JOHN SHAPELY OCTET & TONI BYRD

John Shapely ~ Saxophone, Justin Golding ~ Alto Saxophone, Frank Briscoe ~ Trumpet, Timmy Markey ~ Trombone, Jordan Thorne ~ Baritone Saxophone, Dallas McCorkendale ~ Keys, Chris Enghauser ~ Bass, Lee Roberts ~ Drums, Toni Byrd ~ Vocals

Since its inception in South Florida in 1994, the John Shapley Octet has grown in popularity among mainstream jazz listeners. The band plays swinging classic jazz arrangements and compositions by Shapley, Bill Dobbins, Rob Lussier, Marty Paich, Bill Holman, Quincy Jones, Gerry Mulligan, Dave Pell, Oliver Nelson, Wayne Shorter, Jaco Pastorius, Yellowjackets and others. With it’s beautiful solos and horn section passages, the band has been featured in South Florida at the 1995 Hollywood Jazz Festival, 1996 Riverwalk Sunday Jazz Brunch series, the 2001 Greater Florida Jazz and Swing Club and maintains an active performing schedule in jazz clubs and concert venues in Atlanta, Georgia and throughout the southeast. It is well known for the production of the show  The Essence of Ellington featuring classic transcriptions of genius jazz composer Duke Ellington. In 2003 the John Shapley Octet released two CD’s entitled John Shapley Octet:Essence of Ellington and John Shapley: Jazz Ensembles which attracted attention and  has been sold to listeners all over the United States, Canada, Europe and South America. In 2006 the band relocated it’s home base to Atlanta, Georgia where it continues an active performing and touring schedule. The John Shapley Octet is currently available for bookings in public and private concert venues.

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DONALD HARRISON

The Art Of Passion

Saxophonist and NEA Jazz Master “Big Chief” Donald Harrison is a musician/composer who is considered a master of every era of jazz, soul, and funk. Born in New Orleans, Harrison honed his experience playing with uncountable legends, including Art Blakey, Terence Blanchard, McCoy Tyner, Miles Davis, Ron Carter, The Headhunters, and The Notorious BIG. At the age of nineteen, Harrison created a modern jazz take on the New Orleans second-line tradition and introduced his composition “New York Second-Line” to the jazz world in 1979.

By the mid-’80s, he created Nouveau Swing, a distinctive sound that blended the swing beat of modern jazz with hip-hop, funk, and soul music. In the ’90s, Harrison recorded hits in the smooth jazz genre. He began exploring music through the lens of quantum physics in 2000.

Harrison’s new recording “The Art of Passion” is a multi-genre exploration of a single tune, showcasing Harrison’s versatility and creativity all at once. He will be joined at the Moss Theater by his band: pianist Dan Kaufman, drummer Brian Richberg, and bassist Nori Naroaka.

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Daily Dose Of Jazz…

Quin Davis was born Quinn Hall Davis on March 12, 1944 in Artesia, California. He toured and recorded with Buddy Rich in 19966 to 1967 and again from 1969 to 1970.

Leaving Rich in 1970, Quin was the solo alto saxophonist with Stan Kenton for three years followed by another three year residency with Harry James until 1976.

Little is known or written about alto saxophonist and flutist Quin Davis after this point in his life.

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Requisites

Free Wheeling ~ The Ted Brown Sextet Featuring Warne Marsh and Art Pepper | By Eddie Carter

I first heard a track from Free Wheeling (Vanguard VRS-8515) by The Ted Brown Sextet a few years ago on Sirius XM’s Real Jazz. I’ve loved the tenor sax since I was a child, so I was ecstatic to discover a new musician and finally get a copy. It was Ted’s first release as a leader, and the music within it is an excellent representation of West Coast jazz. During his career, he recorded with Lee Konitz, Hod O’ Brien, and Lennie Tristano, and on this date, he’s joined by Art Pepper on alto sax, Warne Marsh on tenor sax, Ronnie Ball on piano, Ben Tucker on bass, and Jeff Morton on drums. My copy is the 1975 King Record Company Japanese Mono reissue (Vanguard GXC 3121M).

Side one starts with the front line’s brisk introduction to Aretha by Ronnie Ball. Ronnie infuses the first solo with energy and agility. Art and Warne follow in successive order, hitting an ideal groove. Jeff is up next with a brief but lively finale ahead of the sextet’s theme’s restatement and climax. The ensemble moves the needle upward for Long Gone by Warne Marsh. The front line sets the mood in the opening chorus; then, Ted makes his entrance first for an exciting solo. Warne steps up next and takes the reins. Ronnie follows with a swift reading; then Art gets right to work and cooks. Jeff signals the end with a brief comment into the closing chorus and ending.

Once We Were Young by Walter Gross is a lovely song that Ted begins with a dreamy melody that Warne picks up in the background. Ronnie comes in for a short, sensitive interlude until both horns return for a beautiful theme restatement and tender climax. Foolin’ Myself is the creation of Andy Razaf and Thomas “Fats” Waller. The rhythm section starts with a mid-tempo introduction, segueing into the catchy melody. Ronnie takes the lead and gives an enchanting interpretation. Ted begins the second statement, then is joined by Art and Warne in succession for a hauntingly sincere reading that concludes softly.

The sextet takes us to Avalon by Al Jolson, Buddy DeSylva and Vincent Rose. The song’s title comes from a California city, and the front line kicks off the lively melody together. Ted goes first and makes a vigorous opening statement. Jeff succeeds him and delivers the goods in a spirited conversation with the leader before the group reconvenes to take the song out. On a Slow Boat To China by Frank Loesser starts Side Two with the sextet slowing the beat slightly for the opening chorus. Ted is thoroughly at ease in the first interpretation, and then Ronnie takes a few lovely choruses. Ted and Ronnie have a short exchange preceding the song’s conclusion.

Crazy She Calls Me by Carl Sigman and Bob Russell begins with the ensemble’s moving, deeply satisfying theme. Warne is the first soloist, and from his horn, notes of velvety softness flow. Ronnie expresses the song’s sentimentality next. Ted handles the following reading with a good deal of warmth, and then Warne returns to help bring the song to a gorgeous climax. Broadway by Wilbur H. Bird, Teddy McRae and Henri Woode opens with the front line’s collective melody. Warne, Art, and Ted are the first three in the solo spotlight, followed by an ensemble chorus together. Ronnie takes a splendid reading next, then Ben has a short summation as Jeff keeps perfect time toward the finale.

Arrival by Ronnie Ball is our final stop in this cool jazz session, and it’s off to the races from the start of the melody. Art leads the way with a swift opening statement. Warne delivers the second solo fleetingly; then, both horns make quick work of the finale in an exchange with Jeff before taking the song out. Alfred Marx supervised the original session, and the Vanguard Recording Society, Inc. recorded it. The sound quality of this reissue is exceptionally good and for a vintage fifties recording, exceeded my expectations. The music is also excellent, as is the pressing, and the vinyl is noticeably quiet.

There is one error on my copy, which doesn’t appear on the original album. The composers for Crazy She Calls Me are incorrectly listed on the Side Two label as the team of Cahn and Mayer but actually are Carl Sigman and Bob Russell. The album cover is also one of the strangest I’ve ever seen, but don’t let that dissuade you from checking out Free Wheeling by The Ted Brown Sextet on your next record hunt. If you’re a fan of cool jazz or West Coast Jazz, it’s a great-blowing session with Warne Marsh and Art Pepper and a wonderful introduction to a musician deserving of wider recognition. To borrow a quote from the great Vin Scully in game one of the 1988 World Series, “Not a bad opening act!”

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Daily Dose Of Jazz…

Booker Pittman was born on March 3, 1909 in Fairmount Heights, Maryland, was the son of Portia Pittman and a grandson of Booker T. Washington. He became an accomplished jazz clarinetist and played with greats like Louis Armstrong and Count Basie in the US and Europe in the 1920s and 1930s.

Leaving the States for the first time in 1933, he went with Lucky Millinder’s orchestra to France and stayed there for four years. During that period, he met a Brazilian musician named Romeo Silva, who took him on a tour of Brazil along with other musicians. They sailed to Bahia aboard the Siqueira Campos.

In 1937, Booker moved to Brazil, where he was known by the nickname “Buca“, and continued his musical career there, playing at the Urca Casino. He lived in Copacabana and befriended Jorge Guinle and Pixinguinha. He also played in Argentina and other countries.

He performed and recorded with his singer/actress stepdaughter Eliana Pittman. On October 19, 1969 clarinetist and saxophonist Booker Pittman, sometimes spelled Pitman, transitioned in his home in the São Paulo quarter of Vila Nova Conceição of laryngeal cancer at the age of 60. On behest of his wife Ofélia he was transferred to Rio de Janeiro and there laid to rest at the Cemitério São João Batista in the quarter of Botafogo.

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