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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Requisites

Open Sesame ~ Freddie Hubbard | By Eddie Carter

I’ve been a huge Freddie Hubbard fan since I was ten years old, and he’s always been one of my favorite trumpet players. It was while listening to a few of his albums that the inspiration for this morning’s discussion was born. Submitted for your consideration is his first release as a leader, a 1960 release, Open Sesame (Blue Note BLP4040/BST 84040). Freddie was 22 years old when he recorded it, and he’s joined by an excellent ensemble: Tina Brooks on tenor saxophone, McCoy Tyner on piano, Sam Jones on bass, and Clifford Jarvis on drums. The copy I own is the 1999 Classic Records U.S. stereo audiophile reissue sharing the original catalog number.

The title tune, Open Sesame by Tina Brooks, gets the first side off to a good start with the rhythm section’s intro to the quintet’s lively theme. Freddie launches into the first solo with vigorous zest. Tina follows him into the second statement enthusiastically, then McCoy explores the third reading at a consistently high level before the group reassembles for the closing chorus and ending. But Beautiful by Jimmy Van Heusen and Johnny Burke is a pretty ballad whose gentle melody begins with Freddie leading the group. Brooks starts the first solo gracefully, then Tyner continues with a wonderfully rich interpretation. Hubbard shares the song’s final elegant reflection, leading to the ensemble’s reprise and tender close.

Gypsy Blue by Tina Brooks is a medium blues that the quintet brings to life with an easygoing melody. Tina starts the opening solo at an unhurried pace, then Freddie takes over, giving a soulful interpretation. McCoy follows, feeding fresh ideas into the third statement, and Sam takes a carefree walk toward the ensemble’s restatement of the theme and fadeout. Tyner’s introduction sets the stage for the group’s speedy melody of All or Nothing at All by Arthur Altman and Jack Lawrence. Hubbard flies swiftly out of the gate first, then Brooks swings to perfection next. Tyner follows with a spirited statement, and Hubbard and Jarvis share a short exchange preceding the group’s return to the theme.

The trio’s bluesy introduction segues to the ensemble’s relaxed theme, One Mint Julep by Rudolph Toombs. Tina opens with a laid-back swing as comfortable as a favorite outfit. Freddie follows, demonstrating great poise and precision in every note. McCoy then steps into the spotlight for a few easy, flowing lines before the theme returns and the song fades out. The closer is a toe-tapper original by Freddie Hubbard, Hub’s Nub. After the sextet establishes the theme, Freddie takes the lead and constructs a joyous interpretation. Tina is right on his heels with a sprightly statement, and McCoy gets the last word before the theme’s reprise and fadeout.

The original session was produced by Alfred Lion, with Rudy Van Gelder at the controls. The Classic Records audiophile edition was expertly remastered by Bernie Grundman, delivering exceptional audio quality and an outstanding soundstage that places the musicians right in your listening room. Pressed on 180-gram vinyl, the record is perfectly quiet until the music fills the room. Fans of Freddie Hubbard’s Blue Note releases will find this album essential for their library. Open Sesame is a remarkable showcase of musicianship, and this album marks the beginning of a remarkable career. It’s also a title I’m proud to own and wholeheartedly recommend for your shelves!

~ But Beautiful – Source: JazzStandards.com ~ All or Nothing at All – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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Daily Dose Of Jazz…

Ian Carr was born on April 21, 1933 in Dumfries, Scotland. At the age of seventeen he started to teach himself trumpet and from 1952 to 1956 he attended King’s College. After graduation he joined his brother in a Newcastle band, the EmCee Five in 1960 before moving to London. From 1963-1969 he became co-leader with Don Rendell of the Rendell–Carr Quintet, recording five albums and touring internationally.

After leaving the quintet, Carr went on to form the groundbreaking jazz-rock band Nucleus that led to a successful international career, releasing twelve albums and winning first prize at the Montreux Jazz Festival. He would go on to play with the United Jazz and Rock Ensemble in 1975.

Ian worked as a session musician in non-jazz contexts, doubled up on flugelhorn, wrote a regular column for the BBC Music Magazine, penned biographies of Keith Jarrett and Miles Davis, and co-authored The Rough Guide to Jazz. Carr held the position of associate at the Guildhall School of Music and Drama in London where he founded the jazz workshop that graduated pianist Julian Joseph.

Trumpeter Ian Carr died on February 25, 2009, having suffered from Alzheimer’s disease.

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Requisites

Step Lightly ~ Blue Mitchell | By Eddie Carter

In this morning’s discussion, trumpeter Blue Mitchell takes center stage with an underrated, yet delightful album. Step Lightly (Blue Note Classic LT-1082) was his debut on Blue Note, but his ninth recording session as a bandleader. It was initially recorded in 1963. But the album remained unreleased in the United States until seventeen years later. I first heard him on “Blowin’ The Blues Away,” by Horace Silver, “Open House,” and “Plain Talk” by Jimmy Smith, and “Steppin’ Out,” by Harold Vick. For his first effort, Mitchell is joined by an all-star cast: Leo Wright on alto saxphone (tracks: A1 to A3, B1, B3), Joe Henderson on tenor sax (tracks: A1, A2, B1 to B3), Herbie Hancock on piano, Gene Taylor on bass, and Roy Brooks on drums. The copy I own is the 1980 U.S. stereo release. 

Side One gets underway with Mamacita by Joe Henderson, which first appeared on Kenny Dorham’s “Trompeta Toccata” in 1965. The sextet’s infectious bossa nova melody sets the tone for Blue to swing straight ahead in the lead solo. Leo follows with a sparkling statement, then Joe emerges to give a buoyant reading. Herbie steps up last for a short interpretation before the ensemble reconvenes for the closing chorus. Sweet and Lovely by Gus Arnheim, Jules Lemare and Harry Tobias slows the tempo down for the trio’s lovely introduction ahead of the group’s theme. Mitchell opens with a warm and sensitive statement. Wright compliments him gracefully next, and Henderson beautifully embraces the third reading. Hancock finishes with a delicately gentle interpretation preceding the group’s romantic reprise and ending.

Andrea, by Roger Boykin, closes out the first side with a catchy mid-tempo melody by the sextet. Blue is up first and leads the way with a charming interpretation. Leo takes over next with an attractive tone that’s very pleasing, then Herbie has a well-executed reading before the theme’s restatement and soft climax. Side Two kicks off with Joe Henderson’s Step Lightly which Blue would record again on 1965’s “The Thing To Do.” The group’s relaxed vibe on the theme sets things in motion for Mitchell’s breezy opening solo. Henderson follows with a soulful statement, and Wright is as smooth as silk in the third reading. Hancock wraps up everything with an easygoing interpretation leading to the ensemble’s closing theme and fade-out.

Cry Me a River by Arthur Hamilton comes to life with the ensemble’s poignantly sensitive theme. Blue starts the solos by pouring pure sincerity into every note from his trumpet. Joe comes in next and delivers an equally touching interpretation, then Herbie ends with a thoughtful statement before the group’s return to take the song out softly. The sextet ends the album on an upbeat note with a trip to Bluesville by Sonny Red Kyner. Mitchell lets his trumpet do the talking in the first of two infectious interpretations. Henderson comes right behind him and turns in one of his best solos on the album. Mitchell returns to ride the medium groove to a satisfying conclusion before the ensemble’s theme returns, and they take it out.

Alfred Lion produced the original recording session, and Rudy Van Gelder operated the recording console. Michael Cuscuna produced the album for release. The reissue’s sound quality is first-rate, bringing the musicians into your listening room to perform with stunning fidelity. Blue Mitchell recorded twenty-eight albums as a leader and contributed to an extensive discography as a sideman. He worked with Horace Silver from 1958 to 1964. After Silver disbanded the quintet, he formed a group featuring a few of the members. He also performed with John Mayall, Louie Bellson, Bill Holman, and Bill Berry, and eventually became the main soloist for Tony Bennett and Lena Horne. His last group was a quintet co-led with Harold Land until he passed away from cancer at age 49 on May 21, 1979.

If you’re a fan of jazz trumpet and in the mood for an excellent hard bop album, I offer for your consideration, Step Lightly by Blue Mitchell on your next record store visit. It’s a terrific release by a musician deserving of greater recognition, with tight musicianship and exceptional performances that are definitely worth exploring for a spot in your jazz library!

~ Blowin’ The Blues Away (Blue Note BLP 4017/BST 84017), Open House (Blue Note BLP 4269/BST 84269), Plain ~ Talk (Blue Note BST 84296), Steppin’ Out (Blue Note BLP 4138/BST 84138), The Thing To Do (Blue Note BLP4178/BST 84178), Trompeta Toccata (Blue Note BLP 4181/BST 84181) – Source: Discogs.com ~ Sweet and Lovely – Source: JazzStandards.com ~ Cry Me a River – Wikipedia.org © 2026 by Edward Thomas Carter

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Daily Dose Of Jazz…

Herb Pomeroy was born Irving Herbert Pomeroy, III on April 15, 1930 in Gloucester, Massachusetts. He began playing trumpet at an early age, and in his early teens started gigging in the greater Boston area, claiming inspiration from the music of Louis Armstrong. By age 16, he became a member of the Musicians Union and after high school, went on to study music at the Schillinger House that is now the Berklee College of Music in Boston. It was here he developed his interest in bebop.

Herb Pomeroy studied dentistry at Harvard University for a year but dropped out to pursue his jazz career. Charlie Parker liked Pomeroy’s playing and hired him frequently when the alto saxophonist performed at Boston’s Hi-Hat and Storyville clubs. Pomeroy also played with Lionel Hampton, Duke Ellington, Stan Kenton and Serge Chaloff among other jazz musicians.

He led his own 13-piece big band in the early 1950s and another that gained national acclaim later in the decade. He would back up singers like Mel Torme, Tony Bennett, Irene Kral, Ella Fitzgerald and Frank Sinatra. By the mid Sixties he began abandoning the big band sound for small combos and switched from trumpet to flugelhorn.

Although his first love was performing, Pomeroy was a respected educator. He helped found the Jazz Workshop on Stuart Street, joined the faculties of the Berklee School of Music where he taught for 41 years, the Lenox School of Music, Music at MIT and was the director Festival Jazz Ensemble for 22 years. He was inducted into the International Association of Jazz Educators (IAJE) Hall of Fame and the Down Beat Jazz Education Hall of Fame. On August 11, 2007, Herb Pomeroy, trumpeter and flugelhornist in the swing and bebop tradition passed away.

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