Daily Dose Of Jazz…

Kjeld Bonfils was born on August 23, 1918 in Copenhagen, Denmark. He was one of the figures involved in the Golden Age of Danish jazz in the 1930s.

During the Nazi occupation of Denmark from 1940 to 1945, jazz was discouraged by the regime, but Bonfils played with Svend Asmussen in Valdemar Eiberg’s band, as well as elsewhere. Jazz became a symbol of the underground and political protest.

Pianist and vibraphonist Kjeld Bonfils,  who was hailed as one of the best soloists of his day, passed away on October 13, 1984 at age 66.

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Requisites

Bebop ~ Milt Jackson | By Eddie Carter

This morning’s discussion is by one of my favorite masters of the vibraphone, Milt Jackson. I was introduced to his music during a performance by The 1972 Newport Jazz All-Stars at Radio City Music Hall. Bebop (East-West – 7 90991-1) celebrates the forties jazz style characterized by a fast tempo, rapid chord changes, instrumental improvisation, and virtuosity that was created by Dizzy Gillespie, Charlie Parker, Bud Powell, and other musicians. On this date, Bags is sharing the spotlight with an outstanding sextet, Jon Faddis on trumpet, J.J. Johnson on trombone, Jimmy Heath on tenor sax, Cedar Walton on piano, John Clayton on bass, and Mickey Roker on drums.  My copy used in this report is the 1988 US Full Digital Stereo album.

Side One kicks off with the 1951 jazz standard, Au Privave by Charlie Parker. The trio starts with a nimble introduction coming before the septet’s spirited theme. J.J. lights the first fire with a fierce heat, paving the way to Milt’s enthusiastic reading fueled by the rhythm section. Jimmy swings incisively and vividly next, then Jon travels into outer space with an abundance of high notes. Cedar drives to the finale with potent force ahead of the ensemble’s vigorous climax. Up next is Good Bait by Count Basie and Tadd Dameron. This seldom-performed 1944 tune became a hit at the height of the Bop era. Jackson leads with a friendly, light-hearted solo that’s pleasant. Johnson steps casually into a splendid reading. Heath explores some interesting avenues for the next performance. Faddis also takes things easy with a bluesy tone. Walton closes with a thoughtfully developed statement significant for its understated emotion.

Dizzy’s Woody’n You was written in 1943 and dedicated to Woody Herman. The ensemble moves back into uptempo for the theme. Milt explores the song’s roots first with an effervescent performance. J.J. heats things up next with an agile contribution, then Jimmy is as sprightly as ever on the third solo. Jon keeps things moving with an optimistic interpretation that swings hard. Cedar finishes with some exciting creativity before the septet disappears after the reprise. Now’s The Time by Charlie Parker cruises at a comfortable speed with Cedar taking the first chorus of this irresistible toe-tapper into the collective theme. Bags initiates a very impressive statement that moves smoothly. Johnson embraces the second reading like he’s speaking to an old friend, then Heath gets into an affirmative groove. Faddis opens the throttle a little further in a lively performance, and Walton puts the icing on the closer leading up to the climax.

Side Two starts with Ornithology by Charlie Parker and Benny Bailey. The septet begins with a happy, swinging beat on the unison theme statement. Milt gets things off the ground first, afterward, Jon wails with astounding conviction. Jimmy follows with a very relaxing performance, then J.J. strides confidently into the next reading. Cedar follows with some solid grooving, and John does some tuneful walking on his first solo opportunity preceding the theme’s reentry. One of Dizzy’s most enduring hits from 1944, Groovin’ High keeps the group at an easy tempo with Bags in front of the ensemble on the collective melody.  Walton takes the lead this time and turns in some fine work. Jackson is equally easygoing on the second statement. Faddis uses the mute for an informal discussion, then Heath turns in a stirring presentation. Johnson is up next to give a muted trombone reading, and Clayton responds with a brief articulate, and charming finale before the closing chorus.

Birks’ Works was composed by Dizzy in 1951 and the title refers to his middle name. This jazz standard was the title tune for his 1957 Big Band album. John and Bags lead the septet on a bluesy opening chorus. Cedar solos first, taking things relatively easy. J.J. comes in next with a bright and breezy statement.  Jimmy makes a positive impression on the third reading. Jon follows, strolling leisurely into the next solo, and Milt makes his points with admirable zest ahead of the out-chorus. Salt Peanuts, written in 1942 by Gillespie and Kenny Clarke begins with a brief introduction by Roker, segueing into a brisk melody. Heath takes flight first swiftly like a cheetah chasing its prey, then Johnson takes over for a speedy sprint. Jackson’s fingers work furiously on the vibes next. Faddis lets his ideas unfold intensely on the following solo, and Walton gets the last of the “salt peanuts” on a freewheeling finale before the ensemble’s reprise and coda.

“Bags” (Milt’s nickname) and his bandmates complement one another marvelously and these cats know how to swing throughout this collection of old favorites.  The LP is a full digital recording by engineer Bobby Warner with stunning sound quality surrounding your sweet spot.  Bebop is a stellar tribute to the music that remains as fresh today as when first performed in the forties.  It’s also a pleasure to hear these great improvisers in a resolute form on an album that’s a high note in his plentiful discography.  If you’re a fan of Milt Jackson as a leader or sideman and enjoy Hard-Bop, you won’t regret picking Bebop up on your next vinyl hunt and it’s sure to become an essential album in your library! ~ Birks’ Works (Verve Records MG V-8222) – Source: Discogs.com ~ Good Bait, Woody’n You, Groovin’ High – Source: JazzStandards.com ~ Au Privave, Bebop, Birks’ Works, Now’s The Time, Ornithology, Salt Peanuts – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Three Wishes

Nica asked Buddy Montgomery what his three wishes were and he simply said:  

1. “I can use a whole lot of things! One thing I would like is to get my mind and my hands attached to what I am trying to do, musically. I need to think some more about the others.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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Requisites

Bags’ Opus ~ Milt Jackson | By Eddie Carter

Milt Jackson steps into the spotlight to begin this morning’s discussion with one of my favorite albums from 1959, Bags’ Opus (United Artists UAL 4022/UAS 5022). This is my album to listen to when reading or relaxing because the music is so soothing, I can listen to it endlessly. Here, the vibist is leading an exceptional sextet consisting of Art Farmer on trumpet, Benny Golson on tenor sax, Tommy Flanagan on piano, Paul Chambers on bass, and Connie Kay on drums. My copy used in this report is the 1976 Japanese Stereo reissue (United Artists GXC-3135), and the album opens with the leader in ballad mode on Ill Wind by Harold Arlen and Ted Koehler. It was written in 1934 and performed by vocalist Adelaide Hall in their final show at The Cotton Club. Milt’s vibes are delicately discreet on the melody and as the featured soloist, he tells an exquisitely tender story matched by the sensitive accompaniment of the rhythm section into a gorgeous finale.

Blues For Diahann is Jackson’s tribute to actress, model, singer, Diahann Carroll, and the only original of the session. It opens with a jubilant intro by the rhythm section and a collective theme by the sextet. Golson takes off first with some straightforward blowing.  Farmer doesn’t let up the pace on the next reading with a spirited solo. Flanagan follows with a dazzling display of his virtuosity, and Chambers gives a spicy performance that’s worth the wait. Kay begins the next reading with some brisk brushwork in a shared statement with Jackson. The leader wraps up everything with a short workout ahead of the close. Afternoon In Paris by John Lewis was written in 1949 and was first recorded by Phineas Newborn Jr. on the album, Here Is Phineas-The Piano Artistry of Phineas Newborn Jr. (1956). Lewis made it the title song for his 1957 release with guitarist Sacha Distel, and the group takes this tune for an easy ride with five soulful statements by Milt, Benny, Art, Tommy, and Paul.

Benny Golson’s timeless 1957 jazz standard, I Remember Clifford, was written to honor the memory of trumpet player Clifford Brown who alongside pianist Richie Powell and his wife Nancy perished in an auto accident a year earlier. It opens Side Two delicately with the front line featured on the melody and reprise. Bags gives this evergreen all the poise and elegance it deserves on a sublimely beautiful performance backed by the trio.  Thinking of You was composed by Harry Ruby and Bert Kalmar in 1927, and debuted in the Broadway show, The Five O’Clock Girl that year. It was also featured in the 1950 film, Three Little Words. Art takes the lead on the gentle opening chorus with Milt and the rhythm section providing the lush background. He continues on the first solo with an intimately moving interpretation. Bags comes in next to add a touch of sensuous beauty to the closing statement ahead of Art’s return for the tenderly expressive coda.

Benny Golson wrote Whisper Not in 1956 while a member of Dizzy Gillespie’s Big Band.  It’s one of his most popular tunes and has been a signature song of Golson’s since its inception.  Leonard Feather wrote lyrics for Anita O’Day who recorded it in 1962.  The sextet begins the melody at an easy beat with an irresistible toe-tapping melody.  Jackson cruises at a comfortable speed with impeccably-crafted lines.  Farmer works the next solo using his mute with a firm tone and relaxing informality. Golson gets the next nod for an infectious groove that just won’t stop, and Flanagan sparkles on the final reading before the sextet reassembles to take the song out. Bags’ Opus was produced by Jack Lewis and engineered by Tommy Nola whose work can also be found on Argo, Atlantic, Blue Note, Cadet, Contemporary, Jazztime, Mercury, Riverside, and Verve to name a few. The album has a solid soundstage with an excellent definition from each instrument bringing the musicians from your speakers into your listening room.

Milt Jackson was one of the extraordinary musicians of jazz whose consistency on record is unequaled. He played and recorded with Cannonball Adderley, Ray Charles, Miles Davis, Dizzy Gillespie, Coleman Hawkins, Wes Montgomery, and countless others as a leader, sideman, and on many records as a member of The Modern Jazz Quartet.  He was given the nickname Bags by a Detroit bass player, referring to the bags under his eyes. I’ve been a huge fan of his ever since seeing him live in 1972. On Bags’ Opus, Jackson and his colleagues offer an album of easy listening jazz that any fan of Post-Bop should consider a must-have for their library!

~ Afternoon In Paris (Atlantic 1267); Anita O’Day and The Three Sounds (Verve Records V-8514/V6-8514); Here Is Phineas-The Piano Artistry of Phineas Newborn Jr. (Atlantic 1235/SD 1235) – Source: Discogs.com

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Daily Dose Of Jazz…

Terry Pollard (August 15, 1931 in Detroit, Michigan and began her career by collaborating with other Detroit musicians, such as Billy Mitchell and Elvin Jones, in the house band at the Blue Bird Inn. Johnny Hill, and the Emmitt Slay Trio.

Discovered by Terry Gibbs, she toured with him in the early 1950s, playing piano and vibraphone. They recorded several albums, including Terry Gibbs Quartet – Featuring Terry Pollard. Pollard appeared with Gibbs on an episode of The Tonight Show hosted by Steve Allen. Her collaborations with Gibbs from 1953 to 1957 marked the height of her career.

Pollard also performed with John Coltrane, Charlie Parker, Miles Davis, Chet Baker, Nat King Cole, Dinah Washington, Duke Ellington and Ella Fitzgerald

Recording a self-titled solo album for Bethlehem Records in 1955, Terry won Down Beat magazine’s New Artist award in 1956. She retired from her full-time music career shortly thereafter in order to raise a family, but she continued to play locally in Detroit and performed with Yusef Lateef, Dorothy Ashby, Don Fagerquist, and Diana Ross and the Supremes among others.

Her contributions to the mid-century Detroit jazz scene were recognized in the book Before Motown: A History of Jazz in Detroit 1920-1960, by Lars Bjorn and Jim Gallert. Pianist, vibraphonist Terry Pollard, who was inducted into the Michigan Jazz Hall of Fame, passed away on December 16, 2009 in Detroit.

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