Daily Dose Of Jazz…

Morris “Moe” Koffman was born on December 28, 1928 in Toronto, Canada. At the age of nine he began his musical studies in his native city, studying violin. He attended the Toronto Conservatory of Music, where he was a student of Samuel Dolin.

Dropping out of school when he found work performing in dance bands, in 1950, he moved to the United States, where he played with big bands including those of Sonny Dunham and Jimmy Dorsey. In 1955, he returned to Toronto where he formed a quartet and later a quintet and recorded Swinging Shepherd Blues in 1957 which helped establish his reputation as a flautist.

Koffman was inspired by Rahsaan Roland Kirk to play multiple instruments at once. He had a modified set of straps to hold a tenor and alto saxophones so that he could put forward incredible chords and improvise at the same time. He performed with Dizzy Gillespie and Peter Appleyard during the 1980s, as well as continuing to front the Moe Koffman Quintet. He often performed with Rob McConnell’s Boss Brass.

He was appointed to the Order of Canada in 1993 and inducted into the Canadian Music Hall of Fame in 1997.

Saxophonist, flautist, composer and arranger Moe Koffman, who was diagnosed with non-Hodgkin’s lymphoma in 2000, died of cancer in Orangeville, Ontario, Canada on March 28, 2001 at the age of 72.

More Posts: arranger,composer,flute,history,instrumental,jazz,music,saxophone

Daily Dose Of Jazz…

Tatsuya Takahashi was born December 24, 1931 in Tsuruoka, Yamagata, Japan.  He played on U.S. military bases in the early 1950s, and later in the decade moved to Tokyo, Japan.

He worked with Keiichiro Ebihara from 1961, but by 1966 was leading his own ensemble, Tokyo Union, which remained active until 1989. In the 1970s he played at the Monterey and Montreux Jazz Festivals.

After leaving Tokyo Union, Takahashi worked in jazz education, and in 1996 founded a new ensemble, Jazz Groovys.

Saxophonist Tatsuya Takahashi died on February 29, 2008 in Tokyo, Japan.

More Posts: bandleader,educator,history,instrumental,jazz,music,saxophone

Requisites

Wheelin’ & Dealin’ ~ Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor | By Eddie Carter

This morning’s album from the library is an excellent 1957 jam session by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Arthur Taylor. Wheelin’ & Dealin’ (Prestige PRLP 7131) is an outstanding album featuring an impressive team of musicians. The ensemble consists of John Coltrane and Paul Quinichette on tenor saxophones, Frank Wess on flute (tracks: A1, B1, B2) and tenor saxophone (track: A2), Mal Waldron on piano, Doug Watkins on bass, and Arthur Taylor on drums. The copy of this album that I own is the 2025 Worldwide Stereo audiophile reissue (Craft Recordings CR00862).

The album opens with Things Ain’t What They Used To Be by Mercer Ellington and Ted Parsons. Frank’s flute sets a welcoming tone for the sextet’s laid-back melody before moving into a relaxing first solo. Paul soars with graceful ease, then John follows him effortlessly with a mellow reading, then the saxophones revisit the sequence. Mal responds with a breezy interpretation, and Doug takes a quick walk, leading to the closing chorus. Wheelin’ by Mal Waldron takes off with the ensemble’s spirited theme. Coltrane leads the way with an energetic statement. Quinichette lets loose next, then Wess wails on the tenor saxophone. Waldron delivers a lengthy, vigorous performance. Taylor adds a brief footnote that leads to the ensemble reprising the theme and a rousing finish.

Side Two opens with Robbins’ Nest by Illinois Jacquet, Bob Russell, and Sir Charles Thompson, a tribute to DJ Fred Robbins. Frank, returning on flute, gently guides the ensemble through the melody, then enters like a cool breeze for the first solo. Paul then offers some down-home cooking; John makes every note count in a relaxed interpretation. Mal then keeps the mood easygoing, and Doug takes a brief walk before the closing ensemble. Mal Waldron’s Dealin’ starts with the sextet’s collective melody; Waldron leads with an inviting opening solo. Wess, on flute, produces a warm, fluid sound. Quinichette steps in for a few relaxing choruses, then Coltrane flows with fresh, creative ideas. Wess makes a short return on tenor sax, and Waldron has the last word before the group reunites to close the set.

The dynamic combination of Coltrane and Quinichette on tenor saxophones infuses the sextet with vibrant energy, establishing an engaging lead voice for the group. Coltrane, poised on the threshold of stardom, plays with deep emotion and a sense of adventurousness, while Quinichette’s silky, relaxed approach pays homage to Lester Young’s signature sound. Frank Wess further elevates the ensemble’s texture, seamlessly alternating between flute and tenor sax; his flute contributions, in particular, bring a light, breezy quality to the arrangements. Supporting them, the rhythm section of Waldron, Watkins, and Taylor lays down a consistent, swinging foundation, artfully mixing delicacy with spirited drive to enhance each soloist’s performance throughout the album.

Bob Weinstock supervised the first session, and Rudy Van Gelder was at the recording console. Kevin Gray did an excellent job mastering this audiophile reissue from the original tapes at Cohearant Audio. The sound quality truly shines, offering a spacious soundstage and vibrant clarity that makes you feel like the musicians are right in front of you. The record is pressed on 180-gram Virgin Vinyl and is silent until the music begins. If you’re craving a fantastic Hard-Bop album, I highly recommend checking out Wheelin’ & Dealin’ by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, and Arthur Taylor on your next record-shopping trip. It’s an outstanding album by the talented group that later became The Prestige All-Stars, and I believe it will become a beloved favorite in the libraries of both new and seasoned jazz fans for many years to come!

Things Ain’t What They Used To Be – Source: JazzStandards.com © 2025 by Edward Thomas Carter

Wheelin’ & Dealin’: 1957 | Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins, Arthur Taylor

For the serious collector of jazz… #Jazz #Classic #Collectible #Music #Notorious

More Posts: bass,choice,classic,collectible,collector,drums,flute,history,instrumental,jazz,music,piano,saxophone

The Jazz Voyager

Leaving Miami for the cold climes of our nation’s capital and heading to my old stomping grounds that have been gentrified and transformed into a multicultural hangout. The laction is U Street, the venue is JoJo Restaurant & Bar. This is where the Jazz Voyager will be spending an evening dining on calamari and grilled vegetables while taking in some great jazz.

On tap for this week’s adventure in jazz is the Tedd Baker Trio who is bringing his trio to the stage.  The Boston native has been playing professionally since he was a teenager around the city before venturing out. He has worked with a host of musicians such as Barry Harris, David Sanborn, Arturo Sandoval, Slide Hampton, Eddie Daniels, George Duke, Victor Lewis, Orrin Evans, Jason Moran, Wycliffe Gordon, and Kurt Elling.

JoJo Restaurant & Bar is located at 1518 U Street NW, Washington, DC 20009. For more information visit https://www.jojodc.com.

More Posts: adventure,club,ensembles,genius,jazz,music,preserving,saxophone,travel

Daily Dose Of Jazz…

Ze Luis was born José Luis Segneri Oliveira was born December 17, 1957 in Rio de Janeiro, Brazil and as a child lived next to Antonio Carlos Jobim in the historic Ipanema neighborhood. Early on Oliveira began playing flute and he graduated from Pro-Art Conservatoire in flute and traditional harmony in 1975. Two years later he continued his studies in Performance Arts at Villa-Lobos Institute and soon after studied with renowned Brazilian saxophonist and clarinet player Paulo Moura.

The mid-70s saw him becoming heavily influenced by the album Native Dancer, a collaboration between Wayne Shorter and Milton Nascimento. He was also drawn to the music of Ian Anderson, leader and flutist of the British band Jethro Tull.

Zé’s first professional engagement began with Brazilian vocalists Ney Matogrosso and Luiz Melodia. Oliveira met pianist Tomás Improta while working with Brazilian actress and singer Zezé Motta, who at that time was working with emerging Caetano Veloso and recorded on his album and eventually joined Veloso’s newly formed band.

During this time Oliveira worked extensively with Gilberto Gil, The Wailers, Chico & Caetano on Globo TV and played with Chico Buarque, Rita Lee, Milton Nascimento, João Bosco, Elza Soares, and Mercedes Sosa.

He moved to New York City in 1990 and began studying with saxophonists Joe Lovano and Ted Nash at New York University. In 2004, Oliveira received his Masters in Composition and Arranging from the Juilliard School. His career includes multiple Grammy Award nominations.

Throughout the 1990s, Oliveira continued to record and perform with hundreds of artists from different genres, composed and performed for choreographer and dancer Patricia Hoffbauer and became a part of the New York Samba Band with Duduka da Fonseca, Romero Lubambo, Cyro Baptista and Nilson Matta.

Saxophonist and flutist Zé Luis Oliveira is the current producer of Just Play, a traveling improvisational music series and global storytelling project.

More Posts: bandleader,flute,history,instrumental,jazz,music,saxophone