Sweets for the Suite

by | Jul 5, 2025 | Big Band, Quartet/Quintet

Harry “Sweets” Edison came to prominence as a soloist with the Count Basie Orchestra, and as an occasional composer/arranger for the band. His most notable contribution was as a Hollywood studio musician, whose muted trumpet can be heard backing any number of famous singers, most notably Frank Sinatra. It was Lester Young who gave him the nickname “Sweets” because of his sweet style of playing. It started out as “Sweetie Pie,” was eventually shortened to “Sweets,” and has stuck as Edison’s trademark moniker to this day.

(Top left) is Lester Leaps In, recorded in 1990 together with Billy Mitchell (ts), Paul Kuhn (p), Major Holley (b), and Butch Miles (d). (Lower left) “Sweets” slows things down with Willow Weep for Me, featuring that mellow muted sound that earned him his nickname. Finally, (at the bottom) Edison joins the Louie Bellson big band in 1992 with the tune Sweet Tooth.

The Real McCoy

by | Jun 22, 2025 | Quartet/Quintet, Solo/Duo, Trio

Alfred McCoy Tyner was an American jazz pianist and composer known, primarily, for his work with the John Coltrane Quartet from 1960 to 1965. His long solo career spanned six decades, and netted five Grammy Awards. McCoy’s powerful, propulsive style of piano playing was an integral part of the Coltrane Quartet in the early 1960s, and influences countless young jazz musicians to this day.

The (topmost) video is a 2002 performance of Moment’s Notice, and features the instantly recognizable piano of Tyner, along with Bobby Hutcherson on vibes, Charnett Moffett on bass, and Eric Harland playing drums.

To the (left) is a solo performance of Coltrane’s Giant Steps from 1996. It is a classic example of McCoy Tyner’s signature emphatic left-hand attack, particularly on the low keys.

To the (right), A Song for Love was recorded in 1997 with his trio, including Avery Sharpe on bass and Aaron Scott on drums. It shows the softer side of Tyner, and brought down the house at the jazz festival in Berlin!

Miles-tones

by | May 31, 2025 | Quartet/Quintet, Sextet

“Don’t play what’s there, play what’s not there.” This is yet another quotable quote from Miles Davis, and probably the one that best describes his musical style. His early playing was sometimes tentative and not always fully in tune, but his unique, intimate tone and fertile musical imagination outweighed his technical shortcomings … which by the 1950s he turned into considerable assets. Miles would have celebrated his 99th birthday a few days ago, on May 26th, but while he severed his earthly bonds in 1991, he left behind a wide variety of timeless jazz that will be enjoyed by many generations to come.

(Top) The Pan Piper and Solea are both tunes from Davis’ 1960 album Sketches of Spain. They are co-arranged with Gil Evans, blending jazz and classical influences, incorporating a flamenco theme for this 1991 Montreux performance. (Middle) is a Davis original, now a standard, Milestones from his 1958 album of the same name. It features a regular who’s who of jazz, with Miles on flugelhorn, Cannon Adderley playing alto, John Coltrane, playing tenor, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones at the drums. Finally (Bottom), the quintet’s 1964 performance of My Funny Valentine evokes a slightly different feeling with Miles on trumpet, Wayne Shorter on sax, Herbie Hancock playing piano, Ron Carter on bass, and Tony Williams at the drums –– talk about a who’s who!

Milestones

by Miles Davis | Milestones

Sassy and Sultry Diana Krall

by | May 23, 2025 | Quartet/Quintet, Vocal

Some of Diana Krall’s fans are not necessarily jazz fans. Many seem to want a stronger focus on the vocals, which is quite understandable given how great Krall is at the microphone … and they want her to sing in a more straightforward, singer-songwriter/pop fashion, rather than using her voice as a jazz instrument or inserting improvisational passages into her piano playing.  But, that’s not who Diana is. She’s a jazz artist who puts on jazz shows. She has been playing since the age of four and performing since the age of fifteen.

During her concerts, vocals are just a part of the attraction. True jazz fans get this, and appreciate the lengthy spotlights given to Krall’s band mates as well: bassist John Clayton, drummer Jeff Hamilton, and guitarist Anthony Wilson are all phenomenal players with so much to say musically that is absolutely worth hearing. (Above) is something on the soft side from the group with Cry Me a River and (below) they pick up the tempo with East of the Sun. See what you hear!

Jaws!

by | May 3, 2025 | Big Band, Quartet/Quintet

Virtually from the beginning of his career, Eddie “Lockjaw” Davis achieved one of the primary goals of all jazz musicians: to have his own sound. Most jazz fans are able to identify “Jaws” within two or three notes. Was he a bop, swing, hard bop or early R&B improviser? Duke Ellington’s description of a “beyond category” perfectly fit “Jaws” because his highly individual voice always stood apart from everyone else. No one seems quite sure how Davis acquired the moniker “Lockjaw” (later shortened to “Jaws”) … it is thought that it either came from the title of a tune, or from his way of biting hard on the saxophone mouthpiece.

The top video, If I Had You, was recorded live in 1985 at the Jazzhus Slukefter Club in Copenhagen Denmark. Lockjaw was on tenor, Niels Jorgen Steen played piano, Jesper  Lundgaard was on bass, and Ed Thigpen was at the drums. In the middle is the jazz standard Green Dolphin Street from his Eddie “Lockjaw” Davis album … but there is nothing standard about his ‘saxy’ approach to this popular 1947 tune.  Finally, “Jaws” delivers an outrageous solo in this 1965 live performance of Jumpin’ at the Woodside … also featuring Rufus Jones on drums, Freddie Green on guitar and the rest of the Basie Band in its prime!

Green Dolphin Street

by Eddie Lockjaw Davis | Eddie Lockjaw Davis

Brubeck Time

by | Apr 25, 2025 | Quartet/Quintet

Whether solo or with his quartet, Dave Brubeck has become an American jazz icon. His name has become synonymous with unusual time signatures and pure piano excellence. He was also a composer, who delighted in combining different styles and genres, like classic, jazz, and blues … often superimposing contrasting rhythms, meters, and tonalities into his work. In 1951, Brubeck organized the Dave Brubeck Quartet, which featured Paul Desmond on alto saxophone. Eventually, Joe Morello (d) and Gene Wright (b) joined Dave and Paul to form the quartet with which we are most familiar, that sustained through the years, and any number of hit recordings. Above, they perform Brubeck’s own Three to Get Ready … the forgotten little brother of “Take Five.”

Top left is another Brubeck original from a 1962 performance in Sydney Australia, Blue Rondo a la Turk, written in a tricky 9/8 time. Finally, lower left, is the stylistic ‘mother of them all,’ Take Five. This 1972 recording offers a little different cast of characters from the the ones we’re used to –– like Gerry Mulligan (bs), Alan Dawson (d), and Jack Six (b), in addition to Dave Brubeck ℗ and Paul Desmond (as).

Cute / Willow Weep for Me – Mel Lewis

by | Apr 11, 2025 | Big Band, Quartet/Quintet

Mel Lewis was an American jazz drummer, session musician, professor, and author, who received fourteen Grammy Award nominations. He did it all! Lewis’s cymbal work, in particular, was considered unique among many musicians … drummer Buddy Rich once remarked, “Mel Lewis doesn’t sound like anybody else. He sounds like himself.” In 1966 Mel teamed up with composer, arranger, trumpeter/cornetist Thad Jones to form the Thad Jones-Mel Lewis Orchestra.

Topmost, At the 1984 Swiss “Jazz-In”, Mel Lewis teams up with Horst Jankowski at the piano, ‘Toots’ Thielemans playing harmonica, Mads Vinding on bass, and Pierre Cavalli on guitar to perform the bright and breezy Cute. Below that, Is rather non-standard arrangement of the standard Willow Weep for Me, typical of the Thad Jones-Mel Lewis Big band, which played primarily at the Village Vanguard in New York for the next twenty-four years.

Jazz Italian Style

by | Apr 6, 2025 | Big Band, Quartet/Quintet, Vocal

Funny, but she sounds awfully American! Roberta Gambarini came to America in 1998 from Turin, Italy, and took the jazz world by storm. Roberta has toured and sung with the greatest in the business … from Dizzy Gillespie to Jimmy Heath, from Clark Terry to Paquito D’Rivera.  I’ll be seeing her perform live for the first time next Saturday, with the South Carolina Jazz Masterworks Ensemble. Keep you posted. (Above) Gambarini is reflective with a heartfelt rendition of Every Time We Say Goodbye. She was recorded live in 2009 at Jazz A Vienne (France) with the Roy Hargrove Big Band. (Below) Roberta steps up the tempo with Joe Lovano (ts), Cyrus Chestnut (p), James Genus (b), and Antonio Sanchez (d) in 2021, singing When Lights Are Low at the 10th annual celebration of International Jazz Day, featuring top musicians from all over the world.

Haruka Kikuchi – Girl with a Horn

by | Mar 29, 2025 | Quartet/Quintet, Vocal

Jazz may be “America’s Classical Music” but it has a strong, worldwide appeal. Trombonist Haruka Kikuchi is a native of Tokyo, Japan, who always had a knack and a love for music, listening to as much of it as she could at a young age, as well as picking up instruments like piano and violin. It wasn’t until she heard an old recording of the Original Dixieland Jass Band that she decided to pick up a trombone, a decision that would inspire her to move the 7,000 miles to New Orleans in 2014, where she has been “making her bones” ever since. You first heard Haruka –– also known as Queen of Tailgate because she continues the tailgate style trombone, which is a tradition of New Orleans Jazz –– on Mark of Jazz a few weeks ago performing with The Preservation Hall Jazz Band. I was floored by her playing and felt compelled to feature her this week.

The tune (above) is Wabash Blues, presented live in 2020 from the studios of WWOZ, with Haruka Kikuchi on trombone, Z2 at the piano, Nobu Ozaki on bass, Mishi playing trumpet and Gerald French on drums. (Left upper) they cut loose on Hold That Tiger … in 2015, also live from WWOZ in New Orleans. (Left bottom) is the old favorite Margie, recorded at the Jazz and Heritage Center in 2023, with a Satchmo style vocal by the drummer.

N’Orleans Jazz with the PHJB

by | Mar 15, 2025 | Orchestral, Quartet/Quintet, Septet/Octet

Preservation Hall Jazz Band has held the torch of New Orleans music aloft for more than 50 years, keeping the history they were founded to preserve alive and well. This ageless ensemble has toured the world displaying the unbreakable spirit of New Orleans and sharing the joy of its very special style of jazz. The band consists of Ben Jaffe (one of the original founders), Branden Lewis, Charlie Gabriel, Walter Harris, Kyle Roussel, Ronell Johnson, and Clint Maedgen. The PHJB‘s name and mission are directly tied to Preservation Hall, a venue in the French Quarter that serves as a hub for traditional New Orleans jazz. In 2006, The Band was awarded the National Medal of Arts, the nation’s highest honor for artistic excellence. (Above) they perform Bourbon Street Parade together with the Cincinatti Pops Orchestra in a PBS special “Take Me to the River.”

The video below is bit of a mystery. The group is called The Preservation Hall Jazz Quartet … although they perform at Preservation Hall, I cannot find any information affirming or denying a connection to the Preservation Hall Jazz Band. The quartet consists of Kevin Louis on trumpet, Lars Edegran at the piano, Haruka Kikuchi playing trombone, and Joe Lastie on drums. The tune is a mystery as well. I don’t recognize it, nor can I find reference to a name anywhere, but one thing is for certain … the sound is pure N’Orleans!