Daily Dose Of Jazz…

Hubert Fol was born in Paris, France on November 11, 1925 and learned piano from an early age through lessons from his mother. He also took lessons in violin and clarinet in his teens and early twenties.

As a saxophonist, Hubert worked with Claude Abadie and Boris Vian and co-founded the Be Bop Minstrels with his brother in 1947. In 1949~1950, he toured Europe and recorded with Coleman Hawkins, then worked with Kenny Clarke and Django Reinhardt before embarking on another European tour with Dizzy Gillespie and Rex Stewart.

In the 1960s his health deteriorated, leading to his playing far less frequently.Saxophonist and bandleader Hubert Fol transitioned on January 19, 1995 in Paris.

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Daily Dose Of Jazz…

James Ostend Brown was born on November 9, 1906 in Baltimore, Maryland and learned to play piano, trumpet, and saxophone in his youth. Professionally known as Pete Brown, he played in New York City with Bernie Robinson’s orchestra in 1928, and played from 1928 to 1934 with Charlie Skeete.

1937 saw him working in the John Kirby band for several years and during the decade he worked with Frankie Newton, who was also a member of Kirby’s band. Brown and Newton recorded often. In addition to recording under his own name, he also recorded with Willie “The Lion” Smith, Jimmie Noone, Buster Bailey, Leonard Feather, Joe Marsala, and Maxine Sullivan.

Pete worked on 52nd Street in New York City in the 1940s, both as a sideman with Slim Gaillard, among others. As a bandleader, he was in Allen Eager’s 52nd Street All-Stars in 1946.

In the 1950s, Brown’s health began to fail, and he receded from full-time performance. He played with Joe Wilder, Big Joe Turner, Sammy Price, and Champion Jack Dupree. He appeared at the 1957 Newport Jazz Festival with Coleman Hawkins and Roy Eldridge. His last appearance was in 1960 with Dizzy Gillespie.

Alto saxophonist and bandleader Pete Brown, who was Cecil Payne and Flip Phillips teacher, transitioned on September 20, 1963 in New York City.

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Requisites

Starting Time ~ Clifford Jordan | By Eddie Carter

Clifford Jordan enters the spotlight to begin November with a wonderful 1961 quintet date called Starting Time (Jazzland JLP 52/JLP 52S). It was the tenor saxophonist’s seventh album as a leader and second on the label following A Story Tale. He was born in Chicago, Illinois, and early in his career, played with Max Roach and Sonny Stitt and was also a member of a few rhythm and blues groups. Clifford recorded three albums at Blue Note after moving to New York in 1957. Here, he is joined by Kenny Dorham on trumpet, Cedar Walton on piano, Wilbur Ware on bass, and Albert Heath on drums. My copy is the 1984 US Original Jazz Classics Stereo reissue (Jazzland OJC-147).

The opener, Sunrise in Mexico by Kenny Dorham, first appeared on the trumpeter’s album, Whistle Stop. The front line begins the introduction in unison, segueing into the quintet’s mid-tempo melody. Clifford is up first, and then Cedar has a satisfying statement. Wilbur and Albert share a brief comment before the group’s closing chorus fades out slowly. Extempore is a blues by Clifford Jordan that gets underway with the ensemble’s inviting theme. Jordan opens with a solo as smooth as velvet, and then Dorham glides through the second statement leisurely. Ware continues this bluesy trip in the following reading, and Walton speaks briefly ahead of the melody’s return and climax.

Down Through the Years is a very pretty ballad by the leader that the quintet begins with a delicately gentle melody. Clifford opens with a thoughtfully polite reading. Kenny takes a beautiful romantic interpretation next. Cedar closes with an elegantly serene performance preceding the ensemble’s tender reprise and conclusion. Quittin’ Time is the saxophonist’s lively way to end the first side with the group’s brisk theme. Jordan goes first with a spirited statement, and then Dorham keeps things rolling. Walton enters the next solo swiftly, and Heath swings comfortably in the closer, leading to the theme’s restatement and exit.

Side Two starts with One Flight Down, a funky blues by Cedar Walton that the quintet has some fun with. Cedar takes charge first with an infectiously laid-back solo. Kenny gets the next nod, and Jordan takes over for a short, satisfying statement leading to the closing chorus. Windmill by Kenny Dorham also comes from Whistle Stop and is a speedster from the quintet’s opening chorus. Dorham fires the first shot with an electrically charged interpretation. Jordan soars into an enthusiastic performance next, and then Walton shifts into high gear on the third reading. The leader has a vigorous exchange with Heath before the reprise and summation.

Don’t You Know I Care by Duke Ellington and Mack David is a quartet performance by Clifford and the rhythm section. The saxophonist is the featured soloist and begins with a warm tone on the melody and a beautifully phrased opening solo. Cedar shines briefly in a concise comment until Clifford reappears to take the song out tenderly. Mosaic by Cedar Walton became the title tune of an album by Art Blakey and The Jazz Messengers. The quintet begins with Dorham leading the way on the Eastern-flavored melody. Jordan takes the first statement, and then Dorham makes a profound impression next. Walton takes us into the ensemble’s reprise with a splendid solo.

Orrin Keepnews produced Starting Time, and Ray Fowler was the recording engineer. The sound quality of this OJC reissue is wonderful, with a soundstage that places the listener’s sweet spot in the studio as the musicians are playing. Clifford Jordan recorded thirty-six albums as a leader, and as a sideman, he appeared with some of the greatest musicians in jazz. For those fans of the tenor sax who enjoy a great hard-bop album, I invite you to check out Starting Time by Clifford Jordan on your next record-shopping trip. It’s a terrific record that I highly recommend as a welcome addition to any jazz library!

~ A Story Tale (Jazzland JLP 40/940S), Mosaic (Blue Note BLP 4090/BST 84090), Whistle Stop (Blue Note BLP 4063/BST 84063) – Source: Discogs.com © 2023 by Edward Thomas Carter

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Daily Dose Of Jazz…

Ernest Dawkins was born November 2, 1953 in Chicago, Illinois. As a child he was a neighbor of Anthony Braxton as a child. He played bass and drums early in life before switching to saxophone in 1973.

During that decade he began studying with Joseph Jarman and Chico Freeman, members of the Association for the Advancement of Creative Musicians. He also studied at Vandercook College of Music.

He worked with Ed Wilkerson and the Ethnic Heritage Ensemble and Douglas Ewart before founding his own New Horizons Ensemble. The ensemble played regularly in Chicago into the new century, as well as at jazz festivals and on tour in Europe.

As a leader he recorded sixteen albums, three as an unofficial leader/co-leader of The (AACM) Great Black Music Ensemble and as a guest with the Ethnic Heritage Ensemble.

Saxophonist Ernest Dawkins, who is principally active in free jazz and post-bop, continues to perform, record and tour.

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TRIBUTE TO PHAROAH SANDERS

Gary Bartz [Saxophone]
Jean Carn [Vocals]
Norman Connors [Vocals & Drums]
Eddie Baccus Jr. [Saxophone]

The Starship Orchestra

Known for his overblowing, harmonic, and multi-phonic techniques on the saxophone, as well as his use of “sheets of sound”, American jazz musician Pharaoh Sanders played a prominent role in the development of free jazz and spiritual jazz through his work as a member of John Coltrane’s groups in the mid-1960s, and later through his solo work. He released over thirty albums as a leader and collaborated extensively with vocalist Leon Thomas and pianist Alice Coltrane, among many others. Fellow saxophonist Ornette Coleman once described him as “probably the best tenor player in the world”. Most of Sanders’ best-selling work was made in the late 1960s and early 1970s for Impulse Records, including the 30-minute wave-on-wave of free jazz “The Creator Has a Master Plan” from the album Karma.

A native of Baltimore, Gary Bartz has been known to many as a trail blazer in the music business from the moment he started playing with Art Blakey at his father’s jazz club in his hometown to his own music throughout the 57 years as a professional musician. As if his Grammy Award with McCoy Tyner in 2005 (‘Illuminations’) wasn’t enough to carve out a place for Bartz in the jazz genre, he has broken the mold with more than 40 solo albums and over 200 as a guest artist.

Drummer and producer Norman Connors’ work has become a main staple of jazz-fusion, with tracks including “Mother Of The Future” from album “Slew Foot” (1974), “Captain Connors” from album “This Is Your Life” (1977), “You Are My Starship” (1976) album, et al. He has lead jazz recordings with Carlos Garnett, Gary Bartz, Dee Dee Bridgewater, and Herbie Hancock.

Jean Carn began her recording career with her then-husband, pianist Doug Carn, founder of Black Jazz Records and had an astounding five octave voice range. She sang background for artists including the likes of Earth, Wind & Fire and Norman Connors, but in 1977, she debuted solo, playing a crucial role in the golden era of Philly soul.

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