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Jazz from Africa is in a good place, there are more Jazz, Blues, Latin and World Jazz artists releasing their own albums without assistance from record labels. What is most pleasing about this is many of those albums are of original works with fewer and fewer standards being included. Is this a good thing or not?
In my opinion it is indeed a very good thing because musicians are discovering their own voices and creativity without having to rely on “the standards”. These tunes when recorded are just boring copies of their current favourite artists version of those “jazz standards” often with any real thought and preparation to make and arrange exciting fresh versions of those “standards”. Like I said boring and it will be only family and really good friends will offer high praise for what that musician has recorded. Come now be honest, it has happened to you too.
At All Jazz Radio we make no judgment when we receive albums from musicians from the global village and all tracks from the albums we receive go into our playlist system, it is up to the individual presenters to choose and play those tracks during their shows, or not.
The caveat is however when writing a review about any album we expect the reviewer to be brutally honest and truthful with their opinion, whether they like or dislike the album. Most reviewers only write about the albums they like and disregard those they dislike. Publications, Blogs and Websites don’t publish negative reviews. Is it fair the artists hear nothing about their album from the people, radio stations, publications and bloggers they have sent their CD/LP to? Here at All Jazz Radio we tell it like it is, warts and all, no punches pulled. The only allowance we make is that before we publish, we speak frankly to the artist concerned directly either in person or on the phone about what will be published. Do you agree or disagree? Email us your thoughts, should we publish or not?
Our venerable old AJR person in charge, The Commander of The August Society of Crusty, Grumpy, yet very friendly, Folks Society and Founder of The Fraternal Order of Masticators and Connoisseurs of Squished Berry of the Vine Federation Sippers and our tame, friendly Klutz in the Kitchen continues to scour the interweb for a variety of simple quick, easy and tasty recipes that any Klutz can prepare and create surprising friends and family who had no idea of their secret hard learned new skill set. The Klutz in The Kitchenis then instructed to share the recipes from time to time he also invites guest, Chefs, Cooks, Restaurateurs, Home Cooks and cooking goody suppliers into the studio for informal and interesting chats from time to time. The recipes are shared on in the body of A Blog Supreme and The Klutz In The Kitchen on All Jazz Radio Cape Town South Africa Facebook page then from time to time hitting the streaming airwaves during The Jazz Rendezvous Pinotage, Coffee & Stockvel Show.
A QUOTE & MAYBE A FEW EXTRA FOR LUCK
Jazz stands for freedom. It’s supposed to be the voice of freedom: Get out there and improvise, and take chances, and don’t be a perfectionist – leave that to the classical musicians. Dave Brubeck
THE KLUTZ IN THE KITCHENS RECIPE OF THE WEEK
Roasted Harissa Prawns with Tomatoes and Mushrooms
Here’s a swanky really quick and easy recipe that will stun all lovers, friends and family with your klutz powered cooking skills. Recipe adapted by The Klutz from Mzanzi Style Cuisine
Prep and Cook time 15
Stuff to make it
500g Cleaned jumbo prawns
2 Minced cloves garlic
60 ml Salted butter, melted
80 ml Freshly chopped parsley
250 g Large button mushrooms, peeled
250 ml Cherry tomatoes
Salt and ground black pepper, to season
30 ml Olive oil
Juice of a lime
Baby butter lettuce salad
How to make it
Preheat the oven to 230°C
Turn the prawns on their backs and make a vertical incision down the centre of each prawn without cutting all the way through
Place the prawns on a greased roasting pan. Sprinkle the parsley, salt, pepper and garlic over the prawns. Bake for 8 to 10 minutes. Remove from the oven and pour the lime juice over the prawns
Mix the garlic, harissa paste and butter to form a paste
Rub the mushrooms and tomatoes with salt, black pepper and olive oil and roast in the oven for 10 to 15 minutes Remove from the heat once slightly soft
Plate the mushrooms upside down, place the tomatoes on top, then add a layer of prawns and place a dollop of the garlic, harissa and butter mixture on top
Serve with salad leaves (optional)
NOGGA (Another) QUOTE
All the sounds on the earth are like music. Oscar Hammerstein
IT’S 5 ‘O CLOCK SOMEWHERE DRINKS RECIPE
I have to thank my fellow Associates of Liquid Refreshment Beverage Potion Concocters and Connoisseurs of Squished Berries of the Vine Federation Sippers for all the great input in finding the formula for our little segment in this missive, so do enjoy the muddling up of this weeks fusion, but beware the is a sting in the tail. You have been warned, any more than two of these can be hazardous of ones wellbeing but by all means enjoy, carefully
iGoli – a really great winter refreshing heart warming beverage
Prep and Create time 10
Bits and pieces to concoct It
1 Litre of spring water
4 Rooibos tea teabags
4 Tots of Brandy
5 Teaspoon of brown sugar
2 Whole cloves
1 Stick of cinnamon or 2 t cinnamon powder
2 Chopped apples
Procedures to rustle it up
Make up some the rooibos tea in a pan and add the sugar, chopped apples, cinnamon and cloves.
Just before serving add a tot of brandy to each cup.
Serve warm or let it cool down to serve as an cool beverage with ice.
LAUGH OF THE WEEK
Two musicians who haven’t seen each other for some time meet late one night in a jazz club. “Hey, man,” says one, “I hear you recorded a CD.”
“Yeah, that’s right, man,” replies the other. “I released it a few months ago.”
“How much have you sold?” asks the first.
“Ohh…just the house and the car.”
REASONS TO CELEBRATE
French fries are a classic fast food treat and the perfect hamburger pairing. There are dozens of different ways to enjoy french fries. Whether you prefer your fries Cajun-style, sweet potato, crinkle-cut, curly, waffle, or covered in chili and cheese, today is the day to celebrate this world wide favourite.
The exact origin of French fries is unknown, however, one theory suggests that they date back to 17th century Belgium. The inhabitants of this region often cooked small fried fish to accompany their meals. When weather conditions made it too dangerous to go fishing, they cut up potatoes in long, thin strips (to resemble the fish) and fried them!
Today, French fries are a popular snack and side dish across the globe. Whether it’s “pommes frites” in France, “patatas fritas” in Spain, or “chips” in the UK, French fries are a worldwide favorite. Grab an order of fries from your favorite fast food restaurant to celebrate National French Fries Day!
July 13, 2018 is also International Embrace Your Geekness, Barbershop Music Appreciation, Puzzle Collector, Car Appreciation Day
July is International Grilling, Ice Cream and Hot Dog Month
SIS GWEN JAZZ BLOG used with the permission of Gwen Ansell
Frank Leepa biography: brutal history, personal beefs and brilliant music
“Sankomota was a name I’d been playing around with for a while. It came from the stories told by Mathabatha (Sexwale’s) grandmother. Sankomota is a kind of David-and-Goliath figure in Pedi folklore. It seemed appropriate somehow…”
To outsiders, music is a baffling business. Novelists regularly get it wrong, veering wildly between portraying the musician as a crazed monomaniac, and creating a character who’s about something else entirely with the instrument as a mere accessory after the fact – sometimes in the same book. But the practice of music is often equally baffling to those who live with and around musicians. Parents and family patriarchs often don’t see it as a job at all – but if it is one, it’s a disgraceful one. Some find it hard to believe that a band can really break up bitterly over whether a number is best played in A Flat or G, and must invent deeper, darker tensions. Others (who regularly change up their own jobs when career satisfaction diminishes) expect the same group of players to stick together for life, churning out the same repertoire simply to please them. Others again become adoring fans, who elevate their human musical heroes into supernaturally awesome Marvel ones, too good for any of their colleagues, spouses or friends…To outsiders, music is a baffling business. Novelists regularly get it wrong, veering wildly between portraying the musician as a crazed monomaniac, and creating a character who’s about something else entirely with the instrument as a mere accessory after the fact – sometimes in the same book. But the practice of music is often equally baffling to those who live with and around musicians. Parents and family patriarchs often don’t see it as a job at all – but if it is one, it’s a disgraceful one. Some find it hard to believe that a band can really break up bitterly over whether a number is best played in A Flat or G, and must invent deeper, darker tensions. Others (who regularly change up their own jobs when career satisfaction diminishes) expect the same group of players to stick together for life, churning out the same repertoire simply to please them. Others again become adoring fans, who elevate their human musical heroes into supernaturally awesome Marvel ones, too good for any of their colleagues, spouses or friends
Read the rest of the newsletter at https://sisgwenjazz.wordpress.com
A wee bit about Sis Gwen
Gwen Ansell is a freelance writer, researcher and trainer. She writes about jazz (for this blog, The Conversation, the Financial Mail, M&G Friday and more) and reviews books – mainly science fiction & fantasy (these reviews have appeared in the Johannesburg Mail&Guardian and the Chimurenga Chronic, among others). As a Research Associate of the Gordon Institute of Business Science, she has researched and published on jazz and music policy in the creative and cultural industries sector. She trains journalists and academic and organisational writers, and consults on music industry policy, organisational communication and training policies as well as curriculum design.
A former Louis Armstrong Visiting Professor at the Center for Jazz Studies, Columbia University, she is the author of Soweto Blues: Jazz, Politics and Popular Music in South Africa and the textbook Introduction to Journalism,, as well as various book chapters and journal articles. Watch out for her chapter on jazz in Johannesburg in the forthcoming second volume of Sounds and the City.
JAZZ, BLUES, LATIN & WORLD JAZZ NEWS AND VIEWS FROM THE GLOBAL VILLAGE
ALL JAZZ RADIO HAS BEEN NOMINATED in THE BEST RADIO STATION PLAYING JAZZ CATEGORY.
VOTING IS NOW OPEN FOR THE The 2nd MZANTZI JAZZ AWARDS 2018
Please VOTE and SHARE this post with all Acquaintances, Friends, Jazz Lovers, Followers and Fans
I’m going the become a bit of posting pest over the next few weeks by posting a few friendly, encouraging reminders to share a NEWS FLASH with all of your Friends, Followers and Fans, so please understand and don’t get to pissed. ALL JAZZ RADIO has been nominated for The 2nd MZANTZI JAZZ AWARDS 2018 in THE BEST RADIO STATION PLAYING JAZZ CATEGORY. We are not sure which other radio stations are in the category as there is a problem with opening the link on the Awards website, however we are truly are humbled and tremendously honoured about our nomination which it came as a huge surprise.
Now we really need your assistance and request that you please encourage all Acquaintances, Friends, Jazz Lovers, Followers and Fans in the strongest most respectful and friendliest terms to VOTE FOR ALL JAZZ RADIO IN. VOTE NOW for All Jazz Radio and VOTE LOTSA TIMES.
The VOTING is now open so PLEASE cast your SMS (TEXT) vote to the number 40439 in the To line and add the unique code for All Jazz Radio, then in the message body fin the following manor add ZaJazz BR2, please remember there must be a space between ZaJazz and BR2 then hit the send button.
NB.Please note that if you are casting your votes from outside of South Africa, please remember to use the South African country code before the number – 27 40439
The winners will be announced on 11 August 2018atThe World of Yamaha, in Sandton, Marlboro.
Once again please cast as many votes for AJR as possible, now let your fingers do the talking.
Go to The Mzantzi Jazz Awards 2018 Website at https://www.facebook.com/ZaJAzzAwards/
Should you have an queries about the Mzantzi Jazz Awards 2018 call Peter Mashabane on the mobile number +27(0) 82 393 0026 or on the landline +27(0)12 751 7608.
The Mzantzi Jazz Awards 2018 handles are as follows:
Facebook: Mzantsi Jazz Awards
Please SHARE this post with all Acquaintances, Friends, Jazz Lovers, Followers and Fans
National Endowment for the Arts Announces Newest Recipients of Nation’s Highest Honor in Jazz
July 11, 2018 Washington, DC
Each year, the National Endowment for the Arts bestows the nation’s highest honour in jazz—the NEA Jazz Masters Fellowships—on individuals who have made significant contributions to the art form. Today, the NEA is announcing the four newest recipients of this lifetime honour – Bob Dorough, Abdullah Ibrahim, Maria Schneider, and Stanley Crouch, who is the recipient of the 2019 A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy (bestowed upon an individual who has contributed significantly to the appreciation, knowledge, and advancement of the art form of jazz).
Permission To Be Yourself by Seton Hawkins July 9, 2018
To follow the recordings of Cape Town-based vocalist and composer Nicky Schrire is to watch an artist evolve right in front of your eyes. With her 2012 debut Freedom Flight, Schrire demonstrated a supple soprano vocal technique and a knack for intelligent arrangements of unusual repertoire choices. Following it up the next year with Space and Time, she showed an uncanny ability to pare songs and performances down to their very essence, cutting away to reveal emotional truths in the pieces and singing them with an unvarnished and understated mastery. Additionally, canny listeners hearing each album also noted in Schrire a remarkable composer stepping to the forefront, as her albums began to allot more time to her original works.
By 2014, Schrire had released her third album To the Spring, marking a massive artistic evolution and shift, one that would ultimately find her leaving New York City for her home in Cape Town, transforming her performance style, and embracing a more Folk-driven aesthetic. Nevertheless, throughout these transitions, the core of Schrire’s singing remained. Brandishing a clear, pure sound and a delivery that avoids affectation or overly stylized tactics, Schrire delivers music of astonishing expressive depth.
To read the full story click on the live link to go to All About Jazz All About Jazz
Bob James To Release New Solo Album
August 31 will see the release of the new album from multiple-Grammy winner Bob James. Titled “Espresso” and released on the Evosound label, the album will be Bob James’s first studio recording in 12 years as leader and following up on his 2006 release Urban Flamingo. The release of this album also see’s Bob James’s return to the trio format he embraced as an up-and-coming artist.
When asked about his motivation for the album and why he choose the trio format he said “I wanted to do this as part of a trio — piano, bass and drums. “With Fourplay and in other larger settings, I loved that I could solo and then kind of disappear into the setting to accompany other soloists. To play in a trio requires a different level of commitment, with the piano being much more prominent. You need perhaps a greater degree of optimism and bravery. That was how I felt when I first got into music. Espresso is my attempt to recapture that.”
Though busy since 2006 an array of projects, ranging from touring and recording with the all-star contemporary jazz ensemble Fourplay to collaborations with David Sanborn, Keiko Matsui and other innovators, James hasn’t felt the need to be in the spotlight as a solo performer – until now.
Bob James is best known as one of the stalwarts of the 1970′s contemporary jazz fusion scene collaborating with Earl Klugh, Grover Washington Jr and David Sanborn to name just a few. While recording his album, Grand Piano Canyon, in 1990, James reunited with longtime friend, drummer Harvey Mason, Jr. It would also be the first time he would work with guitarist Lee Ritenour, and bassist Nathan East. This meeting would be the start of something substantial as these early sessions ignited a spark that would become the band known as Fourplay. This band would be at the center of Bob’s activities until the present.
Inspiration for the Espresso album stems from a week-long engagement with sensational young bassist Michael Palazzolo and the respected veteran drummer Billy Kilson at the Blue Note last October. The musicians felt an immediate chemistry as they tackled standard repertoire as well as new James originals. Audiences sensed it too. “Soon everybody there was encouraging me to have the guts to jump in there and do this,” James recalls.
Two months later, the group reconvened at Bragg Street Studios in Van Nuys, California. In just one day James, Palazzo and Kilson laid down the varied tracks that comprise Espresso. Two covers were on the list: an ear-opening reconfiguration of Fats Waller’s “Ain’t Misbehavin” and an equally fresh perspective on “Mr. Magic” (which James had arranged and conducted on the 1975 Grover Washington session) and a stream of original material.
The rest of the tunes, penned by James, reflect the same inventiveness and musical fluency that persuaded Quincy Jones to become his mentor and champion back in 1963. His expressiveness through both writing and performance permeates the rocking minor-key blues of “Bulgogi,” the definitive cool jazz of “Topside, ” the funk strut of “Submarine, ” the whispered beauty of “Promenade, ” the turbulent, more complex yet supremely listenable “Mojito Ride” and every other moment on Espresso.
“Submarine” the first single to be released, is a great example of James’ classic sound paying tribute to 1974’s “Nautilus”, while perfectly blending in the fresh, complex and rich textures of Espresso
Al Di Meola Receives Honorary Doctorate at Berklee’s campus in Valencia
Berklee Provost Larry Simpson presented an honorary doctor of music degree today to legendary jazz, fusion, and world music guitarist, composer, bandleader, and producer Al Di Meola during the commencement ceremony for the master’s degree programs at Berklee’s campus in Valencia, Spain. Di Meola also performed as a special guest at the commencement concert at the City of Arts and Sciences on Saturday, which drew thousands of attendees.
Over a career that has spanned more than four decades, Di Meola has recorded more than 30 solo albums, including Land of the Midnight Sun, his 1976 debut; Elegant Gypsy, which hit the Top 5 on Billboard’s jazz albums chart in 1977; and 1978’s Casino. He has also appeared as a guest artist on over 50 recordings. At 19, after attending Berklee, Di Meola joined Chick Corea’s pioneering jazz fusion group Return to Forever. He recorded three albums with them, hitting the Top 40 on Billboard’s pop albums chart. He later collaborated with John McLaughlin and Paco de Lucía. The guitar trio’s live album Friday Night in San Francisco sold 7 million copies.
“Collaborations with other players outside of your realm can ignite a new frontier, ” Di Meola advised the graduates, reflecting on his time with Return to Forever and recording with de Lucía at Electric Lady Studios. He also shared his experience with tango master Astor Piazzolla. “Getting to know him as a friend began a very important chapter of my life as a composer. It was the introduction to his music that I sensed had the right ingredients to touch the heart, and at the same time challenge me intellectually as a player, and a listener. That was, still is, my goal and what I set out to do.”
“As much as music lessons were very important at the beginning, so were the vast amount of concerts and every music category I was fortunate enough to choose from, having had the proximity to New York City during the early seventies. For me, it was the value of being able to express deeper emotions with an instrument than with words. What would life be without music, as well as all the other forms of artistic expression, I often ponder.”
To the graduates, he added, “I commend all of your dedication and the hard work you have spent during your school years, and I can imagine that many of you will go way beyond your comfort zone. In the process you will quite naturally mature as a musician.”
One of the inventors of jazz-rock fusion, Di Meola also explored Mediterranean cultures and acoustic genres like flamenco, getting closer to world music and modern Latin styles, while further expanding his horizons with the electronic side of jazz. The guitar legend has begun a new chapter in his prolific career with the release of his latest album Opus.
At the commencement ceremony, 131 graduates from more than 30 nations received master of music degrees in music production, technology, and innovation; scoring for film, television, and video games; and contemporary performance with a concentration in production; or master of arts degrees in global entertainment and music business.
“You are at the vanguard of contemporary music education, and each one of you has developed a skill set, ” said Simpson, addressing the graduates. “Some of you may be feeling a bit headstrong; some of you might not be quite sure what’s next. Life awaits you and you will have to make choices…Congratulations on your achievement today, we await the magic that you will create.”
Berklee’s honorary doctorate recipients are recognized for their achievements and influences in music, and for their enduring contributions to American and international culture. Past recipients include Duke Ellington (the first, in 1971), Aretha Franklin, Dizzy Gillespie, Quincy Jones, Smokey Robinson, Steven Tyler, Loretta Lynn, Juan Luis Guerra, Annie Lennox, Paco de Lucia, Carole King, Willie Nelson, George Clinton, Rita Moreno, Lionel Richie, and A. R. Rahman. Honorary doctorates have previously been awarded at the Valencia campus to Eddie Gómez (2013), Plácido Domingo (2014), Emilio Aragón (2016) and John McLaughlin (2017).
Here’s an optional extra Quote of the Week
New Orleans is the only place I know of where you ask a little kid what he wants to be and instead of saying “I want to be a policeman,” or “I want to be a fireman,” he says, I want to be a musician. Alan Jaffe
BIRTHDAYS OF THE WEEK – 13 to 20 July
Albert Ayler – Tenor Sax, b.1936 d.1970, Cleveland, OH
Michel DeVillers – Baritone Sax, b.1926 d.1992, Villeneuve-Sur-Lot, France
Earl Grubbs – Tenor Sax, b.1942, Philadelphia, PA
Johnny Hartman – Vocal, b.1923 d.1983, Chicago, IL
Pedro Iturralde – Saxophone, b.1929, Falces, Spain
George Lewis – Clarinet, b.1900 d.1968, New Orleans, LA
Erik Parker – Trumpet, b.1918, Arhus, Denmark
Gyorgy Szabados – Piano/Composer, b.1939, Budapest, Hungary
Leroy Vinnegar – Bass, b.1928 d.1999, Indianapolis, IN
Bengt-Arne Wallin – Trumpet, b.1926, Linkoping, Sweden
Doug Carn – Organ, b.1948, New York, NY
Alan Dawson – Drums, b.1929 d.1996, Marietta, PA
Billy Kyle – Piano, b.1914 d.1966, Philadelphia, PA
George Lewis – Trombone, b.1952, Chicago, IL
Sabu Martinez – Percussion, b.1930 d.1979, New York, NY
Kenny Napper – Bass, b.1933, London, England
Claude Trenier – Vocal, b.1919 d.2003, Mobile, AL
“Rubberlegs” Williams – Vocal/Dancer, b.1907 d.1962, Atlanta, GA
Sadik Hakim – Piano, b.1919 d.1983, Duluth, MN
Joe Harriott – Alto Sax, b.1928 d.1973, Kingston, Jamaica
Philly Joe Jones – Drums, b.1923 d.1985, Philadelphia, PA
Dee Bell – Vocalist b. July 16 1950
Teddy Buckner – Trumpet, b.1909 d.1994, Sherman, TX
John Chilton - Trumpet/Writer, b.1932, London, England
Ralph Escudero – Bass, b.1898 d.1970, Manati, Puerto Rico
Eddie Farley - Trumpet/Vocal, b.1904, Newark, NJ
Nat Pierce - Piano, b.1925 d.1992, Somerville, MA
Bobby Previte – Drums, b.1957, Niagara Falls, NY
Bola Sete – Guitar, b.1923 d.1987, Rio De Janeiro, Brazil
Cal Tjader - Vibes, b.1925 d.1982, St.Louis, MO
Rene Utreger – Piano, b.1934, Paris, France
Andrea Vicari – Piano, b.1965, Miami, FL
Annie Whitehead – Trombone/Vocal, b.1955, Oldham, England
Ray Copeland – trumpet player and teacherb.17 July 1926, Norfolk, Virginia, United Statesd.18 May 1984, Sunderland, Massachusetts, United States
Danny Bank – Baritone Sax, b.1922, New York, NY
George Barnes – Guitar, b.1921 d.1977, Chicago Heights, IL
Nick Brignola – Baritone Sax, b.1936 d.2002, Troy, NY
Fud Candrix – Tenor Sax, b.1908 d.1974, Tongeren, Belgium
Ray Copeland – Trumpet, b.1926 d.1984, Norfolk, VA
Eddie Doughert – Drums, b.1915, New York, NY
Margie Evans – Vocal, b.1941, Shreveport, LA
Earl Lavon “Chico” Freeman – Tenor saxophonist and trumpeter b. 1949 Chicago, Illinois, U.S.
Vince Guaraldi – Piano, b.1928 d.1976, San Francisco, CA
Abe Laboriel – Bass, b.1947, Mexico City, Mexico
Jerry Lloyd – Trumpet, b.1920, New York, NY
Wilfred Middlebrooks – Bass, b.1933, Chattanooga, TN
Joe Morello – Drums, b.1928, Springfield, MA
Sonny Morgan – Percussion, b.1936, Philadelphia, PA
Mary Osborne – Guitar, b.1921 d.1992, Minot, ND
Benjamin “Ben” Alexander Riley Jr. – Drums b. 1933 d. November 18, 2017, Savannah, GA
Jack Washington – Baritone Sax, b.1910 d.1964, Kansas City, KS
Brian Auger – Organ, b.1939, London, England
Don Bagley – Bass, b.1927, Salt Lake City, UT
Joe Comfort – Bass, b.1917 d.1988, Alcorn, MS
Wilton Crawley – Clarinet, b.1900 d.1948, Smithfield, VA
Carl Fontana – Trombone, b.1928 d.2003, Monroe, LA
Richie Landrum – Percussion, b.1939, New York, NY
Charlie LaVere Piano, b.1910 d.1983, Salina, KS
Buschi (Johannes) Niebergall – Bass, b.1938, Marburg, Germany
Mtutuzeli Dudu Pukwana – Alto Sax, Pianist, and Composer, b.1938 Port Elizabeth d. 30-June-1990, Port Elizabeth, South Africa
Roger Sellars – Drums, b.1939, Melbourne, Australia
Speed Webb – Drums/Leader, b.1906, Peru, IN
Bobby Bradford – Cornet, b.1934, Cleveland, MS
Buster Bailey – Clarinet, b.1902 d.1967, Memphis, TN
Carmell Jones – Trumpet, b.1936 d.1996, Kansas City, MO
Charlie Teagarden – Trumpet, 1913 d.1984, Jack’s brother, Vernon, TX
Cliff Jackson – Piano, b.1902 d.1970, Culpepper, VA
David Allyn – Vocal, b.1923, Hartford, CT
Dick Collins – Trumpet, b.1924, Seattle, WA
Didier Levallet – Bass, b.1944, Arcy-sur-Cure, France
Eddie Brunner – Tenor Sax, b.1912 d.1960, Zurich, Switzerland
Ernie Shepard – Bass, b.1916 d.1965, Beaumont, TX
Kenny Graham – Alto Sax, b.1924, London, England
Phil Upchurch – Guitar, b.1941, Chicago, IL
Alan Warren Haig – jazz pianist, best known as one of the pioneers of bebop b.19 July 1922, Newark, New Jersey, United Statesd,16 November 1982, New York City, New York, United States
Adrian Tilbrook – Drums, b.1948, Durham, England
Arnold Fishkin – Bass, b.1919 d.1999, Bayonne, NJ
Bill Dillard – Trumpet, b.1911 d.1995, Philadelphia, PA
Charles Tyler – Baritone Sax, b.1941, Cadiz, KY
Ernie Wilkins – Saxophonist, Composer/Arranger, b.1922 d.1999, Reeds, St. Louis, MO
Joachim-Ernst Berendt – Producer/Critic, b.1922, Berlin, Germany
John Almond – Saxophone, b.1946, Enfield, England
Karel Krautgartner – Clarinet, b.1922 d.1982, Mikulov, Czechoslovakia
Peter Ind – Bass, b.1928, Uxbridge, England
Teddy Kleindin – Clarinet, b.1914, Berlin, Germany
James “Plunky” Branch – Saxophone, Composer, music and film producer, b. 1947, USA
Sally Ann Howes -English actress and singer, b.1930
AN OPTIONAL EXTRA QUOTE FOR THE WEEK
“Writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.” Francoise Sagan (1935-2004) French playwright, novelist and screenwriter.
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