The Jazz Voyager
Heading West, the Jazz Voyager will be flying for a little under two hours from Atlanta to the cowboy country known as Texas. I’ll be landing in the city known as the Live Music Capital of the World due to its immense number of music venues. I’ll be heading to downtown Austin’s Warehouse District to the corner of 4th & Colorado Streets where sits the Parker Jazz Club.
On tap for this week is Grammy winner saxophonist and composer Miguel Zenón who brings his groundbreaking and influential talent to the stage for one show only. The San Juan, Puerto Rico born musician is a Doris Duke Artist and Guggenheim and MacArthur Fellow.
He has worked with the SFJAZZ Collective, Charlie Haden, Fred Hersch, Kenny Werner, David Sánchez, Danilo Perez, The Village Vanguard Orchestra, Kurt Elling, Joey Calderazzo, Steve Coleman, Ray Barreto, Andy Montañez, Jerry Gonzalez & The Fort Apache Band, The Mingus Big Band and Bobby Hutcherson among others.
The venue is located at 117 W 4th Street, Suite 107B, 78701. For more information contact the venue at https://www.parkerjazzclub.com.
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KENNY GARRETT
Pioneering, Grammy winning saxophonist, and NEA Jazz Master Kenny Garrett is known for blending straight-ahead, gospel, and global rhythms into his music. His dynamic and soulful performances resonate deeply with audiences, establishing him as a titan of contemporary jazz. He has collaborated with legends like Miles Davis, Art Blakey, and Duke Ellington, while also achieving recognition as a leading solo artist and one of the most influential figures in modern jazz.
Seeing Kenny Garrett live is an opportunity to witness a true master of contemporary jazz who continues to innovate, connect with his musical heritage, and deliver powerful, unforgettable performances.
Cover: $30.00 ~ $65.00
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MIGUEL ZENÓN
Grammy winner saxophonist and composer Miguel Zenón who brings his groundbreaking and influential talent to the stage for one show only.
The San Juan, Puerto Rico born musician is a Doris Duke Artist and Guggenheim and MacArthur Fellow has worked with the SFJAZZ Collective, Charlie Haden, Fred Hersch, Kenny Werner, David Sánchez, Danilo Perez, The Village Vanguard Orchestra, Kurt Elling, Joey Calderazzo, Steve Coleman, Ray Barreto, Andy Montañez, Jerry Gonzalez & The Fort Apache Band, The Mingus Big Band and Bobby Hutcherson among others.
Cover: $$35.00 ~ $40.00
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Requisites
Bird Songs ~ Sphere | By Eddie Carter
Sphere initially came together to celebrate the music of Thelonious Monk; however, the quartet soon expanded its repertoire to include original albums as well. I first heard “I Didn’t Know What Time It Was” on WNOP, Cincinnati’s then-jazz station, and I immediately purchased the album right after work. Listening to it again a few nights ago inspired me to share my thoughts this morning. Bird Songs (Verve Digital 837 032-1), the quartet’s sixth release, is an excellent showcase of the underrated artistry of tenor saxophonist Charlie Rouse. Also on board are Kenny Barron on piano, Buster Williams on bass, and Ben Riley on drums, as the quartet celebrates the legacy of Charlie Parker. My copy of this album is the 1988 U.S. digital stereo release.
Side One opens with the quartet’s introduction and theme to Red Cross. Kenny sparkles with inventive runs and unexpected turns in the opening statement. Charlie follows, paying homage to Bird’s rhythmic playfulness, driven by Buster and Riley’s groundwork into the group’s rousing closing chorus. I Didn’t Know What Time It Was by Richard Rodgers and Lorenz Hart is a beloved jazz standard that was a staple in Parker’s repertoire. Williams and the rhythm section set the scene elegantly. Rouse enters next with a smoky, reflective melody, before taking flight in the first solo. The trio’s brief, tasteful interlude clears the way for Barron’s swinging interpretation. After a second trio interlude nudges the tempo forward, Rouse returns for the reprise, and the song gently fades out with the trio’s subtle touch.
The ensemble moves into Dewey Square next, with the rhythm section’s introduction paving the way for Charlie todeliver the melody. Buster begins the solos with a delightfully spirited walk, then Charlie steps into the second statement with a passionately frisky tone that’s crisp, well-structured and executed vivaciously. Kenny tackles the closing reading with youthful zest that’s right on the beat. Ben adds a concise comment during the theme’s reprise and exit. Moose The Mooche shifts the energy upward to begin Side Two with the quartet’s brisk introduction and theme. Rouse fires off the first solo with an infectiously cheerful solo. Barron leaves a memorable mark in the second reading, then Riley takes the spotlight next with youthful vigor. Barron places a few inserts during the theme’s restatement.
Barbados showcases Parker’s take on the calypso rhythm, infused with a bebop twist. The quartet’s melody is joyous, setting the stage for Charlie’s opening solo, which captures the tune’s Caribbean sunlight. Buster walks with a buoyant swagger next, then Kenny weaves a zesty spell with uplifting confidence. Ben evokes the gentle ebb and flow of island waves, carrying the quartet to the closing chorus. The ensemble’s brisk, buoyant introduction to Ah-Leu-Cha leads to an exuberant melody. Rouse draws on his robust tone and melodic inventiveness in the first solo. Barron opens the following reading with playful fragments derived from the central theme. Williams steps forward last, threading a stream of flawlessly constructed musical thoughts until the quartet reconvenes for the melody’s return and climax.
The album’s closer, Quasimodo, slows the pace one final time, for the group’s medium theme. First up is Kenny, who unfolds his solo gradually, with lines marked by crisp articulation and a deft touch. The baton then passes to Charlie, who enters with a relaxed warmth and expressiveness. He listens and responds to the rhythm section, ahead of the theme’s restatement and finale. Joanne Klein and Sphere produced the album, with Richard Seidel serving as executive producer. Rudy Van Gelder was behind the recording dials, and the album was recorded directly to two-track digital using the Sony 3402 DASH Reel-to-Reel Recorder. The album’s sound quality possesses a superb soundstage that emerges from your speakers as if the musicians are positioned directly in front of your sweet spot.
Bird Songs was the final recording Charlie Rouse made with the quartet, as he sadly passed away from lung cancer eight months later, on November 30, 1988, at the age of 64. The ensemble delivers a tight and cohesive performance throughout, and this is truly one of those thoughtfully crafted sessions that invites listeners to return again and again. For anyone who treasures bebop, I enthusiastically suggest adding Bird Songs by Sphere to your library during your next visit to the record store. The album serves as a stirring homage to Charlie Parker, with four remarkable musicians breathing new life into his legacy, creating an experience rich in pure joy, surprise, and profound artistry!
~ I Didn’t Know What Time It Was – Source: JazzStandards.com
~ Postscript Excerpt: DASH – The Digital Audio Stationary Head standard is a reel-to-reel digital audio tape format introduced by Sony in early 1982 for high-quality multitrack studio recording and mastering, as an alternative to analog recording methods. Source: Wikipedia.org
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Henry Hagemann was born on September 6, 1910 in Copenhagen, Denmark He became a professional musician in 1931 and played primarily saxophone and clarinet. Throughout his career, he played with Kai Ewans, Winstrup Olesen and Leo Mathisen, among others.
From 1944 to 1949 he led his own ensemble. Afterward he performed as a theater musician, first with Hans Schreiber in the Fiffer revues and later in the Circus revue . He has also been engaged at the New Scala, where he regularly served as bandmaster.
Saxophonist and clarinetist Henry Hagemann died April 5, 1964.
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