JERRY BERGONZI

Jerry Bergonzi – Saxophone | Phil Grenadier – Trumpet | Sheryl Bailey – Guitar | Harvie S – Bass | Luther Gray – Drums

Tenor saxophonist, Jerry Bergonzi, is an internationally recognized jazz performer, composer, author and educator. His music is renowned for its innovation, mastery, and integrity. Relentless drive, inner fire, total command, awesome technique, elastic lyricism, rich resonance, world-class, a musical visionary, are among the rave reviews credited to his sound. Bergonzi’s music has been applauded throughout the world at festivals, concert halls, and jazz venues and his dedication to jazz music has been well documented by an extensive discography.

Born in Boston, Massachusetts, Bergonzi became interested in music early on. He started playing clarinet when he was eight years old listening to Duke Ellington, Count Basie, and Lester Young. His uncle, who was a jazz musician and lived upstairs, used to write out solos for him to play. At twelve years old he got his first saxophone, an old Conn alto, and a year later when a friend introduced him to Miles, Coltrane, and Sonny Rollins, there was no turning back! At thirteen, Jerry was already playing gigs with a band called The Stardusters. During his high school years he switched to tenor, and in addition to weekly sessions with Berklee College students, Jerry also played in John LaPorta’s youth band. He recalls, “It was a great experience, I learned so much, John would tell you like it was. He’d let you know what your shortcomings were, he would stop the band to tell you! “Bergonzi attended Lowell University but left after one year because he was continually being thrown out of the practice rooms for playing jazz. “If I had heard me practicing in one of those cubicles I might have thrown myself out!” he adds. He and fellow student, Charlie Banacos, used to begin their day in the practice rooms at 6:00 am. After a year at Berklee College, he returned to Lowell for financial reasons and graduated in 1971. He then played bass in local bands behind singers, strippers, and comedians, saving up enough money to move to New York City in 1972.

During 1972 and 1978 Bergonzi lived in New York City and experienced what he considers his real college education. There, where he had a third floor loft and friend and bass player, Rick Kilburn, lived on the first floor, was the scene of many sessions. “Often, there was one drummer, one bass player, and five saxophone players!” Bergonzi remembers. “Sometimes I was the drummer, each guy would tell a friend, everyone was hungry to play and it was great experience.” Joe Lovano, Steve Slagle, Billy Drewes, Paul Moen, Pat LaBarbera, Dave Liebman, John Scofield. Mike Brecker, Bob Berg, Tom Harrell, Steve Grossman, and Victor Lewis were a few of the many players who came to play.

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HOUSTON PERSON

He remains the King of the Boss Tenor Sax and nothing, it seems, can stop Houston Person, now in his sixth decade of performing. His latest recording (he’s released over 85 of them), as featured guest on Emmet Cohen’s Masters Series Vol. 5, has rocketed up the Jazz Week charts. In its 4-star review, AllAboutJazz.com applauds Houston’s “master’s flair for swing and blues.” A great friend of The Jazz Forum, Houston is a master’s master.

The tenor saxophonist and record producer. Although he has performed in the hard bop and swing genres, he is most experienced in and best known for his work in soul jazz. He received the “Eubie Blake Jazz Award” in 1982.

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Daily Dose Of Jazz…

Frank Fontaine was born June 12, in Los Angeles, California into a musical family, absorbing a great deal from his father Frank Sr., who is a ten year veteran of the Duke Ellington Orchestra. By age 16, he was performing with Harry Sweets Edison, Billy Higgins and Kenny Burrell. He has received his Bachelor degree from Seton Hall University, a Masters of Education from Boston University and is currently a Doctoral Candidate.

He released his debut album as a leader titled Wisdom Rising  on the LifeForce Jazz Records label with John Beasley, Robert Hurst, and Marvin “Smitty” Smith. A saxophonist of choice for an array of artists, Frank is equally in demand as a flutist and arranger, while leading his organ trio or quartet.

The New York jazz scene has seen Fontaine become a favorite among elite jazz instrumentalists Francisco Mela, Ari Hoenig, George Garzone, Larry Harlow and Chembo Corniel. His collaboration with Chembo produced a Grammy Award Nomination for the album, Things I Wanted To Do. He has recorded as a sideman with Patti LaBelle, Gladys Knight, Celia Cruz, Bobby Matos, Anita Baker, Gym Class Heroes, Charanga Cubana and Tyler Perry’s Soundtracks.

Saxophonist Frank Fontaine, who is an educator teaching music as well as leading band and orchestra at McAuliffe Middle School, continues to cultivate his musical prowess at The Manhattan School of Music, a conservatory second to none, in a city second to none.

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Requisites

The Griffith Park Collection ~ Stanley Clarke, Chick Corea, Joe Henderson, Freddie Hubbard, Lenny White | By Eddie Carter

This morning’s record from the library unveils a unique jazz collaboration. The Griffith Park Collection (Elektra Musician E1-60025) is the second of two studio albums recorded over four days with an all-star ensemble: Freddie Hubbard on flugelhorn (tracks: A3, B3) and trumpet (A1, A2, B1), Joe Henderson on tenor sax (A1 to A3, B1, B3), Chick Corea on piano, Stanley Clarke on upright bass, and Lenny White on drums. Their first record was Echoes of An Era, an album of jazz standards with Chaka Khan. This was a rare reunion for Corea, Clarke, and White, who had not played together since they were members of Return to Forever. My copy is the 1982 U.S. Stereo release.

The opener is L’s Bop by Lenny White. The quintet’s lively theme takes off at a brisk pace, leading to Joe’s swinging opening solo. Freddie maintains the vigorous intensity in the second reading; then Chick skillfully navigates the third statement into a short exchange with Lenny until the theme’s reprise and fade out. The pace slows down slightly for Why Wait by Stanley Clarke, a medium-tempo blues that opens with the ensemble’s theme. Joe gets this grooving affair going in the first solo. Freddie answers him with an exceptional performance; then Chick provides the exclamation point preceding the group’s return for the closing chorus and exit.

October Ballade by Chick Corea begins with the pianist’s soothing introduction ahead of Freddie’s tender melody. Joe has the first solo and builds each chorus gently with deep emotion until Chick takes over for a brief, lovely interpretation. The quintet wraps up things with a poignantly touching reprise and finale. Side Two gets underway with Happy Times by Freddie Hubbard, a cheerful tune that the group takes to heart in the theme. Joe greets the opening statement joyfully, and then Freddie comes in for a bright and bubbly solo. Chick adds to the festive atmosphere in the second interpretation. Lenny delivers a finale that is quite enjoyable before the close.

Remember, by Steve Swallow is a beautiful waltz that opens with the trio’s thoughtfully polite introduction and theme. Chick carefully cultivates the lead solo with delicate notes. Stanley’s reply is an affectionately warm interpretation as Lenny’s drums softly compliment him until the ensemble’s theme restatement. Guernica by Lenny White is a musical portrait of Pablo Picasso’s Spanish Civil War painting. It is a haunting song and the album’s most adventurous tune with a melancholy theme. Joe begins the opening solo with an airy, nostalgic tone. Freddie emerges next with a breathtaking reading; then Chick delivers an enthusiastic statement preceding the group’s return for the climax.

Lenny White produced The Griffith Park Collection and Bernie Kirsh was the recording engineer. The album’s sound quality is good, with a softer soundstage in the highs, midrange, and bass. At just under forty minutes, it is a hidden gem that flows with a beat and does not disappoint. If you are in the mood for an excellent album with remarkable chemistry and exceptional performances. In that case, I invite you to check out The Griffith Park Collection by Stanley Clarke, Chick Corea, Joe Henderson, Freddie Hubbard, and Lenny White on your next record shopping trip. It is a wonderful album that I highly recommend for your library, and I am sure it will reward your purchase for years to come!

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Daily Dose Of Jazz…

Eugene Porter was born in Pocahontas, Mississippi on June 7, 1910 and began on cornet, but when his instrument was stolen he picked up saxophone and clarinet, studying the latter under Omer Simeon. His family moved to Chicago while still in high school, but left school early to start a career in music

Moving to New Orleans, Louisiana in the Thirties he worked in and around town as well as on riverboats, with Papa Celestin, Joe Robichaux, and Sidney Desvigne. He was with the Jeter-Pillars Orchestra from 1935 to 1937, then played with Don Redman briefly before returning to Jeter-Pillars until 1942. Following this Gene worked with Jimmie Lunceford and then with Benny Carter until 1944, working as assistant bandleader under him. He appeared in several films, including with Fats Waller.

Porterer was in the Army in 1944-45 as a member of an Army band, then played with Carter again and recorded with Dinah Washington during this period. For the next two years he performed with Charles Mingus and Lloyd Glenn.

After moving to San Diego, California in 1948 he played with Walter Fuller until 1960. Gene led his own ensemble at the Bronze Room in La Mesa, California beginning in 1967.

Saxophonist and clarinetist Gene Porter, who was named a member of the St. Louis Jazz Hall of Fame in the 1980s, died in San Diego County, California, on February 24, 1993.

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