Jazz by George

by | Feb 27, 2026 | Quartet/Quintet

George Benson has been described as one of the greatest guitarists in jazz history. He started out as a singer, and quickly added the strings of guitarist and songwriter to his musical bow, making an indelible mark in soul, pop, and R&B genres as well as jazz. George first came to prominence during the 1960s, playing with organist Brother Jack McDuff and other prominent musicians before beginning his solo career. Here, at the age of only 21, he joins McDuff at the Antibes Jazz Festival in 1964 … along with Red Holloway on tenor sax and Joe Dukes on drums in their rendition of It Ain’t Necessarily So. Quite a departure from the later, more familiar Benson sound (like “This Masquerade” and “Give Me the Night”). Altogether, He collected no fewer that 10 Grammy Awards during his illustrious career!

For Bud

by | Jan 16, 2026 | Quartet/Quintet

“Bud” Powell was a pioneer in the development of bebop and its associated contributions to jazz theory, as well as a major influence on pianist Chick Corea. Chick salutes that influence with his composition simply called Bud Powell. It features Kenny Garrett (as), Christian McBride (b), and Roy Haynes (d), as well as Corea, who made his own contributions to the jazz idiom with his considerable participation in the birth of fusion, particularly during the 1970s with the formation of his group Return to Forever.

The King of Swing

by | Nov 30, 2025 | Big Band, Quartet/Quintet, Sextet, Trio

Any artist’s Carnegie Hall debut is an auspicious occasion. In Benny Goodman’s case, January 16, 1938 was not only the debut of a major star, but it also marked the first time people sat in a concert hall to hear swing music rather than dance to it. That first Carnegie concert was jazz’s ‘coming out’ party to the world of ‘respectable’ music.’ Benny would appear there at least 25 more times in the next 44 years! During an era of racial segregation, Goodman led one of the first integrated jazz groups, hiring both Teddy Wilson (p) and Lionel Hampton (vb) for his quartet. His reign as “King of Swing” took off when he helped ease our nation through the darkest days of The Great Depression, with the grace and optimism offered by swing music.

Down South Camp Meetin’ (top) features Benny in a big band setting at the New York Marriott Marquis in 1985, with Dick Hyman on piano and Louis Bellson playing drums. Then a pair of tunes from the early days: Sing, Sing, Sing (middle left) with Gene Krupa on drums and Harry James on trumpet, from the 1937 film Hollywood Hotel … and Nice Work If You Can Get It (middle right) from 1960, swung by The Benny Goodman Trio with Teddy Wilson playing piano and, once again, Gene Krupa on drums. Finally, buckle up as George Benson sits in on guitar for Charlie Christian as the sextet plays Seven Come Eleven in a 1975 tribute to John Hammond.

They Called Him “Mr. T”

by | Nov 22, 2025 | Quartet/Quintet, Sextet

A legend of the tenor saxophone, Stanley Turrentine was renowned for his distinctively thick, rippling tone, and earthy grounding in the blues. In fact, his distinctively thick, warm, blues-drenched tone made him a defining voice in soul jazz and a perennially popular figure across several genres. Turrentine recorded in a wide variety of settings, but was best-known for his Blue Note soul-jazz jams of the ’60s. Although most commonly referred to as “Mr. T” he was also known as “The Sugar Man” in more intimate circles.

His frequent collaborations with organist Jimmy Smith resulted in a treasure trove of classic recordings … evidence their ever popular Midnight Special (above), recorded at the 1987 Mount Fuji Jazz Festival, with Kenny Burrrell on guitar and the fabulous Art Blakey on drums.

Another Smith collaboration, Scratch My Back (upper right) features the same group with Grady Tate on drums … recorded in 1985 at NYC’s Town Hall. On the (lower right) is Sugar with Mr. T, of course, on tenor, Jimmy Smith once more at the Hammond, Freddie Hubbard trumpet, Kenny Burrell guitar, Ron Carter bass, and Joe Chambers playing drums … from the 1987 Mount Fuji Jazz Festival.

Drummin’ Man

by | Nov 7, 2025 | Quartet/Quintet, Trio

Rich was fast, Krupa was smooth, but Jack DeJohnette was melodic. He played R&B, hard bop, and avant-garde stylings … and always made it look easy. Jack left us at the age of 83 just a few weeks ago, on October 26th. He was a pianist, composer, and most of all a drummer, whose command and versatility made him one of the standout instrumentalists of the past five decades and an indispensable figure in era-defining jazz. He fearlessly embraced abstraction and his approach, which could be hushed or explosive, freely swinging or fiercely funky, built bridges between the old and the new. He once referred to himself a “colorist on the drums.”

 

Shadow Dance (above) opens with a DeJohnette drum solo, which leads into just one color of a largely new age electronic rainbow, borrowing heavily from the pop-rock genre. It features Herbie Hancock playing piano and keyboards, Pat Metheny on guitar, and Dave Holland on bass, rounding out the quartet. Rider (below) is a classic example [from 1985] of just how funky Jack could be in driving the trio … which includes Keith Jarrett at the piano and Gary Peacock on bass. Jack DeJohnette leaves a large legacy but even larger shoes to fill.

Sonny Side Up – Pt. 1

by | Oct 26, 2025 | Quartet/Quintet, Sextet, Trio

Sonny Rollins is not only the most enduring tenor saxophonist of the bebop and hard bop eras, but also one of the greatest jazz saxophonists of all time. In a career that spanned more than 70 years, Sonny thrilled millions of fans around the world, and recorded north of sixty albums! As a composer, a number of his compositions have become jazz standards … as a musician, he has been called “the greatest living improviser” and has even been referred to as “the real Charlie Parker.”

Speaking of standards (below top) sample some 1965 Rollins on There Will Never Be Another You, together with Alan Dawson on drums and the great Niel Henning Orsted Pedersen (NHOP) playing bass … in concert, in Denmark.

Sonny Rollins poked a toe into several musical genres including Pop Country … tunes like “I’m an Old Cowhand” and Tennessee Waltz (middle left) recorded in Munich in 1992 … no Patti Page here. The sextet includes Clifton Anderson (tb), Mark Soskin (p), Jerome Harris (g), Bob Cranshaw (b), and Yoron Israel (d). The familiar Smoke Gets in Your Eyes (bottom left) recorded in Prague in 1982, adds Masuo and Bobby Broom (g), Lincoln Goins (b), and Tommy Campbell (d), to Sonny’s tenor.

Mellow McRae

by | Oct 4, 2025 | Quartet/Quintet, Vocal

Carmen McRae is considered one of the most influential jazz vocalists of the 20th Century. She was known for her behind-the-beat phrasing and ironic interpretation of lyrics, both of which seemed to come to her quite naturally. Carmen didn’t just sing a song, she owned it! The three tunes below are prime examples, and while McRae could swing with the best of them, I always felt she shone brightest in a mellow mood.

(Topmost) is the 1935 standard I’m in the Mood for Love, with Carmen accompanying herself on the piano. She was joined by Scott Colley on bass and Mark Pulice playing drums, in 1990 at the Good Day Club in Tokyo. Ruby My Dear (middle) may be the most beautiful Thelonious Monk composition since ‘Round Midnight. It was recorded in 1988 at the Newport Jazz Festival, with Clifford Jordan playing tenor and Eric Gunnison on piano, joining Carmen and her rhythm section on stage. At the Bern Jazz Festival, also in 1988, she eschews the usual uptempo arrangements of Have You Met Miss Jones (bottom) in favor of a more heartfelt version all her own. Dizzy Gillespie adds a few notes of counterpoint to her amazing vocal.

Coltrane

by | Sep 26, 2025 | Quartet/Quintet

The 1960 video (above) is from John Coltrane’s first time in Europe, touring as a member of one of Miles Davis’ first great quintets. On Green Dolphin Street was recorded in Dusseldorf Germany, and features Coltrane on tenor, Wynton Kelly playing piano, Paul Chambers on bass, and Jimmy Cobb at the drums. Miles sat out this particular evening, thus leaving the spotlight all to Trane.

(Upper right) Stan Getz joins the quartet in a medley of standards with John soloing on What’s New? and Stan doing the chores with Moonlight in Vermont. Alabama (Lower right) is a powerful tune penned by Coltrane in response to the 1963 16th Street Baptist Church bombing in Birmingham, Alabama, which killed four young Black girls.

Monk … Notes Not There

by | Sep 20, 2025 | Quartet/Quintet, Solo/Duo

One of Miles Davis’ notable quotes is, “Don’t play what’s there, play what’s not there.” Thelonious Sphere Monk has seemingly mastered the art of doing exactly that … playing the notes that are not there! His compositions and improvisations feature dissonances and angular melodic twists, often using flat ninths, flat fifths, unexpected chromatic notes together, low bass notes and stride, and fast whole tone runs, combining a highly percussive attack with abrupt, dramatic use of switched key releases, silences, and hesitations. Whatever else that means, it all boils down to Thelonious Monk is an acquired taste.

Take a sip from this 1963 Brussels performance of his composition Rhythm-A-Ning (above), as he is joined by Charlie Rouse on sax, John Ore playing bass, and Frankie Dunlop on drums. (Below left) is Lulu’s Back in Town, a popular song and jazz standard written in 1935 by Warren and Dubin … performed in 1966 in Poland by Monk at the piano, Charlie Rouse on tenor, Lawrence Gales playing bass, and Ben Riley on drums. At the Berliner Jazztage in 1969, Monk shared his recipe for greatness with a classic solo rendition of Ellington’s Sophisticated Lady (below right).

Power of the Pen –– Sound of the Horn

by | Sep 13, 2025 | Orchestral, Quartet/Quintet, Video

Terence Blanchard is jazz royalty—trumpet player, bandleader, film score composer, and recording artist, all rolled into one. Terence is an alumnus of the Berklee College of Music, the premier institute of the performing arts, along with such notables as Quincy Jones, Diana Krall, as well as any number of other Grammy-winning engineers, producers, and instrumentalists across various musical genres. His close ties to Berklee revolve around teaching and mentoring rather than merely as an alumnus … that and similar educational involvements, in addition to his film scoring, may be the reason Blanchard hasn’t exactly become a household name.

In the early ‘90s Terence gained attention as a soloist, performing on Spike Lee’s Do the Right Thing and Mo’ Better Blues. He went on to score all of Lee’s subsequent films, including the Hurricane Katrina documentary, When the Levees Broke. Levees was originally part of the musical score, evocatively performed by Terence in the following video along with a forty piece orchestra!

The song I Cover the Waterfront was written by Johnny Green and Edward Heyman in 1933; it was inspired by Max Miller’s 1932 novel of the same name and a subsequent 1933 film. The Terence Blanchard rendition from his 1994 album, The Billie Holiday Songbook, features Terence on trumpet, Bruce Barth at the piano, Troy Davis playing drums, and Chris Thomas on bass.

I Cover the Waterfront

by Terence Blanchard | Billie Holiday Songbook

Sing Soweto is a New Orleans jazz and bop track released in 1991 on the album titled Terence Blanchard. The Soweto Uprising (or Rebellion) was a 1976 protest in South Africa, where thousands of Black students were killed in a march against the requirement they be instructed only in the Afrikaans language, which they strongly associated with the apartheid government. Blanchard’s trumpet and subtle chorus on the video (below) capture the pain of the struggle.