Daily Dose Of Jazz…
Ray Starling was born in London, England on Jauary 4, 1933 and began his musical training on piano. He started playing trumpet when he moved to the United States at age 16. He started his career as a member of the Kai Winding band and played the mellophone on two songs on Kai’s 1960 album The Incredible Kai Winding Trombones.
By the time he joined the Stan Kenton band in 1961, he had made several recordings not only on trumpet but also on flugelhorn and mellophone. He played in, and wrote for, Kenton’s band in 1961 and ’62. He replaced Gene Roland in the mellophone section, while Roland took the arranger position for the band. Starling played on the album Adventures In Blues consisting entirely of original compositions and arrangements by Roland.
After leaving the Kenton outfit, Ray briefly co-led with Joel Kaye the New York Soundstage Orchestra #1 that accompanied vocalists such as Annette Sanders and Tony Bennett. The name changed in the Seventies to the New York Neophonic Orchestra under Kaye’s leadership..
Starling continued to record through the ‘60s, notably in Johnny Richards’ big band and on J.J. Johnson’s 1965 big band album Goodies. He played piano in Buddy Rich’s big band in 1967.
Moving to Phoenix, Arizona is where he spent his remaining years. Trumpeter, mellophonist, pianist and arranger Ray Starling, who also played and recorded with Ray Eberly, Claude Thirnill, Johnny Richards, Sal Salvador, Peter Appleyard and Tony Ortega among others, died on May 15, 1982.
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Daily Dose Of Jazz…
Tom “Kid” Albert was born on December 23, 1877 on a plantation field in Plaquemines Parish, Louisiana.. He later relocated to New Orleans, Lousiana sometime in his early childhood, settling in the Algiers neighborhood. Living in a run-down shack on Saux Lane, an impoverished strip near the Naval station. He initially played the guitar before learning how to play the violin and was taught basic methods for each instrument by Jimmy Palao.
In the 1890s he began working with the bands with violinist Johnny Gould, and with “Big Eye” Louis Nelson Delisle on clarinet. Soon after he mastered the cornet and the violin Albert’s first band in 1908 was his own which included Papa Celestin and Manuel Manetta. In 1920, he founded the Eureka Brass Band and during the earlier years his band played in Algiers with Henry Red Allen Sr. Band.
In his late thirties, Albert moved across the river to the French Quarter and reformed his band, branding it the Kid Albert Band. The band then began performing in several halls around the city, mostly in the Storyville and Treme sections. For a decade the Kid Albert Band played alongside jazz pioneers Louis Armstrong, Kid Thomas Valentine and other small brass bands but never recorded.
In 1949 trumpeter, violinist and bandleader Kid Albert retired from the bands and died on December 12, 1969, at the age of 91.
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Requisites
What Is This Thing Called Soul? ~ The Cannonball Adderley-Nat Adderley Quintet | By Eddie Carter
I revisited a few of my mom’s cherished albums a few nights ago. The first of them, this morning’s record from the library submitted for your approval, inspired today’s discussion. What Is This Thing Called Soul? (Pablo Live 2308-238) is a concise retrospective of three live performances by The Cannonball Adderley-Nat Adderley Quintet during their 1960 European Tour in Paris, France, Gothenburg, and Stockholm, Sweden. Released in 1984, the personnel for this live album are Nat Adderley on cornet, Cannonball Adderley on alto sax, Vic Feldman on piano, Sam Jones on bass, and Louis Hayes on drums. My copy is the original U.S. Stereo release.
Side One opens with Victor Feldman’s Azule Serape; the quintet sets things in motion with the effortlessly swinging melody. Cannonball is up first with a finger-snapping flight of pure joy. Nat provides the toe-tapping compliment in the following statement. Victor continues grabbing the listener in the third reading before the ensemble reassembles to take the song out, leaving the audience exhilarated. Cannonball takes a moment to announce the second tune, Big P, by Jimmy Heath, which turns the heat up significantly, beginning with Sam’s bass introduction to the group’s spirited theme. Cannonball is off to the races first with an inexhaustible flow of ideas. Nat follows with a solo full of energy ahead of the vigorous reprise and finale.
Cannonball quickly mentions Nat before presenting the next song, the cornetist’s One For Daddy-O, his tribute to the Chicago disc jockey, Daddy O-Daylie. The rhythm section starts with a relaxing introduction to the group’s laid-back theme. Cannonball’s opening solo is pleasant and friendly. Nat is as carefree as a day at the beach in the following reading preceding the out-chorus and ending. The second side opens with what Cannonball describes as a soul piece, The Chant by Victor Feldman. The ensemble starts the song with a happy melody, then steps aside for Cannonball’s funky opening statement. Nat emerges next with an enthusiastic performance; then Victor contributes an impressive interpretation before the quintet restates the theme.
What Is This Thing Called Love? by Cole Porter is a classic jazz standard from the thirties, or as Cannonball describes it in his introduction, What Is This Thing Called Soul? The quintet kicks off the melody vigorously; Cannonball then cooks up a storm in the opening statement so hard that the listener might need to check that their speakers aren’t on fire. Nat comes sailing in next and continues cruising down the road rapidly. Victor states his case in a furiously swinging solo, and then Louis engages in a heated exchange with Cannonball until the theme’s reappearance and climax. The ensemble launches into the melody of Cannonball’s Theme, where the saxophonist thanks the audience and reintroduces the group before the song ends as quickly as it began.
Cannonball and Nat Adderley produced What Is This Thing Called Soul? There’s no mention of who recorded these concerts, but I’m happy to say the album’s sound quality is excellent, allowing the listener to feel like they’re part of the French and Swedish audiences. My mom always loved Cannonball’s rapport with the crowd on his live albums, and his playing always possessed a soulful groove that got your fingers and toes tapping from the first note to the last. If you’re already a fan of both brothers and enjoy live hard-bop, I offer for your consideration What Is This Thing Called Soul? by The Cannonball Adderley-Nat Adderley Quintet on your next record hunt. It’s an overlooked but enjoyable album you won’t regret adding to your library!
~ What Is This Thing Called Love? – Source: JazzStandards.com
© 2024 by Edward Thomas Carter
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Daily Dose Of Jazz…
Nicole Rampersaud was born on December 17, 1981 in Toronto,Canada. Studying trumpet through high school she then went to earn an undergraduate degree from the University of Toronto in Jazz Performance. From there a scholarship led her studies to the New England Conservatory, where she earned her Master’s Degree in Jazz Studies. While at the Conservatory, Nicole studied with Danilo Perez, John McNeil, Jerry Bergonzi, Joe Morris, Herb Pomeroy, Joe Maneri, and Bob Moses. She also studied composition with Michael Gandolfi and Ken Schaphorst.
Developing her singular voice that intersects with a broad range of musical practices and traditions, Nicole has become a sought-after collaborator with a host of artists. A few of his contemporary musicians are Anthony Braxton, Joe Morris, Ra-kalam Bob Moses, Sandro Perri, and many more.
Rampersaud’s primary groups include Brass Knuckle Sandwich with pianist Marilyn Lerner, a duo with guitarist Joel LeBlanc, and she is a founding member of the trio c_RL alongside Allison Cameron and Germaine Liu. She has performed with AIMToronto Orchestra, Eucalyptus, Michael Vlatkovich 5 Winds, and Montreal-Toronto Art Orchestra.
Since 2008, she has been building a catalogue of solo compositions that deconstruct the trumpet’s sonic possibilities and co-founded the improvisation-driven series, Understory. Trumpeter and composer Nicole Rampersaud continues to relentlessly seek out and create spaces to work with a diverse and expanding group of music-makers.
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JEREMY PELT QUINTET
Tomorrow’s Another Day may be trumpeter and composer Jeremy Pelt’s most experimental recording to-date, notable for its variety and bold auricular explorations. With greater emphasis on the dynamic aspects of sound, it is a thought-provoking record that gets a huge lift from the participation of drummer/technologist Deantoni Parks, who previously has lent his remarkable talents to such visionary artists as Meshell Ndegeocello and André 3000. Pelt’s newest band features vibraphonist Jalen Baker, guitarist Alex Wintz, bassist Leighton McKinley Harrell and drummer Allan Mednard, with pianist Frank LoCrasto on two tracks.
Their talents seamlessly come together to produce an utterly unique universe of sounds which have the ability of evoking gritty scenes that pulse with elemental energy or surge transcendently skyward. Through it all it is the trumpet and creative presence of Pelt which provides a sense of ballast to the myriad sounds and textures with an intensely personal and mesmeric weave of arguably some of the most stunningly imaginative and communicative work he has given us so far.
The Band: Jeremy Pelt – trumpet | Jalen Baker – vibraphone | Misha Mendelenko – guitar | Leighton Harrell – bass | Jared Spears – drums
Showtimes: 8:30 | 10:00pm
Tickets: $15 ~ $20
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