The Jazz Crusaders, Billy Joel, Chaka Khan, Kenny Loggins, Bobby Lyle, Peter Maffay, Marcus Miller, Chante Moore, Dianne Reeves, Eros Ramazzotti, Brenda Russell, Joe Sample, and Luther Vandross.

Saxophonist Everette Harp, who received his first nomination in 2015 for a Grammy Award for Best Contemporary Instrumental Album, continues to perform, compose and record.

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