Daily Dose Of Jazz…
Edward Thomas Harvey was born on November 15, 1925 in Blackpool, England, but grew up in Sidcup, where he attended Chislehurst and Sidcup Grammar School. At the age of 16, he began studying engineering in nearby Crayford and took his first professional job as a musician playing trombone with George Webb and his Dixielanders, a pioneering UK traditional jazz band.
After the World World War II, Harvey joined Freddy Randall and also began performing at Club Eleven in London, England with a number of young musicians, among them Ronnie Scott and John Dankworth who were beginning to experiment with the bebop style that they had picked up from US musicians like Charlie Parker and Dizzy Gillespie.
When the Dankworth Seven formed in 1950, Harvey was a founder member and the percussionist vocalist Frank Holder was also featured in this group. He stayed until 1953, performing on both piano and trombone, and spent the 1950s performing and recording with a number of important UK jazz groups including bands led by Tubby Hayes, Vic Lewis, Don Rendell, and Woody Herman. He also began arranging for groups like Jack Parnell’s Orchestra.
From 1963 to 1972 Eddie was pianist with the Humphrey Lyttelton band. During that time of the early 1970s he also became interested in teaching jazz. His jazz piano course at the City Lit was one of the first jazz education courses in Europe. This led to his writing Teach Yourself Jazz Piano, which was published in the Teach Yourself series. After ten years teaching Music at Haileybury College in Hertfordshire, he accepted the newly created role of Head of Jazz at the London College of Music. Later teaching posts included the Guildhall and Royal Colleges of Music.
Pianist, trombonist, arranger and educator Eddie Harvey, who never led a recording session but was the inspiration for the Richmond Canoe Club Walking Division, passed away on October 9, 2012.
Requisites
Another Monday Night at Birdland ~ Hank Mobley, Billy Root, Curtis Fuller, Lee Morgan | By Eddie Carter
This morning’s choice from the library brings us back to The Jazz Corner of The World for another live set by Lee Morgan on trumpet, Curtis Fuller (tracks: A2, B1, B2) on trombone, Hank Mobley, Billy Root on tenor sax. Another Monday Night at Birdland (Roulette R 52022/SR 52022) is the companion album to Monday Night at Birdland. Rounding out the septet is Ray Bryant on piano, Tommy Bryant on bass, and “Specs” Wright on drums. “Symphony Syd” Torin is the Master of Ceremonies, and my copy used in this report is the 1988 Spanish Mono reissue (Fresh Sound Records FSR-632).
Side One starts with an exhilarating rendition of It’s You Or No One, written in 1948 by Jule Styne and Sammy Cahn. Lee leads the ensemble on the melody before Hank opens the solos energetically. Lee lays down some spirited energy on the second statement, then Billy states his case with a vigorous finale leading to the climax and Syd’s introduction of the next tune. Jamph was written by Curtis Fuller, and I first heard it on the album, Big Six (1958). The septet begins the theme at mid~tempo collectively, then Mobley soars into the lead solo with some energetic blowing. Fuller greets the next statement enthusiastically, followed by Morgan who wails mightily on a vigorous reading. Root keeps the beat on the fourth interpretation with a scene-stealing performance. Bryant takes care of business on the closer with an aggressive solo into the out chorus.
Side Two starts with Syd’s announcement of the next tune, Nutville by Lee Morgan with inspired playing by the septet on the infectious melody. Hank launches into a swinging improvisation that’s a delight. Lee exhibits his skills on a joyful excursion next. Billy comes after him with a stellar statement that made me sit up and take notice. Curtis wraps up the solos with a delightful interpretation that brings so much pleasure ahead of the ensemble’s exit and group introductions. Wee by Denzil Best is an uptempo cooker that flies out of the gate with a high-voltage melody in unison. Mobley steps into the spotlight first with a heated solo. Morgan uses a mute for the second statement and attacks with the speed of a whirlwind. Root displays some lightning-fast chops on the third presentation, and Bryant covers plenty of ground motoring in rapid-fire fashion on the next reading. Wright gets a concise comment during the theme’s reprise into the septet’s lively finale.
Another Monday Night at Birdland was produced by Rudy Taylor and like the first album, the soundstage is excellent for a live recording. This is a four-star blowing session that I’m sure any fan of Hank Mobley, Billy Root, Lee Morgan, and Curtis Fuller would dig. If you’re a fan of Hard-Bop, this album is a terrific addition to any jazz library and one of the best in the Birdland Series!
~ Big Six (Riverside Records RLP12-273), Monday Night at Birdland (Roulette R-52015/SR-52015) – Source: Discogs.com © 2021 by Edward Thomas Carter
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Three Wishes
Curtis Fuller responded to the question of three wishes posed by the Baroness by telling her:
- “Health.”
- “Love.”
- “Understanding.”
*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter
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Three Wishes
Nica’s request of Julian Priester led him to answering the question of three wishes with:
-
- “The first one is a government~sponsored music program.”
- “I’d like to play with Monk.”
- “A change in this country’s economic system.”
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Daily Dose Of Jazz…
Alexander Balos “Sandy” Williams was born on October 24, 1906 in Summerville, South Carolina, the son of a preacher. The family of thirteen moved to Washington D.C. when he was very young however, losing their parents six months apart, they were sent to an orphanage in Delaware. There he joined the school band, but was put on tuba rather than trombone despite his requests. Taking private lessons while attending Armstrong High School, he occasionally played with his professor’s sons, and played with several bands before he started playing with the Lincoln Theater pit band.
Fletcher Henderson strongly influenced Williams jazz musicianship which received local notice. He played with Claude Hopkins, and later in 1929 joined Horace Henderson. He became a staple player in the Chick Webb band from 1933-1940 where he later worked with Ella Fitzgerald. Through the Forties he went on to work with other bands including Cootie Williams, Sidney Bechet, Duke Ellington, Art Hodes and Roy Eldridge, with whom he toured Europe in 1947.
By the early Forties Sandy was suffering from alcoholism, and despite his attempts to become sober, he continued to drink with many of his band leaders until he suffered from a severe breakdown with his health in 1950 causing him to retire from music.
Although he attempted to return to music, his dental health affected his embouchure causing him to quit music entirely. Trombonist Sandy Williams passed away on March 25, 1991 in New York City.
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