Daily Dose Of Jazz…
James R. Coe was born in Tompkinsville, Kentucky on March 20, 1921 and moved to Indianapolis, Indiana with his family as a child. He first played in a band with Erroll “Groundhog” Grandy, who mentored J. J. Johnson and Wes Montgomery.
From 1938 to 1940, Coe performed with Buddy Bryant’s band and by the age of 20, was already touring with the Jay McShann band, which included Charlie Parker, Al Hibbler, Walter Brown, Bernard Anderson, Gene Ramey and Doc West.
In the 1950s Jimmy recorded for King Records as a member of Tiny Bradshaw’s band, then made a session with his own combo, though the company oddly insisted on billing him as Jimmy Cole. 1953 saw States recording his Gay Cats of Rhythm. By the late 1950s, he led the house band for the small Indianapolis-based label Note Records. Some of the material was licensed to Checker, which had better distribution.
Coe backed performers Wes Montgomery, Slide Hampton, David Baker, Freddie Hubbard, Carl Perkins, Larry Ridley, Leroy Vinnegar, as well as Aretha Franklin, Roy Hamilton, Gladys Knight & the Pips. and doo-wop performers, The Students.
Saxophonist Jimmy Coe transitioned in Indianapolis on February 26, 2004 at the age of 82.
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KAMASI WASHINGTON FEATURING AMI TAF RA
He is a founding member of the jazz collective West Coast Get Down. Washington joined the Gerald Wilson Orchestra for its 2005 album In My Time. He played saxophone on Kendrick Lamar’s To Pimp a Butterfly. His debut solo recording, The Epic, was released in May 2015. The mini-album/EP Harmony of Difference followed in September 2017. His second full-length studio album, Heaven and Earth, was released in June 2018, with a companion EP titled The Choice released a week later.
Washington has played along with a diverse group of musicians including Wayne Shorter, Herbie Hancock, Horace Tapscott, Lauryn Hill, Nas, Snoop Dogg, George Duke, Chaka Khan, Flying Lotus, Mike Muir, Francisco Aguabella, St. Vincent, the Pan Afrikaan People’s Orchestra, Run the Jewels and Raphael Saadiq.
Ami Taf Ra | Moroccan~Dutch Artist
Growing up in the Netherlands, Arabic music was always present in her home. From Middle East Icons such as: Um Khaltoum,Warda, Asmahan to name a few. At the age of 14 her mother gave her the album of the legendary Lebanese singer Fairuz as a birthday present. She fell in love with Fairuz’s sound. Especially the sound of the fusion compositions with Jazz.This is when Ami Taf Ra knew that she doesn’t have to choose for one music style. but can combine her both backgrounds, the western music that she grew up with in Europe and her background with the Arabic music in the East. Ami Taf Ra enrolled at the Music School of Amsterdam. There, she was a member of the Gospel world choir and member of local bands that she performed with. At the age of 18, she went to the Hollywood center of Arabic music in Cairo, Egypt. She recorded her first Arabic song (in Egyptian dialect). The song was recorded in the same studio where the Egyptian legend Abdelhalim Hafez recorded some of his songs (studio Sout El Hob). Since then, Ami Taf Ra has been performing in different countries around the world. From Denmark to Turkey, Morocco,Belgium,Israel, Cairo, Lebanon, Jordan to name a few. Ami taf Ra recorded her debut album EastWest in Amsterdam in 2018. She collaborated with musicians from the Netherlands, Bulgaria,Spain,Slovenia and Turkey. On the album there are 6 original compositions by Ami Taf Ra and 3 covers. https://amitafra.com/bio
Showtimes ~ 6:30pm | 9:30pm
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Daily Dose Of Jazz…
Robert Sage Wilber was born on March 15, 1928 in New York City. He became interested in jazz at the age of three when his father brought home a recording of Duke Ellington’s song Mood Indigo. In 1935, the family moved to the affluent suburb of Scarsdale, New York. At the age of thirteen he began formal clarinet study under his first teacher, Willard Briggs. He began listening to jazz from New Orleans, Kansas City, and Chicago by Duke Ellington, Louis Armstrong, Jelly Roll Morton, Eddie Condon, and Frank Teschemacher. He played jazz in high school and with his friends formed a hot club, listening and jamming to records and graduated from high school in 1945.
Set on becoming a musician he attended the Eastman School of Music in Rochester, New York in 1945. After one term however, Bob dropped out and moved back to New York City to hang out on 52 Street and in Greenwich Village. He formed the Wildcats, with pianist Dick Wellstood and trombonist Eddie Hubble and they became the first jazz group in New York to do what Lu Watters and Turk Murphy had been doing on the Coast. They played the music of the Hot Five, the Red Hot Peppers and the Creole Jazz Band. The group performed regularly at Jimmy Ryan’s club over the next two years and was recorded in 1947 by Ramp-art Records.
Wilber worked with some of the best traditional jazz musicians of the era, including Muggsy Spanier, Baby Dodds, Danny Barker, Bud Freeman, Pee Wee Russell, George Wettling, Jimmy McPartland, Wild Bill Davison, and James P. Johnson. Fascinated with Sidney Bechet, in 1944 at sixteen, he met Bechet through Mezz Mezzrow and became Bechet’s pupil. He began studying both clarinet and soprano saxophone under his tutelage and eventually lived with him for several months.
Bob recorded for Columbia Records, Commodore, and Circle with Bechet and with his own group in the late 1940s. 1948 saw him forming a trio and playing Dixieland at intermissions at the Savoy Café in Boston, Massachusetts. Eventually, he expanded the band to a sextet and gained a strong following in the city, leading to opportunities in New York City.
Clarinet and soprano saxophonist Bob Wilber, who continued playing right up until 2017, transitioned on August 4, 2019 at age 91 in Chipping Campden, England.
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IMMANUEL WILKINS
The music of saxophonist and composer Immanuel Wilkins is filled with empathy and conviction, bonding arcs of melody and lamentation to pluming gestures of space and breath. Listeners were introduced to this riveting sound with his acclaimed debut album Omega, which was named the #1 Jazz Album of 2020 by The New York Times. The album also introduced his remarkable quartet with Micah Thomas on piano, Daryl Johns on bass, and Kweku Sumbry on drums, a tight-knit unit that Wilkins features once again on his stunning sophomore album The 7th Hand.
The 7th Hand explores relationships between presence and nothingness across an hour-long suite comprised of seven movements. “I wanted to write a preparatory piece for my quartet to become vessels by the end of the piece, fully,” says the Brooklyn-based, Philadelphia-raised artist who Pitchfork said “composes ocean-deep jazz epics.”
Conceptually, the record evolves what Wilkins begins exploring on Omega, which included a four-part suite within the album. On The 7th Hand, all his compositions represent movements, played in succession. “They deal with cells and source material like a suite would,” says Wilkins, “but they function as songs, as well.”
While writing, Wilkins began viewing each movement as a gesture bringing his quartet closer to complete vesselhood, where the music would be entirely improvised, channeled collectively. “It’s the idea of being a conduit for the music as a higher power that actually influences what we’re playing,” he says. The 7th Hand derives its title from a question steeped in Biblical symbolism: If the number 6 represents the extent of human possibility, Wilkins wondered what it would mean — how it would sound — to invoke divine intervention and allow that seventh element to possess his quartet.
Wilkins often draws inspiration from critical thought. Even the striking album artwork challenges convention: “I wanted to remix the Southern Black baptism, and also provide critique on what is considered sanctified and who can be baptized.”
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Daily Dose Of Jazz…
Frank Teschemacher was born on March 13, 1906 in Kansas City, Missouri. A was a member of the Austin High School Gang, a group of young, white musicians from the Chicago, Illinois West Side, they all attended Austin High School during the early 1920s. They rose to prominence as pioneers of the Chicago Style in the 1920s, which was modeled on a faster version of New Orleans jazz.
Strongly influenced by cornetist Bix Beiderbecke, he was mainly self-taught on his instruments, clarinet and saxophone. Early on he also doubled on violin and banjo. He started playing the clarinet professionally in 1925. He began recording under his own name in 1928 and made what are believed to be his final recordings two years later, although there is now reason to believe (via sine wave recording research, aka Smith/Westbrook Method) that he appeared on unidentified recordings as late as 1932.
He first recorded with Red McKenzie and Eddie Condon’s Chicagoans in 1927 for Okeh Records. Two sessions produced Sugar, China Boy, Nobody’s Sweetheart and Liza. The players included Jimmy McPartland, Bud Freeman, and Jim Lanigan, as well as Chicagoans Eddie Condon, Gene Krupa and Joe Sullivan, led by Red McKenzie.
1928 saw him recording with two other Red McKenzie and Eddie Condon groups, the Chicago Rhythm Kings and the Jungle Kings. The same year he made his debut as a leader recording for Brunswick Records. The group recorded under the name Frank Teschmacher’s Chicagoans. Frank’s solo work laid the groundwork for a rich sound and creative approach that is credited with influencing a young Benny Goodman and a style of which Pee Wee Russell. He also made recordings on the saxophone and would later return to the violin during the Great Depression. Although well known in the world of jazz, he did not live to enjoy popular success in the swing era.
Clarinet and alto saxophonist Frank Teschemacher, who was killed in an automobile accident while being driven by Wild Bill Davison, transitioned on March 1, 1932 at the age of 25.
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