Daily Dose Of Jazz…
Joe Gordon was born Joseph Henry Gordon on May 15, 1928 in Boston, Massachusetts and took up trumpet in his youth. His first professional gigs were in Boston in 1947 and he would later play with Georgie Auld, Charlie Mariano, Lionel Hampton, Charlie Parker, Art Blakey and Don Redman into the mid Fifties.
In 1956 he toured the Middle East with Dizzy Gillespie’s big band soloing on “A Night In Tunisia”. Following this Gordon played with Horace Silver and then moved to Los Angeles. During his California stay over the next five years he recorded with Barney Kessel, Benny Carter, Harold Land, Shelly Manne, Donald Byrd, Dexter Gordon and Thelonious Monk.
Trumpeter Joe Gordon would record two studio sessions and one live album as a leader prior to his death in a house fire on November 4, 1963 in Santa Monica, California.
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Daily Dose Of Jazz…
Philip Harper was born May 10, 1965 in Baltimore, Maryland but grew up in Atlanta, Georgia. He started played trumpet when he was ten under the tutelage of his brother Winard and then went on study at the Hartt School of Music with Jackie McLean.
At the age of 18 Philip moved to New York, where he started working and recording extensively, with such musicians as Little Jimmy Scott, Jimmy McGriff, Betty Carter, Etta Jones, Harry “Sweets” Edison, Bill Cosby and Cedar Walton. He became a member of Art Blakey’s Jazz Messengers, Charles Mingus’ Big Band and from 1988 to 1993 was an integral part of The Harper Brothers.
His discography includes The Harper Brothers, You Can Hide Inside The Music, Remembrance: Live at the Village Vanguard and Artistry, along with his two releases as a leader Soulful Sin and The Thirteenth Moon in addition to several live recordings with The Jazz Messengers.
Trumpeter Philip Harper continues to perform and tour worldwide with various groups in conjunction to teaching and conducting workshops in several conservatories in Europe.
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RUSSELL GUNN
Trumpeter Russell Gunn celebrates fellow East St. Louis trumpeter Miles In May at Jazz at The Bistro.
Jazz St. Louis proudly celebrates the life, legacy, and limitless influence of jazz visionary Miles Davis, including a Centennial Week for Miles Davis’s 100th Birthday.
As a marquee highlight of our 30th Anniversary Season, this powerful series pays tribute to an East St. Louis visionary who forever changed the sound of American music. Through unforgettable performances and special events, we celebrate a hometown hero whose fearless innovation continues to inspire the world.
Cover: Free
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Requisites
Serenade To A Bus Seat ~ Clark Terry Quintet | By Eddie Carter
This morning’s spotlight shines on a remarkable trumpeter who, in my view, always delivered flawless performances. Serenade To A Bus Seat (Riverside RLP 12-237) by the Clark Terry Quintet is the subject of this discussion. Clark enjoyed an illustrious career performing with Charlie Barnet, Count Basie, Duke Ellington, Quincy Jones, and Oscar Peterson. He was also a member of The Tonight Show Band from 1962 to 1972. Terry’s influence extended far beyond his performances; his jazz career spanned more than 70 years, and he became one of the most-recorded jazz musicians, appearing on more than 900 recordings. He also mentored Terry Lyne Carrington, Miles Davis, Herbie Hancock, Quincy Jones, Wynton Marsalis, Pat Metheny, and Dianne Reeves.
On his third album as a leader, Clark Terry is working with Johnny Griffin, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; and Philly Joe Jones, drums. The copy I own is the 1977 Riverside Original Recording Series Japanese mono reissue (SMJ-6209M) by Victor Musical Industries. The opener, Donna Lee by Charlie Parker, begins with Philly’s introduction ahead of the quintet’s brisk melody. Johnny ignites the first solo with bursts of passionate fire, then Clark and Philly share an energetic conversation. Kenny caps off the solos with an impressive display of vibrant energy ahead of the group’s lively closing chorus and dead stop.
Boardwalk by Clark Terry is a blues that begins with an enjoyable, medium-tempo theme by the ensemble. Terry opens with a poised, almost dignified solo, then he engages in a friendly exchange of ideas with Griffin. Kelly then provides the exclamation point with a laid-back interpretation before the group reconvenes for the climax. Terry’s second creation, Boomerang, is a lively little original that takes off with the front line’s melody in unison. Clark gives his undivided attention to the opening solo, then Johnny enters and simply swings. Wynton follows with a strong statement that’s a joy to listen to. Paul takes a short walk preceding the group’s return to the theme’s reprise and close.
Digits by Clark Terry turns the temperature down for an easygoing theme by the ensemble. Terry steps up first to give a relaxing solo, then shares the next happy statement with Griffin. Kelly wraps up everything with a leisurely reading until the quintet returns for the closing chorus. The title tune, Serenade To a Bus Seat by Clark Terry, is a swinging homage to the trips musicians took from city to city with big bands. It’s off to the races with the ensemble’s melody, then Johnny is up first to ignite the first solo with passionate fire. Clark meets the challenge with an effervescent interpretation. Wynton gets the last spot and handles it comfortably before the front line’s fine blowing signals the end.
Hoagy Carmichael and Mitchell Parish’s classic, Stardust, is one of the most recorded songs in history. Both horns deliver a gentle introduction leading to Terry’s delicately phrased melody. Terry and Griffin are the featured soloists, and both turn in two beautiful solos that complement each other until the theme returns and the song ends softly. Cruising by Clark Terry opens with an easy-flowing theme led by both horns, before stepping aside for Johnny to lead off with an excellent first solo. Clark speaks his piece in the following statement, then Wynton follows at an unhurried pace, leading to the restatement of the theme and climax.
That Old Black Magic by Harold Arlen and Johnny Mercer is an old favorite from 1942 that first appeared in the film, “Star Spangled Rhythm.” The quintet wraps the album up in a bow with a short Latin rendition, which begins and ends with Terry using a cowbell and Griffin on the claves. In between, both Terry and Griffin, on trumpet and tenor sax, make swinging comments. Orrin Keepnews produced the initial session, and Jack Higgins was behind the recording console. The Victor Japanese mono reissue is a delight to hear, with a breathtaking soundstage that places the musicians in your listening room’s sweet spot with stunning fidelity.
For anyone who admires Clark Terry or is just beginning to discover his discography and enjoys hard bop, I strongly recommend picking up Serenade To a Bus Seat by the Clark Terry Quintet the next time you’re at your favorite record store. It’s a fabulous album that should make a meaningful addition to any jazz library, especially for those who appreciate the artistry of a masterful trumpeter!
~Stardust, That Old Black Magic – Source: <ahref=”http://jazzstandards.com”>JazzStandards.com
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THEO CROKER
Grammy-nominated trumpeter, composer, producer, and bandleader Theo Croker continues to expand the boundaries of modern jazz with his new album, Dream Manifest (Dom Recs / Fat Beats, June 13). Hailed by the LA Times as “a path to jazz greatness,” the project blends jazz, experimental hip-hop, and cosmic soul into a genre-defying sonic journey.
Singles like the high-energy “We Still Wanna Dance” (produced by D’LEAU), the soulful “High Vibrations” (featuring Malaya), and the hypnotic “Crystal Waterfalls” showcase Croker’s dynamic vision — a sound both timeless and forward-facing (Wall Street Journal). NPR describes his vibe as “chill,” driven by a “clear musical approach and determination,” qualities that have made him a standout collaborator with Ari Lennox, Common, J. Cole, Jill Scott, and Wyclef Jean.
Croker’s live performances are cinematic and immersive, guided by a producer’s mind and a jazz artist’s spontaneity. As DownBeat notes, he “layers music and lyrics with the deft touch of a hip-hop producer and the spontaneity of a jazz trumpeter.” His trumpet becomes both melody and texture within a rich production landscape performed live with his acoustic band.
In 2025, he premiered Dream Manifest at London’s Barbican Theatre with designer Nicholas Daley. The Evening Standard called it “jazz, just not as we know it,” while Jazzwise praised its emotional depth and “total stage control.”
Tickets: $37.54 ($30.00 + $7.54 fees) | $54.54 ($45.00 + $9.54 fees)
Discounter Parking: $18.80 ($15.00 + $3.80 fees)
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