THE ABNEY EFFECT

Chicago born and raised jazz trumpeter Mario Abney now of New Orleans fuses traditional and extended trumpet techniques in a most inventive way; his strikingly personal instrumental vision endows the music with an infinite array of tonal color. Recognized for his ability to create pure musical dialog, and hear music in a universally spiritual way, he is definitely one of New Orleans most pioneering young jazz musicians.

Marioʼs first experience hearing jazz was the music of trumpeter Wynton Marsalis. After jazz trumpet peaked his interest in music Mario began to absorb the music of Louis Armstrong, Dizzy Gillespie, Miles Davis, and all the great trumpeters who pioneered the music.

With a band scholarship in hand, Mario attended Central State University, Ohio, majoring in Music Education with a minor in jazz studies. “During my college years I became involved in the jazz scene in Dayton playing trumpet in several professional ensembles such as the Afro-Cuban Jazz ensemble, Babalu, the Chicago based House of Twang, The Afro-Rican Ensemble, SYM, and several other ensembles. I

n 2001, after several years of playing as a side man Abney was inspired to lead his own Quintet. During a performance at the Dayton RiverWalk festival in 2007 Mario became interested in going to New Orleans after hearing the Hot 8 Brass Band perform. By spring of 2008 Abney and two members from his quintet moved to New Orleans to absorb its rich musical culture and become part of the music scene.

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Requisites

Donald Byrd at The Half Note Café, Volume 1 | By Eddie Carter

I was still in the mood to hear another trumpet album after listening to Harry “Sweets” Edison when my search led me to another of my Mom’s favorite records. Donald Byrd and Pepper Adams were two musicians she enjoyed listening to and this morning’s record from the library brings them together in a great live date. Donald Byrd at The Half Note Café, Volume 1 (Blue Note BLP 4060/BST 84060) captures the trumpeter’s quintet featuring Pepper Adams (tracks: A1, A2, B2, B3) on baritone sax, Duke Pearson on piano, Laymon Jackson on bass and Lex Humphries on drums in performance at one of New York’s best jazz clubs. This album holds a special place in my heart because it reminds me of the music my Mom and I used to enjoy together during Sunday dinner. My copy is the 1978 King Record Company Japanese Stereo reissue (Blue Note BST 84060 – GXK-8104).

Ruth Mason is our Mistress of Ceremonies for the evening and starts the set with the musician’s introductions. The quintet then launches into the upbeat melody of My Girl Shirl by Duke Pearson. Donald kicks off the solos with an invigorating statement; then Pepper succeeds him with a joyfully spirited solo. Duke emerges next for a brisk presentation, and the front line cooks with Lex ahead of the close. Donald introduces the next tune, his own Soulful Kiddy, a blues that slows the beat down for the ensemble’s marching melody. Pepper serves up some down-home cooking in the opening solo. Donald comes into the second reading with carefree enthusiasm; then Duke eases into the spotlight last, leading to the theme’s restatement and climax.

Side Two opens with Donald’s introduction to A Portrait of Jennie by J. Russel Robinson and Gordon Burdge. The quartet showcase begins with the trumpeter’s romantically warm introduction to the melody. He continues mining a rich vein of sentimentality in the first solo. Duke takes over to deliver a very pretty reading until Donald’s return to add a few more comments into the reprise and close. Cecile by Donald Byrd brings the quintet back for a medium blues that commences with the trio’s introduction to the front line, taking the lead in the melody. Pepper takes off first, cruising at a comfortable pace. Donald gets to work next with an impressive interpretation, and then Duke completes the infectious beat in the finale ahead of the quintet’s closing moments.

The set climaxes with the group’s theme, Pure D. Funk. Donald has the showcase to himself in a concise theme and the song’s only solo into the ensemble’s conclusion. Alfred Lion produced Donald Byrd at The Half Note Café, Volume 1, and Rudy Van Gelder was behind the dials. The reissue has an excellent soundstage transporting the listener to the club audience with excellent fidelity. The unique sound of this album, with its stellar rhythm section and the great chemistry between Donald Byrd and Pepper Adams, is sure to captivate any jazz enthusiast. I invite you to pick up Donald Byrd at The Half Note Café, Volume 1, on your next record shopping trip. It’s a delightful live album that is sure to enjoy repeated plays on the turntable!

Postscript: For those who are unaware, Ruth Mason was a singer and WOV on-air personality who would become Mrs. Alfred Lion. She is also the lovely young woman who appears on the cover of Moods by The Three Sounds.

~ Moods (Blue Note BLP 4044/BST 84044) – Source: Discogs.com © 2024 by Edward Thomas Carter

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Daily Dose Of Jazz…

Emmett Berry was born on July 23, 1915 in Macon, Georgia and  began to study classical trumpet, but by 18 had switched to jazz and moved to New York City. Becoming a member of Fletcher Henderson’s band he later replaced Roy Eldridge as soloist.

In the 1940s he worked in Eldridge’s Little Jazz Trumpet Ensemble. He also played in Count Basie’s band. He is known as an accompanist for Billie Holiday, was in the photograph known as A Great Day in Harlem, and the special The Sound of Jazz.

He recorded 39 albums as a sideman with Buck Clayton, Johnny Hodges, Sammy Price, Jimmy Rushing, Cannonball Adderley, Count Basie, Sidney Bechet, Ruby Braff, Bobby Donaldson, Dizzy Gillespie, Edmond Hall, Coleman Hawkins, Fletcher Henderson, Claude Hopkins, Jo Jones, Red Prysock, Buddy Rich, Pee Wee Russell, Maxim Saury, Buddy Tate, Joe Williams, and Jimmy Witherspoon.

Trumpeter Emmett Berry, who also played flute, piano, vibraphone, congas, and drums, died in Cleveland, Ohio on June 22, 1993.

GRIOTS GALLERY

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Daily Dose Of Jazz…

Mario Rivera was born on July 22, 1939 in Santo Domingo, Dominican Republic and learned to play during his childhood. Moving to New York City in 1961 at 22 he started working with singer Joe Valle as his accompanist. He spent two years with bandleader Tito Rodríguez. During his career he worked with Mongo Santamaria, Eddie Palmieri, and Machito.

From the 1970s to the 1990s he worked with Tito Puente. Both appeared in the films Calle 54 and The Mambo Kings. In 1988 he became a member of the United Nations Orchestra led by Dizzy Gillespie. He was also a member of the Afro-Cuban Jazz Band led by Chico O’Farrill. His only solo album, El Commandante, was released in 1996.

He recorded seventy-six albums as a sideman with Willie Colon, Cheo Feliciano, Dizzy Gillespie, Kip Hanrahan, Conrad Herwig, Giovanni Hidalgo, Chico O’Farrill, Eddie Palmieri, Tito Puente, Tito Rodriguez, Típica 73, Africando, Alfredo “Chocolate” Armenteros, Soledad Bravo, George Coleman, Junior Cook, Rafael Cortijo, Tito Gomez, Jerry Gonzalez, Juan Luis Guerra, La Lupe, Machito, Arturo O’Farrill, Pat Patrick, Bobby Paunetto, Daniel Ponce, Louie Ramirez, Paquito D’Rivera, Alfredo Rodriguez, Mongo Santamaria, Laba Sosseh, Juan Pablo Torres, Stanley Turrentine, Dave Valentin, Fernando Villalona, and Pete Yellin.

Saxophonist Mario Rivera, who also played trumpet, flute, piano, vibraphone, congas, and drums, died from cancer on August 10, 2007 in New York City.

GRIOTS GALLERY

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Requisites

Patented By Edison ~ The Harry “Sweets” Edison Quintet | By Eddie Carter

Harry “Sweets” Edison was one of the most sought-after musicians in jazz. This morning’s album from the library is a little-known 1960 release titled Patented By Edison (Roulette R-52041/SR-52041) by The Harry “Sweets” Edison Quintet. He was one of the most talented trumpeters of the Swing and hard bop eras, performing with some of the great jazz orchestras. “Sweets” got his nickname from Lester Young and eventually settled on the West Coast to become a successful arranger, composer and musician. On his eleventh date, he assembled a stellar group: Jimmy Forrest (tracks: A1 to A3, A6, B5, B6) on tenor sax, Tommy Flanagan on piano, Tommy Potter on bass, and Elvin Jones on drums. My copy is the 1967 U.S. Stereo reissue.

The album opens with Witchcraft by Cy Coleman and Carolyn Leigh. The rhythm section introduces the tune before the ensemble starts the easy-flowing melody. “Sweets” is on muted trumpet and glides through the song’s only solo with meticulous execution ahead of the reprise and soft ending. Blues Skies by Irving Berlin begins with Jimmy’s brief introduction, setting the tone for the leader taking charge of the beautifully articulated muted theme and a fine solo spot ahead of the saxophonist leading the ensemble out. Confessin’ That I Love You by Doc Daugherty, Ellis Reynolds and Al Nieburg begins with a pleasant presentation by the quintet. “Sweets” shows off his sentimental side in a performance of innocence and loveliness before the close.

Ain’t Misbehavin’ by Harry Brooks, “Fats” Waller, and Andy Razaf was introduced in the 1929 all-black musical revue Hot Chocolates. It became a huge hit among musicians and vocalists. It is a quartet showcase for “Sweets” doing the honors using the mute for the song’s opening chorus and a delightful solo that concludes softly. The first of three creations from Edison’s pen is up next. Candied Sweets is the album’s second quartet presentation beginning with Flanagan’s introduction. “Sweets” unfolds an attractive muted melody anchored by the trio’s gentle groundwork into his opening statement. The pianist complements the leader in a short, relaxing interpretation, leading to his return for the theme’s restatement and a slow dissolve.

The first side closes with They Can’t Take That Away From Me by George, and Ira Gershwin opens with the mute removed for “Sweets” to lead the quintet through the theme. “Sweets” ignites the first solo with an impeccable display of his playing. Flanagan follows him with a short, sparkling statement leading back to the closing chorus and climax. Side Two starts with the mute back on for the album’s third quartet performance, Tea For Two by Vincent Youmans and Irving Caesar. A catchy tune, with the foursome laying down a gorgeous mid-tempo beat for the theme. “Sweets” blends comfortably with the rhythm section’s accompaniment in the song’s only spotlight displaying a marvelous tone into the theme’s reprise and fadeout.

Up next is There Is No Greater Love by Isham Jones and Marty Symes. This gorgeous standard receives a gorgeous treatment beginning with Flanagan’s introduction to a thoughtfully tender melody by “Sweets.” The leader continues with a soft touch of elegance in the first interpretation. Flanagan also adds a dreamlike softness in a short solo preceding the theme’s restatement and climax. Harry Edison’s Twenty–Forty picks up the pace in a swinging quartet showcase. “Sweets” gets things off to a good start during the muted melody and then makes quick work in the opening statement. Potter gets his first opportunity to solo, and he moves sprightly along off the drive of the rhythm section into the ending theme and close.

It’s Easy To Remember (So Hart To Forget) comes from the pen of Richard Rodgers and Lorenz Hart. The rhythm section’s gentle introduction sets the mood for “Sweets,” who handles the muted melody and song’s only solo with so much emotion and sensitivity that it’ll bring tears to your eyes. We’re invited to join the quintet for some Sweetcakes by Harry Edison next. Jimmy is featured in the opening and closing choruses but does not solo. The melody begins with a bluesy beat that might get some fingers popping and toes tapping along. “Sweets” starts the solos with a delightful interpretation that flows with smooth efficiency. Flanagan comes in next to make a concise comment, which wraps everything up nicely ahead of the reprise of the theme.

The album’s final track is Angel Eyes by Matt Dennis and Earl K. Brent. Jimmy introduces the standard alongside the rhythm section before “Sweets” removes the mute to deliver the intimately personal melody. He has the showcase to himself in a beautiful and deeply moving statement that’s romantic and touching into a gorgeous ending. Teddy Reig produced Patented By Edison, and the recording engineer is unknown. However, the album’s sound quality is very good, possessing an excellent soundstage that brings the musicians to the sweet spot in your listening room with stunning fidelity. If you’re a fan of the trumpet, Harry “Sweets” Edison, or enjoy the sound of swing, I offer for your consideration and highly recommend Patented By Edison by The Harry “Sweets” Edison Quintet. It’s an underrated, excellent album by one of jazz’s best trumpet players and shouldn’t be missed on your next record hunt!

~ Ain’t Misbehavin’, Angel Eyes, Blue Skies, Confessin’ That I Love You, It’s Easy To Remember (So Hard To Forget), Tea For Two, There Is No Greater Love, They Can’t Take That Away From Me – Source: JazzStandards.com ~ Witchcraft – Source: Wikipedia.org © 2024 by Edward Thomas Carter

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