Daily Dose Of Jazz…

Andrew Anderson was born on August 12, 1912 in Mandeville, Louisiana. He played in the Young Tuxedo Band and the Allen Brass Band. In the mid to late Twenties he played with Joe Oliver in Chicago, Illinois.

He led the Pelican State Band in the late 1930s and continued playing in New Orleans with various bands until the 1980s. In the Seventies and Eighties he played and recorded with the New Orleans Ragtime Orchestra.

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Requisites

Ready For Freddie ~ Freddie Hubbard | By Eddie Carter

Freddie Hubbard steps into the spotlight of this morning’s discussion with an excellent 1962 blowing session titled Ready For Freddie (Blue Note BLP 4085/BST 84085). This choice from the library is the trumpeter’s fourth album as a leader and he’s working with a stellar supporting cast. Bernard McKinney on euphonium, Wayne Shorter on tenor sax, McCoy Tyner on piano, Art Davis on bass, and Elvin Jones on drums complete the sextet. For those who don’t know about the euphonium, it’s a medium-sized, tenor-voiced brass instrument that’s usually featured in a brass band and is a member of the tuba family. My copy used in this report is the 1995 Blue Note Connoisseur Series US Stereo Audiophile reissue (B1-32094).

Arietis by Freddie Hubbard starts Side One with the sextet grabbing the listener’s attention from the opening notes of their swinging melody. Freddie takes us on an exuberant joyride in the opening solo. Wayne continues surging ahead on the second statement, then Bernard digs into the third reading with agility. McCoy soars into a satisfying summation ahead of the song’s finale. Weaver of Dreams by Jack Elliot and Victor Young begins at a deceptively slow tempo with McKinney and Shorter’s introduction segueing into Hubbard’s sensitive theme. The pace picks up for a beautifully delicate opening statement by Freddie. McCoy comes in next for an affectionate interpretation leading to Hubbard’s haunting climax.

Wayne Shorter’s Marie Antoinette affords everyone except Elvin a solo opportunity beginning with the group establishing a relaxed mood in the opening chorus. Wayne begins with an easy-going toe-tapper. Freddie infuses an optimistic spirit into the second solo. Bernard moves things along at a comfortable pace, then McCoy gives us a few compelling moments. Art adds to the fun with a few airy bass notes leading to the closing chorus that dissolves into nothingness. Birdlike by Freddie Hubbard begins Side Two at a brisk beat with the group’s collective melody. Hubbard gets things going first, then Shorter puts together a mesmerizing performance. McKinney has a few attractive lines in the third spot. Tyner and Davis keep the energy going with two quick readings into the quintet’s finale.

Freddie Hubbard’s Crisis opens with the trio’s simple introduction segueing into a soothing melody. Freddie, Wayne, Bernard, and McCoy all make their point in four enchanting interpretations. Elvin offers an impressive climax into the sextet’s reprise and fadeout. Ready For Freddie was produced by Alfred Lion and Rudy Van Gelder was the recording engineer. The reissue producer is Michael Cuscuna and Larry Walsh did the mastering from the original analog tapes. The sound quality is excellent with a spacious soundstage and the instruments come through your speakers vibrantly as if the musicians are playing in front of you. The record is pressed on 180-gram Virgin Vinyl and is silent until the music starts. If you’re in the mood for an excellent Hard-Bop album, I invite you to check out Ready For Freddie by Freddie Hubbard. It’s sure to occupy a proud place in any novice or seasoned jazz fan’s library for years to come!

~ Euphonium – Source: Wikipedia.org ~ © 2022 by Edward Thomas Carter

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Daily Dose Of Jazz…

Dick Collins was born Richard Harrison Collins on July 19, 1924 in Seattle, Washington into a musical family where several of his parents and grandparents were professional musicians. He attended Mills College in 1946–47, where he studied music formally under Darius Milhaud, and moved with Milhaud to Paris, France for the next academic year. As a student at Mills, he first met Dave Brubeck, and while in Paris he played with Hubert Fol and Kenny Clarke.

Returning to the States he landed in San Francisco, California where he began playing with Brubeck in his Bay Area-based octet, then completed his bachelor’s degree in music at San Francisco State College. In the 1950s he performed and recorded with Charlie Barnet, Charlie Mariano, Nat Pierce, Paul Desmond, Cal Tjader, and Woody Herman. By 1957 Dick was working with Les Brown, an association that continued for nearly a decade that included worldwide tours.

In 1965, Collins took a position as a music librarian, which he held through 1967, and took a second position from 1971 to 1986, mostly receding from active performance. In later years, he still occasionally performed live or recorded, including with Nat Pierce, Mary Ann McCall, and Woody Herman.

Trumpeter Dick Collins transitioned on April 19, 2016 in Hesperia, California, at the age of 91.

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GLASS CITY JAZZFEST

Lineup: Each set is 1:15

12:00 pm ~ Brick Bar All-Stars Josh Silver on piano, Ray Parker on bass, Scott Kretzer on drums, with vocalists Kim Buehler, Deborah Gardner, Theresa Harris, and Lori Lefevre

1:35 pm ~ Latin Jazz Players of Lima, Ohio

3:10 pm ~ Larry Fuller Trio

4:45 pm ~ Joey Sommerville, Trumpet

6:20 pm ~ Lindsey Webster, Vocal

7: 50 pm ~ Marcus Johnson, Keyboards

The event includes a preamble of music being scheduled starting with free shows at Toledo Spirits on Aug. 23, and followed by other free ones on Aug. 24 at the Brick Bar, Aug. 25 at Peacock Cafe, and Aug. 26 at Ottawa Park. The only paid event connected to Glass City JazzFest will be a VIP show being scheduled for Aug. 27 at Lucille’s Jazz Lounge

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Daily Dose Of Jazz…

Lyle “Rusty” Dedrick was born on July 12, 1918 in Delevan, New York. His first call to jazz  came when he was in a music store in Buffalo, New York and heard a Louis Armstrong record. So taken was he that he bought the record, then returned home to save money for a record player. After brief studies at Fredonia State Teachers College, he spent a two-year jazz apprenticeship working with the band known as “Mr. And Mrs. Swing,” the Red Norvo/Mildred Bailey Orchestra, featuring the arrangements of a young Eddie Sauter.

He followed this with two stints with Claude Thornhill (1941-42 and 1946-47) and the chance to play a book by Gil Evans. This experience, plus private studies with Paul Creston and Stefan Wolpe, were good preparation for a long career in the New York City jazz commercial music field.

His credits included writing and/or playing with Maxine Sullivan, Lee Wiley, Lionel Hampton and others, along with radio and television studio work with Arthur Godfrey, Ed Sullivan, Sid Ceasar and more. At the same time, Rusty was recording his own LPs.

In 1971 Dedrick joined the faculty of the Manhattan School of Music as Director of Jazz Studies. He guest conducted many all-county high school jazz bands, as well as the prestigious American Jazz Orchestra. Swing and bebop jazz trumpeter, arranger, composer and educator Rusty Dedrick, who recorded three albums as a leader, transitioned on December 25, 2009 in Summitville, New York

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