COLTRANE FOR HIRE

Jordy-

The John Coltrane box set "Side Steps" arrived last week. I hope things are going well for you at DL Media, and the company is keeping you busy. I appreciate you getting me the box set soon after I requested it. Yesterday, I finally had a chance to give it my undivided attention. The five-disc set shows Coltrane from 1956 to 1958 as a reliable hired gun for established jazz marksmen pianists Red Garland, and saxophonist Gene Ammons, for example,

"Side Steps" will not excite many long time John Coltrane enthusiasts. Chances are, they have “Informal Jazz”, "Tenor Madness, "Mating Call", “All Alone The Red Garland Quintet”, "Mal/2", "The Big Sound", "Soul Junction" "Groove Blues", classic albums Prestige Records released in the late 50’s that make up this box set.

However, the set is a good starting point for individuals new to Coltrane legacy and music. Those individuals will experience Coltrane as a valued employee. Years before the saxophonist became an innovator, a revered improviser, and a jazz spiritualist. On tenor saxophonist Gene Ammon's date "The Big Sound", which Prestige released in 1958, shows the saxophonists were, pardon the pun, from the same gene Pool. Then on pianist Red Garland's "Soul Junction"-which was the first jazz album I loved unconditionally- the Coltrane and pianist have a kinetic bond.

Jordy, diehard Coltrane fans probably will not have this box set on their Christmas list. However, newcomers to Coltrane music will have a chance to hear the saxophonist during his formative years honing his technique and developing his sound.

Stay hip,
Charles

SOUL MAN

Eric, at Border’s Book and Music last week, my friend Ron recommended I buy your new album “Revival of the Fittest”. Yesterday, I bought the album at Car City Records in St. Clair Shores, MI, and I listened to it this evening. Ron said this was a great album. I agree with his assessment. He knew I would like the album. I like tenor saxophonists who have a knack for playing ballads.

“The Island” is a prettiest song on the album. You know how to expose the soul of a ballad like tenor saxophonists such as Ike Quebec, and Dexter Gordon did. Like them, you play ballads with a puppy love kind of innocence. You wrapped your arms around the waist of the ballads “My Grown-Up Christmas List” and “Love-Wise and slow dragged with the chord changes. Pianist Harold Mabern was the right accompanists. His playing was tight knit, but he cut loose a few times. Mabern jumped into the blues number “Blues for Phineas” with both feet.

“Revival of the Fittest” is only the second album I have of yours. The other is the live album you co-led with alto saxophonist Vincent Herring four years ago “The Battle” Live at Smokes”. It is an exciting album, but the title is misleading.You guys didn’t really battle. Both of you played your butts off. Your styles are different. Herring is an alto player with a sturdy chin, but matching him against you would’ve been unfair like pitting a welterweight against a heavyweight.

Eric, I almost decided aganist going to the bookstore last Friday. I’m glad I went, and saw my friend Ron. If I decided to stay home, Ron could not have recommended “Revival of the Fittest”.

JOYRIDE

Jon Irabagon welcome to my blog. Come in. Let me take your coat. Make yourself comfortable. Would you care for anything to drink? The wife went shopping yesterday so I have soda, fruit juice, soymilk and spring water. Would you mind if I played your new album “The Observer” while we talk? I invited you to my blog because I’ve listened to “The Observer” off and on for three weeks, and I want my readers to meet you. I want to tell you face-to-face how much I like this new album. It’s old school acoustic jazz indeed. Moreover, you are a charismatic alto saxophonist in the tradition of Benny Carter and Johnny Hodges. Your playing is unpretentious, clean, and you have put out an album that can be to listened daily.

On your website I read that last year you won the Thelonious Monk Saxophone Competition. You have been playing the sax since age 4. You graduated from DePaul University, and in 2001 one you moved to New York to continue your music studies at the Manhattan School of Music.

You’re, indeed, a dedicated jazz musician. You got pianist Kenny Barron, trumpeter Nicholas Payton, bassist Rufus Reid and drummer VictorLewis to perform on “The Observer”. I'm sure if you weren't dedicated those cats would have declined your invitation to play on this project. You have a knack for ballads. Your blowing on the ballad “Bar Fly” was pretty and as lovely as a prom dress.

Jon, on selections such as “Joy Secret”, “Cup Bearers” and “Big Jim’s Twins” you are a thirsty improviser. When you improvise, you aren’t carried away, blowing as if you’re having a fit. Your improvising is thrilling. You take your listeners on a musical joyride. You governed this album with an iron fist not allowing any meaningless horseplay.You didn't encourage the musicians to try to outfox each other. You doled out the assignments, and the band stuck to the script. Their soloing was poignant not flashy.

Jon thanks for making time to visit this blog. I will make it a priority to tell as many of my readers about “The Observer”. The doors of this blog are always open, and you’re welcome to visit whenever you have a new project.

91

Mr. Wilson, if I ask to see your birth certificate would it offend you. It may seem like an unusual request, and I understand if you deem it inappropriate. I caught part of your performance at this year’s Detroit International Jazz Festival, and I’ve listened to your new album “Detroit" for two weeks now. I’m having a tough time believing you’re 91.

Where do you find the energy to craft such highly charged swing music? You’ve made music over six decades, and I figured your best work was behind you. You have to right to rest on your considerable accomplishments, but you're too proud a musician to do so. “Detroit” proved you have a lot more to offer the world musically. Maybe the prospect of creating more great music keeps you going and youthful.

You run your orchestra like a man 50 years younger. Have you been lying about your age, or do you have the key to the fountain of youth? I told a friend during the jazz fest that each year your performance gets better, and you always seem to get younger. The musicians on “Detroit”, which is an homage to your home town, are different from the cats you played with at the Detroit jazz fest. However, the energy and swing levels were identical.

It was thoughtful you named five of the tunes on “Detroit” after some popular Detroit landmarks such as “Blues on Belle Isle” (the park where many Detroiters congregate during the summer) “Cass Tech”(The high school you attended and one of the finest schools in the country.)

“Detroit” has the earmarks of the great big band albums produced during the swing era by Duke Ellington and Count Basie, for example. Any of the eight compositions on “Detroit” could be some listener's favorite. “Detroit” sung from top to bottom. This album will not fix any of Detroit’s woes.

The last few years the media has beat up Detroit’s image. Mr. Wilson Detroit needed this album, and I hope you will continue to celebrate this wonderful city by composing great jazz music in its honor.

WILD WOMEN

I normally wait until an album’s release date to post my comments, but I wanted my readers to know about your new album “Wild Women of Song”, in advance. Pamela I must confess when I received your album last week I figured it was another uninspired vocal jazz album. This year I have received many albums by vocalists. To be honest, they all sound alike, and I figured your album would be the same, and I reluctantly played it.

Pamela, I was wrong. I owe you an apology because I dismissed “Wild Women of Song” before spending quality time with it. I try to be impartial, but sometimes I become frustrated. I’m often inundated with bad recordings. Anyway, you made a solid album. I recommend my readers purchase two copies.If they wear out the first. They will have a back up copy. By the third song I was hooked.

You’re smart not adding an orchestra to the mix. Most of the vocal jazz albums I listened to this year the vocalists were accompanied by orchestras, and they seemed to be jockeying for the listeners attention. I am glad you trusted your voice.

Your choice of instrumentation is worth noting as well. You performed with an organist and a guitarist, putting them together with a small horn section on the title selection “Wild Women Don’t Have the Blues”.I also liked your approach. Listening to “Bruised Around the Heart” and “I’m Not Missing You”, I wondered
if you grew up around storytellers. Your style of singing is conversational. It sounded as if you are singing short stories. You remind me of Sheila Jordan. .

Your decision to perform songs written by women such as such “I Didn’t Know About You” by Peggy Lee, “A Fine Romance” by Dorothy Fields, and “Down Hearted Blues” by Alberta Hunter thrilled me.

I felt as if I attended a history course on forgotten women songwriters. I bet Peggy Lee would have adored your interpretation of her song. Pamela, you’re I fine jazz and blues vocalist. “Wild Women of Song” was part romantic and part blues. You’re able to it both to coexist nicely.

DUET

Dear Kenn,

I saw the ad for “Kenn Cox and Donald Walden Duet at Kerrytown”, a live album you and the saxophonist cutback in 1994, in the Metrotimes. The ad announced therecording would be available at the DetroitInternational Jazz Festival. I planned to purchase the date at Street Corner Records booth, but opening night of the jazz festival Bruce Hutchinson, one of the album’s producers gave me a copy. I’ve listened toit repeatedly since. The album feels as if you and Donald allowed a select group of fans to listen in on a rehearsal.Theplaying on "Duet" is equal to the two fine albums by saxophonist Archie Shepp and pianist Horace Parlan"Goin' Home" and "Trouble in MInd"

Kenn you and Donald were two of Detroit best musicians. Kenn I miss you so much. I listen to your solo on “Low Flame” on saxophonist James Carter’s album “Live at Baker’s Keyboard Lounge” daily. That solo epitomizes your style. You never rushed a solo. You you’re your divided adherence to each note, and you treated the piano with the utmost respect not banging and abusing it as if you despised it. Your fingersmade love to the black and white keys. That attention to detail and reverence showed on “Duet”, especiallywhen you soloed on “Misterioso”.

Walden was the perfect counterpart. In my eye’s, Walden was always a preserver of be bop. Walden was alsoa gatekeeper of Thelonious Monk’s music, understanding the the nuts and bolts of the Monk's music. Thesaxophonist proved the On the two of three Monk’s classics selected for this album “Ask Me Now” and“Worry Later”.

If someone asked me to recommend a Walden composition that shows him at his best, I would point to“Portrait of You”, the ballad he wrote for his wife Marsha Walden. “This Goodbye Could Last a Long, LongTime” would be my contingency recommendation.

I told Walden playing ballads was his hallmark. I always cited Walden's treatment of Monks ballad “RubyMy Dear” on Walden’s sophomore album “A Monk and A Mingus AmongUs” as proof of the saxophonist affinityfor ballads. Walden was a modest musician.

Kenn on “Worry Later” you played as if you figured out how to channel Monk’s spirit. I am sure now you andWalden have settled in heaven. The Detroit and Ann Arbor jazz community miss you guys something awful. Fortunately, people in Detroit such as Bruce Hutchinson, and bassist Marion Hayden who wrote the album liner notes are keeping your music and Donald’s alive.

PRACTICE SESSION

Pianist Gerald Clayton Dear Bud Powell,

I’m Charles L. Latimer. I published this jazz blog. I won’t consume much of your time. You’re probably busy practicing or composing. I want to tell you about this fantastic young piano player. His name is Gerald Clayton. He’s a native Californian. He’s 25-year-old, and his dad is the renowned bassist John Clayton of the Clayton-Hamilton orchestra.

I had the opportunity to hear the pianist last Tuesday evening in an intimate setting. Gerald performed two solo sets in the living room of Andrew and Diane Rothman’s home in West Bloomfield, Michigan. The Rothman’s run an organization call the Detroit Groove Society. They host home concerts. Some notable jazz musicians such as pianists George Cables and Bill Mays have performed in the Rothman’s home.

Andy is a lawyer, pianist and avid jazz enthusiast. Andy is a decent piano player. A few years ago, I interviewed him for an article about his organization afterwards he played a piece of music he was studying.

During the interview he joked that he only pursued law after realizing he did not have the chop to make it as a professional musician. I concluded after listening to him that he would’ve been a good pianist had he stuck with it. I’ve only attended two of their concerts. I must admit the concerts were a classy affair. The attendees thoroughly enjoy the music, and the Rothman’s seem to have a grand time hosting.

Gerald quipped it was the first time he’d practiced in front of an audience. He was
kidding, of course, but I felt he was serious. Mr. Powell, both sets were exceptional. Gerald played as if he’d mapped out the performance months beforehand, performing selections from his new album “Two-Shade” and a handful of jazz standards.

Mr. Powell you should buy Gerald’s album. His influences are obvious. When plays in this dad’s quintet, I recognized traces of Gene Harris’ DNA in Gerald’s soloing. At the solo concert, I felt your spirit in the room coaching Gerald on what lines to play. Like you Gerald's play are sophisticated.

That evening Gerald played, he some ragtime, swing, bebop, and the blues. I heard Gerald twice before. I first heard him on trumpeter’s Roy Hargrove’s album “Ear Food”. Gerald floored me. He never got in Hargrove’s way. Gerald was gracious and treated the piano with respect. He did not beat on it as if he was angry at it. His soloing was concise yet memorable. I’ve been turning friends on to Gerald since at last year Detroit International Jazz Festival.

Mr. Powell if you have some free time check out some of Gerald’s performances on YouTube, track down the Hargrove’s date and listen to “Brother to Brother”. On the latter album, Gerald plays with his dad and uncle. You get an adequate sampling of Gerald’s diversity.

I hate to make predictions. However, when discussing Gerald I can’t help it. Someday he’ll be just as accomplished as his dad who has won a Grammy arranged from the likes of vocalists Nancy Wilson and Whitney Houston. Mr. Powell thanks for giving me a minute of your time. I hope I inspired you to investigate Gerald. I’m sure you’ll discover you influenced him plenty.

Best wishes,
Charles