Daily Dose Of Jazz…
Joseph S. Romano was born in Rochester, New York on April 17, 1932 and learned to play clarinet, alto and tenor saxophone as a child. Enlisting in the United States Air Force in the 1950s, then joined the band of Woody Herman in 1956, playing intermittently with Herman into the 1970s, including at major jazz festivals and on several worldwide tours.
In the 1960s, he played with Chuck Mangione, Sam Noto, and Art Pepper and was a recurring sideman on Buddy Rich’s albums between 1968 and 1974. During the Seventies he played with Les Brown, Louie Bellson, Chuck Israels, Sam Noto again, and with the Thad Jones-Mel Lewis Orchestra.
A move to California led him to session work in the 1980s. In addition, he worked with Frank Capp and Nat Pierce. He would later return to his hometown.
Saxophonist Joe Romano transitioned in Rochester on November 26, 2008, from lung cancer, at the age of 76.
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Requisites
The Jazztet At Birdhouse ~ The Jazztet | By Eddie Carter
This morning’s subject is a recent addition to my library by The Jazztet. The group was co-founded by Art Farmer and Benny Golson in 1959. The Jazztet At Birdhouse (Argo LP 688/LPS 688) is a 1961 live release documenting the sextet’s performance at the Chicago jazz club. It was their first live album and their fourth as an ensemble. The first three are Meet The Jazztet (1960), Big City Sounds, and The Jazztet and John Lewis (1961). The personnel is Art Farmer on flugelhorn (tracks: A3, B2), trumpet (A1, A2, B1 to B3), Thomas McIntosh on trombone, Benny Golson on tenor sax, Cedar Walton on piano, Thomas Williams on bass, and Albert Heath on drums. My copy is the 1975 Japanese Stereo Reissue (Cadet MJ-1011) by Victor Musical Industries.
Side One opens with Junction by Benny Golson, beginning leisurely with the sextet’s collective melody. The saxophonist begins the first reading comfortably, then gradually builds to an aggressive conclusion. Art takes over and is equally effective in the second statement, with the front line complimenting him ahead of the theme’s restatement and finale. The ensemble presses the pedal to the floor in the uptempo cooker, Farmer’s Market. They quickly begin the melody in unison, stepping aside for Benny, who blows fire in the opening solo. Art swings rapidly into the second reading, then Albert illustrates his energetic brushwork briefly. Cedar vigorously delivers the song’s final solo before the sextet reconvenes to end the song abruptly.
Art puts the flugelhorn to work on the jazz standard, Darn That Dream, by Jimmy Van Heusen and Eddie De Lange. He makes the song his own with a tender rendition of the theme. As the song’s only soloist, he gives an elegant interpretation supported gently by the front line preceding a peaceful finale. The pace picks up again to start Side Two with Shutterbug by J.J. Johnson. The song flies fast from the opening notes of the sextet’s vigorous melody. Art’s back on trumpet for the opening solo, and he’s going at breakneck speed. Benny follows him furiously in the second interpretation, then Albert applies the finishing touches with enthusiastically agile brushwork leading to an exuberant ending.
Art returns to the flugelhorn for a gorgeous rendition of ‘Round Midnight by Thelonious Monk, Bernie Hanighen, and Cootie Williams. The jazz standard receives a regal treatment beginning with the flugelhorn leading the front line through the melody. Benny joins in briefly; then, the ensemble sets the scene for Golson to give a hauntingly beautiful statement. Art is up next and switches to the trumpet for a tender performance. Cedar indulges in a bit of nostalgia in the closer leading to the climax. Thomas McIntosh’s November Afternoon starts with the sextet’s lively theme. Art takes the lead with a vibrant opening statement; then, Tom cooks briefly on his only interpretation. Benny gets the spotlight last with an exceptionally satisfying reading preceding the group’s exit.
Kay Norton, the group’s manager, produced The Jazztet at Birdhouse, and Ron Malo was behind the dials of the recording. This album highlights Benny Golson’s capabilities as an arranger; he arranged all the tunes except November Afternoon, which was arranged by Thomas McIntosh. The sound quality is good for the period, and the band’s exhilarating energy comes through on every track. The Jazztet at Birdhouse is a lesser-known album in their discography, but an overlooked gem deserving broader recognition and should be considered the next time you’re vinyl shopping. It should also be a welcome addition to any jazz library, especially if you enjoy excellent Hard-Bop or are an Art Farmer and Benny Golson fan!
~ Big City Sounds (Argo LP 672/LPS 672), Meet The Jazztet (Argo LP 664/LPS 664), The Jazztet and John Lewis (Argo LP 684/LPS 684) – Source: Discogs.com ~ Darn That Dream, ‘Round Midnight – Source: JazzStandards.com © 2023 by Edward Thomas Carter
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Daily Dose Of Jazz…
Gérard Badini was born April 16, 1931 in Paris, France to an opera singing father. He began playing professionally in the early 1950s, playing clarinet in New Orleans jazz-style ensembles with Michel Attenoux, Jimmy Archey, Lil Armstrong, Sidney Bechet, Bill Coleman, and Peanuts Holland.
In 1955, he joined Claude Bolling’s ensemble and then joined him on a worldwide tour as members of Jack Diéval’s orchestra. He switched principally to tenor sax beginning in 1958, continuing to work with Roger Guérin and Geo Daly in the late 1950s. In the 1960s he worked with Alice Babs, Duke Ellington, Jean-Claude Naude, Cat Anderson, Paul Gonsalves, Jef Gilson, and François Guin.
He founded his own group, Swing Machine, in 1973, working in this group with Bobby Durham, Raymond Fol, Michel Gaudry, Helen Humes, Sonny Payne, and Sam Woodyard. From 1977 to 1979, Badini lived in New York City, performing with Roy Eldridge, Major Holley, Oliver Jackson, Dick Katz, Clark Terry, Gerald Wiggins, and Reggie Workman.
In 1984, he formed a new big-band ensemble, Super Swing Machine, which he led and played piano in through the late 1990s. Known as Mr. Swing, bandleader, composer, reedist, and pianist Gérard Badini continues to .
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Daily Dose Of Jazz…
Nicolas Masson was born on April 14, 1972 in Geneva, Switzerland. He took up the saxophone in his youth and at twenty years old he met Cecil Taylor in New York and took lessons from Frank Lowe and Makanda Ken McIntyre. Returning home he enrolled in the jazz program at the Conservatoire Populaire de Musique de Genève with Maurice Magnoni as a saxophone teacher.
While a student he attended master classes withLee Konitz, Dave Douglas and Misha Mengelberg. In 1999 Masson spent the summer in New York City studying with Chris Potter. Graduating from the conservatoire in 2000 with a jazz performance and teaching degree, he returned to New York City for a year and studied regularly with Rich Perry and played with local musicians.
His debut album Awake was released in 2002 on the Swiss label Altri Suoni. The session was recorded with his New York band featuring trumpeter Russ Johnson, bassist Eivind Opsvik and drummer Mark Ferber. A year later they were touring Switzerland and Italy.
Receiving a grant from the Bourse d’Aide à la Création he was able to tour Italy and record his sophomore album Yellow (A Little Orange) that was released in 2006 on the Fresh Sound/New Talent label. In 2005 and 2006, the Quartet toured Italy again, taking part in an itinerant Swiss festival organized by Rome’s Swiss Cultural Centre, sharing the evening with Irène Schweizer, Lucas Niggli and Malcolm Braff.
In 2007, a New York concert, European duo tour with Kris Davis of Switzerland, Italy, France and Germany, a New York gig with the Quartet and a 2009 release Thirty Six Ghosts on Clean Feed Records kept him busy. Saxophonist Nicolas Masson continues to record and play throughout Europe.
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Daily Dose Of Jazz…
Simon Spang-Hanssen was born on April 13, 1955 in Copenhagen, Denmark andstarted playing alto saxophone but later added tenor and soprano. Receiving the annual Ben Webster Prize he created his own quartet Spacetrain with Ben Besiakov, Jesper Lundgaard and Alex Riel in 1979. He played in several groups before joining the sextet of Brazilian drummer and composer Nenê, and touring Denmark and France with Hermeto Pascoal e Grupo.
A move to Paris, France saw him playing with among others Denis Badault, Andy Emler, Nguyên Lê, Quintet Moutin, Ramuntcho Matta, Edouard Ferlet and with his own projects including musicians such as Richard Bona, Billy Hart, Niels Lan Doky, J.F. Jenny-Clarke, Bojan Z., and others. Returning to Copenhagen he created the tentet Central Earth and recorded Wondering with Maaneklar for Dacapo. Concerts and recording followed with a new quartet and quintet into the new millennium. He has had several iterations
Simon started the record label Alisio and released Rainbow Spirit and Coexistence with a quintet. These were followed with several other releases including The Riddle with Ear Witness, a live-recording in Copenhagen Jazzhouse with Maneklar XL, and two nominations for Danish Jazz Awards: Composer of the Year, Album of the year.
He has played and toured with the Aliso Ensemble South America, Scandinavia, and Zanzibar with Ear Witness. He released a new recording with the Epistrophy Septet with trombonist Peter Dahlgren. Saxophonist Simon Spang-Hanssen continues to perform and tour with a variety of musicians.
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