Daily Dose Of Jazz…

Sir John Phillip William Dankworth was born on September 20, 1927 in Woodford, Essex, England. He grew up within a family of musicians and attended Selwyn Boys’ Junior School and later Sir George Monoux Grammar School. Prompted by hearing a Benny Goodman Quartet album at 16, before settling on the clarinet he took violin and piano lessons. Soon afterwards he was inspired by Charlie Parker and learned to play the alto saxophone.

Beginning his career on the British jazz scene after studying at London’s Royal Academy of Music and then national service in the Royal Air Force, during which he played alto sax and clarinet for RAF Music Services. By 1947 he was working on the Queen Mary in Bobby Kevin’s band, and in London with Les Ayling. Through the rest of the decade he performed with Tito Burns, with Charlie Parker at the Paris Jazz Festival, and a tour of Sweden with Sidney Bechet. In 1949, Johnny was voted Musician of the Year.

The Fifties saw him forming a small group, the Dankworth Seven, as a vehicle to showcase his writing as well as several young players, Jimmy Deuchar, Eddie Harvey, Don Rendell, Bill Le Sage, Eric Dawson, Tony Kinsey and Frank Holder.  also sang and recorded with this ensemble. Forming his big band in ‘53 and Cleo Laine was now a regular voice on appearances and recordings.

The band came to the States and performed at Newport, Birdland had Louis Armstrong sit in for a set and shared several stages with the Duke Ellington Orchestra. In 1959, John became chair of the Stars Campaign for Inter-Racial Friendship, set up to combat the fascist White Defence League.

The following decades saw him working and recording with numerous American and British jazz musicians, began composing for film and television, and received commissions all while performing live and on the radio.

As an educator his enthusiasm for jazz education led him to run for many years the Allmusic summer schools at the Stables in Wavendon and from 1984 to ‘86 he was a professor of music at Gresham College in London, where he gave free public lectures.

He was awarded an Honorary Doctorate of Music from Berklee College of Music, was made a Knight Bachelor in the 2006 New Year’s Honours List, and was made a Commander of the British Empire (CBE). In 2009 he fell ill and while he had to cancel several concerts he made one last appearance in December.

Saxophonist, clarinetist, composer, educator John Dankworth, who along with his wife Dame Cleo were one of a few couples to hold British titles, transitioned on February 6, 2010 at the age of 82, on the afternoon before a show celebrating the 40th anniversary of the foundation of The Stables.

Confer a dose of a Woodford saxophonist to those seeking a greater insight about the musicians around the world who are members of the pantheon of jazz…

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Daily Dose Of Jazz…

Hailing from Los Angeles, California on September 18, 1951 Steve Slagle was born. He  grew up in suburban Philadelphia, Pennsylvania and received a scholarship to the Berklee College of Music and received a master’s degree in music from Manhattan School of Music. In 1976 New York City saw him first working with Machito and his Afro-Cuban orchestra, before touring and recording with Ray Barretto, Steve Kuhn, Lionel Hampton, Brother Jack McDuff, and Carla Bley. He has also performed and traveled with Woody Herman and Cab Calloway.

In the mid-1980s he began leading his own combos, first with Mike Stern and Jaco Pastorius, and then with Dave Stryker. He has played frequently with Joe Lovano and has been featured on several of Lovano’s albums, including the Grammy-winning 52nd Street Themes.

The mid-1980s had Steve recording with Milton Nascimento and recorded Rio Highlife in Brazil. He toured frequently worldwide during the 1990s and 2000s, in Western Europe, Japan, South America, Russia and Bulgaria. During the 1990s, he was a leading figure in the Charles Mingus Big Band, and co-leads a band with guitarist Dave Stryker.

He has played with such diverse artists as St. Vincent, Elvis Costello, the Beastie Boys, and Dr. John. As an educator Slagle has taught at the Manhattan School of Music, Rutgers, The New School, NYU, and clinics through the Thelonious Monk Institute, the Mingus Jazz Workshop and master classes and clinics worldwide.

He recorded a duo album with pianist Bill O’Connell in tribute album to Kenny Drew Jr. was released as The Power of Two. He has published a composition and improvisation workbook for the creative musician titled Scenes, Songs and Solos. He has released eighteen albums as a leader, six as a collaborator and 41 as a sideman.  Saxophonist Steve Slagle continues to perform, record, teach.

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Three Wishes

Dexter Gordon was hanging out with Nica when the subject of three wishes came up and he shared with her his one wish:

1. “The things I want you can’t put in your book.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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Requisites

Mean What You Say ~ Thad Jones-Pepper Adams Quintet | By Eddie Carter

This morning’s album offered for your consideration brings together two of my favorite musicians, Thad Jones and Pepper Adams, for their only quintet release. Mean What You Say (Milestone MSP-9001) is their only collaborative effort and was recorded around the same time as The Thad Jones-Mel Lewis Orchestra album. Both titles hit the stores in 1966. Thad is heard exclusively on flugelhorn, and Pepper is on baritone sax. The supporting cast is a first-class rhythm section: Duke Pearson on piano, Ron Carter on bass, and Mel Lewis on drums. The program consists of six originals and two popular songs. My copy is the original US Stereo pressing.

Side One opens with the title tune, Mean What You Say, the first of four originals by Thad Jones and one of his prettiest tunes from Presenting Thad Jones-Mel Lewis & The Jazz Orchestra. The quintet opens with a wonderful melody. Duke has the first solo and states his case comfortably. Mel makes a brief comment before Thad’s relaxing statement. Pepper provides the song’s happy ending in the closer ahead of the reprise and the ending. H and T Blues begins with the ensemble’s smooth theme. Pepper takes the lead on the opening solo and cooks, then Thad thrives on the following reading. Duke swings with a smooth tone next, and Ron has a brief word before the closing chorus.

The group takes a spirited turn on Wives and Lovers by Burt Bacharach and Hal David with a lively melody. Thad launches the first reading slowly, then picks up speed to a brisk conclusion. Pepper answers him passionately, and Duke serves up a sparkling statement preceding the closing chorus and quick stop. Bossa Nova Ova is a festive tune with an infectious melody that’s sure to have your toes tapping along to the beat. Pepper is up first; his bubbling enthusiasm lets us know we’re in for a treat. Thad takes a gorgeous solo next; then Duke provides a perfect ending in a well-constructed performance into the song’s reprise and climax.

Side Two gets underway with No Refill. It’s a pretty song that flows like a summer breeze, beginning with the quintet’s theme. Ron starts with a beautiful first reading, and then Thad follows with a leisurely statement. Pepper shines brightly like the sun next, and Duke gives an interpretation as sweet as honey ahead of the theme’s reprise. Little Waltz by Ron Carter is a haunting ballad that opens with the front line’s melancholy melody. Pepper opens with a deeply moving interpretation, followed by Thad’s wonderfully warm statement. Duke is equally polite and respectful next, then Ron walks in last with a lovely finale before the theme’s restatement and tender ending.

Up next is Duke Pearson’s Chant, the pianist first performed on Donald Byrd’s A New Perspective. The ensemble starts slowly for their melody, but the pace picks up for the hearty opening statement by Pepper. Thad comes in next and delivers the second solo efficiently, then Duke delivers the knockout with a splendid performance, leading to the reprise and close. Yes Sir, That’s My Baby by Walter Donaldson and Gus Kahn is an old song from the twenties that the quintet has fun with in the opening and closing choruses with a ragtime feel. In between are three great solos by Thad, Pepper, and Duke, who are all having a blast playing.

Orrin Keepnews produced Mean What You Say, and Elvin Campbell was the recording engineer. The sound quality is exceptional, with a stunning soundstage that transports listeners to the studio as the quintet works. It’s a pity that this group didn’t get to record again because it’s a terrific studio session worthy of adorning a spot in any jazz library. Thad and Mel would assemble The Jazz Orchestra and Pepper Adams would become a significant member of the band’s early Solid State albums. Duke Pearson was a wonderful bandleader and composer who made his home on Blue Note, and Ron Carter was a member of the Miles Davis Quintet before branching out on his own in the seventies.

If you’re in the mood for an excellent Hard-Bop album and are a fan of either musician, I invite you to consider Mean What You Say by The Thad Jones-Pepper Adams Quintet for a spot in your library. It’s an absolute gem in their discography and a terrific release I’m sure you’ll enjoy!

~ A New Perspective (Blue Note BLP 4124/BST 84124), Presenting Thad Jones-Mel Lewis and The Jazz Orchestra (Solid State SS 18003) – Source: Discogs.com ~ Wives and Lovers, Yes Sir, That’s My Baby – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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LUTHER ALLISON SEXTET FEATURING STEVE WILSON

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