RACHEL THERRIEN LATIN JAZZ PROJECT

Trumpeter Rachel Therrien has established herself as one of the most innovative voices working at the crossroads of jazz and world music. This Latin Jazz Project is the fruit of her graduate studies at the Instituto Superior de Arte in Havana, her numerous musical experiences in Latin America and the Caribbean, and her 20 years of collaboration with the Latin jazz community in Montreal, New York and Toronto. As part of this exceptional group, she offers a refined repertoire that includes original pieces and her arrangements of the great Afro-Latin jazz classics. From salsa to danzón, from rumba to chachachá, Rachel and her virtuoso accomplices will bring you to dance with their unique and original music tinged with influences from Cuba, New York and Colombia, among others. A show full of color… and heat!

The French-Canadian trumpeter, composer and producer boasts an enviable curriculum known for her very personal signature with influences from Jazz to Afro-Latin and Global Music. Rachel works between New York and Montreal.

More Posts: adventure,club,flugelhorn,genius,jazz,music,preserving,travel,trumpet

Requisites

The Eternal Triangle ~ Freddie Hubbard and Woody Shaw | By Eddie Carter

Freddie Hubbard and Woody Shaw enter this morning’s spotlight with a superb 1987 sextet album, The Eternal Triangle (Blue Note B1-48017). I’m a long-time fan of both trumpet players and have been listening to their albums recently. The Eternal Triangle is their second collaboration after Double Take, recorded and released two years earlier. Freddie is heard on the left channel, and Woody is heard on the right channel. Returning from the earlier session are Kenny Garrett on alto sax, Mulgrew Miller on piano and Carl Allen on drums. Ray Drummond takes over on bass for this date. My copy is the original U.S. Stereo release.

Down Under by Freddie Hubbard starts Side One with the rhythm section’s infectious introduction to the sextet’s danceable theme. Freddie kicks off the opening line with a strong tone. Mulgrew continues the effortless swing in the following reading. Woody makes quick work of the third solo, and then Kenny has a fine spot ahead of the ensemble’s return that fades out slowly. The Eternal Triangle by Sonny Stitt comes at you fast and furious from the sextet’s rapid-fire melody. Hubbard takes us for a high-speed ride first, and then Garrett heats things up in the second statement. Shaw steps up next for an aggressive reading. Miller gives a spirited presentation, and Carl ends the solos with a brisk workout into the reprise and quick stop.

The Moontrane by Woody Shaw takes off with him leading the ensemble in a lively melody. Woody is the first soloist, and he comes out swinging. Kenny gives a brisk reading in the second spot. Freddie adds a bit more fuel to the fire in the following statement, and Mulgrew leads us to a swinging conclusion with an inspired interpretation. Side Two gets underway with the sextet keeping its foot on the gas for Calling Miss Khadija by Lee Morgan. It begins with the rhythm section’s introduction; then, the front line joins in for the melody. Shaw ignites the song’s first brightly burning flame. Miller whets our appetite further in the second statement, and then Hubbard has a few memorable moments next. Garrett comes in to give a sizzling solo, and Carl gets the last word in a vigorous finale before the ensemble returns.

I first heard Freddie Hubbard’s Nostrand and Fulton on an earlier album, Here To Stay. The song’s title comes from a Brooklyn intersection, and the sextet begins the melody vibrantly. Freddie dives into the opening solo and wails, then Kenny follows with some heated sax play. Woody tackles the next reading with passionate fire, and Mulgrew closes with a very enthusiastic statement ahead of the theme’s reprise and conclusion. Tomorrow’s Destiny by Woody Shaw is off to the races from the sextet’s opening chorus. Miller is up first with a solo of high-spirited delight. Shaw goes to work next on a swift reading, then comes Hubbard’s exhilarating statement. Garrett builds the song’s final interpretation into an impressive conclusion preceding the ensemble’s ending theme and exit.

Michael Cuscuna and Don Sickler produced The Eternal Triangle. The recording engineer was Rudy Van Gelder. It is a full digital recording that emerges from your speakers with a stunning soundstage. The musicians are transported to your listening room with excellent fidelity. The pressing is also quite good, and the record is noticeably quiet until the music starts. If you are a fan of Freddie Hubbard and Woody Shaw, I hope you will consider The Eternal Triangle on your next record shopping trip. In my opinion, it’s one of the best albums in both musician’s discographies and a terrific release worthy of a spot in any jazz lover’s library!

~ Double Take (Blue Note BT-85121), Here To Stay (Blue Note BST-84135) – Source: Discogs.com © 2024 by Edward Thomas Carter For the serious collector of jazz… #Jazz #Classic #Collectible #Music #Notorious

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,trumpet

Daily Dose Of Jazz…

Oscar Klein was born on January 5, 1930 in Graz, Austria. His family fled the Nazis when he was young. He became known for older jazz like swing and Dixieland.

In the early Sixties he joined the famous Dutch Swing College Band in the Netherlands as first trumpeter and he is to be found on several of their recordings.

He played with Lionel Hampton, Joe Zawinul, Jerry Ricks and others. In 1996 he was honored by the Austrian President Thomas Klestil

Trumpeter Oscar Klein, who also played clarinet, harmonic and swing guitar, died on December 12, 2006 in Baden-Württemberg, Germany.

More Posts: clarinet,guitar,harmonica,history,instrumental,jazz,music,trumpet

Daily Dose Of Jazz…

Clyde Lee McCoy was born December 29, 1903 in Ashland, Kentucky to the family that feuded with the Hatfields. He began mastering the trumpet without formal instruction, after the family moved to Portsmouth, Ohio in 1912. This led him to perform regularly at church and school affairs. Five years later he was performing on the Cincinnati riverboats, and on the Mississippi River side-wheelers the Island Queen and the Bernard McSwain. He became one of the youngest musicians on the river at age 14.

In 1920, accepting an invitation for a small band to play at a Knoxville, Tennessee resort, his Chicago Orchestra rehearsed on the train and won the approval of George Whittle and the patrons of the Whittle Springs Hotel and Spa. After a two month engagement the band officially became known as the Clyde McCoy Orchestra.

In the late 1920s McCoy developed the signature “wah-wah” sound by fluttering a Harmon mute in the bell of his trumpet. In 1967, a similar effect was made for electric guitar with the introduction of the Vox Clyde McCoy Wah-Wah Pedal.  Having nothing to do with the use or development of the pedal,Clyde’s name was only used for promotion.

Over the course of a seven decade career Clyde was based at various times in New York City, Los Angeles, California and Chicago, Illinois. He is best remembered for his theme song Sugar Blues, written by Clarence Williams and Lucy Fletcher, and also as a co-founder of Down Beat magazine in 1935. The song was performed with vocals by Bob Wills and his Texas Playboys, Fats Waller and Ella Fitzgerald.

Trumpeter and bandleader Clyde McCoy, who has a star on the Holywood Walk of Fame, transitioned on June 11, 1990 in Memphis, Tennessee.

More Posts: bandleader,history,instrumental,jazz,music,trumpet

Requisites

Maggie’s Back In Town ~ Howard McGhee | By Eddie Carter

Howard McGhee opens this morning’s discussion with a superb 1961 album, Maggie’s Back In Town (Contemporary Records M3596/S7596). He was one of the earliest jazz musicians to begin playing bebop and became a leading trumpet player during the Forties. Howard was also an excellent arranger and composer who performed with some of the elite musicians during that era. Drug problems derailed his career during the fifties, but he returned in 1960 and recorded two impressive albums for Lester Koenig’s label. A first-class trio joins him on this studio session: Phineas Newborn Jr. on piano, Leroy Vinnegar on bass, and Shelly Manne on drums. My copy is the 1975 US Stereo reissue.

Side One opens with a Howard McGhee original, Demon Chase. The quartet swings easily into the melody; then, Howard gets to the song’s core first. Phineas follows happily along in the second reading. McGhee returns on muted horn with a solo that’s sheer heaven. Leroy closes things out ahead of the finale. Willow Weep For Me by Ann Ronell is one of the most beautiful and recorded song’s from The Great American Songbook. Newborn makes the introduction segueing into McGhee’s muted slow-tempo theme and mellow opening statement. Phineas demonstrates tenderness and intimacy next, and then Howard takes the song out thoughtfully with the mute removed.

Softly, As In a Morning Sunrise by Sigmund Romberg and Oscar Hammerstein II is taken at a brisk clip, with the leader’s mute building the melody effectively. Howard delivers the song’s only solo with joyful vitality fueled by the trio’s exceptional support ahead of the closing chorus and climax. Sunset Eyes by Teddy Edwards ends the first side. The rhythm section sets the scene for McGhee’s easygoing melody. The tempo moves upward for a fascinating interpretation by the leader. Newborn also puts together a well-constructed offering preceding the closing chorus and gentle fadeout.

Side Two starts with Maggie’s Back In Town, by Teddy Edwards. The title refers to Howard’s nickname and his return to the jazz scene after battling drug addiction. The quartet’s bluesy theme gets things underway, followed by Howard’s warm welcome in the first solo. Newborn’s second statement is as delicious as a good meal. McGhee returns for a short reading, and then Vinnegar takes a relaxing walk. Manne shares the closing statement with Howard ahead of the ending theme. Summertime by George and Ira Gershwin and DuBose Heyward starts at mid-tempo, with the leader back on a muted trumpet. McGhee’s solo is as enjoyable as a day at the seaside until the close.

Brownie Speaks by Clifford Brown takes off with the foursome’s vigorous uptempo workout. Howard generates plenty of heat in the first solo. Phineas takes a scintillating statement next. Leroy follows with a short, robust comment, and the leader’s finale flows vibrantly toward the climax. Lester Koenig produced Maggie’s Back In Town, and Roy DuNann was the recording engineer. It’s a great-sounding reissue with an outstanding soundstage that brings the quartet to your listening room with stunning fidelity. If you’re in the mood for a hard-bop album with great tunes and tight musicianship, I invite you to check out Maggie’s Back In Town by Howard McGhee on your next record shopping trip. It’s an excellent introduction to his music and a terrific album that’s sure to give you many hours of listening pleasure!

~ Together Again! (Contemporary Records M3588/S7588) – Source: Discogs.com ~ Softly, As In A Morning Sunrise, Summertime, Willow Weep For Me – Source: JazzStandards.com © 2023 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,trumpet