This week In Jazz Legends 01/52

1 . Dr. Lonnie Smith . Psychedelic Pi

Dr. Lonnie Smith’s “Psychedelic Pi” is an instrumental track featured on his 1970 album “Drives,” released under the Blue Note Records label.

Known for its fusion of soul jazz and funk, the track prominently showcases Smith’s mastery of the Hammond B3 organ, a hallmark of his musical style.

The album “Drives,” recorded in January 1970, included contributions from distinguished musicians such as guitarist Larry McGee, saxophonists Grover Washington Jr. and Ronnie Cuber, and trumpeter Lee Morgan, a key figure in the Blue Note roster.

“Psychedelic Pi” is particularly noted for its experimental vibe and groove-heavy arrangement, aligning with the psychedelic trends of the late 1960s and early 1970s.

Although not a chart-topping single, the album as a whole reflected Smith’s significant presence in the jazz-funk genre during this era.

Smith’s performances, including those featuring this track, often aligned with the dynamic jazz scene of the time, including appearances at prominent venues and on broadcasts that highlighted the genre’s evolution.

Clips featuring “Psychedelic Pi” continue to be relevant in exploring the crossover between jazz and funk, showcasing Smith’s innovative use of the organ in a progressive musical landscape.

Lifted from : Lonnie Smith records ‘Drives,’ an album for Blue Note (1970)

2 . James Carter Organ Trio . Walk The Dog

James Carter Organ Trio’s “Walk The Dog” is a track from their album “Live from Newport Jazz,” released in 2004.

This album was recorded during their live performance at the revered Newport Jazz Festival in 2001, an event that has historically featured many jazz luminaries.

The trio, led by multi-instrumentalist James Carter on saxophone, features Gerard Gibbs on the Hammond B3 organ and Leonard King Jr. on drums, combining their distinct talents to deliver dynamic performances.

James Carter, known for his versatility across jazz subgenres, incorporated influences from funk and blues into the trio’s sound, evident in “Walk The Dog.” While the song itself did not chart independently, the album received critical acclaim in jazz circles for its authenticity in capturing the electrifying atmosphere of the live performance.

The Newport Jazz Festival, where the track was recorded, has been renowned since its inception in 1954, hosting artists like Duke Ellington and Miles Davis.

No music video or promotional clip was directly released for “Walk The Dog,” but live excerpts from the Newport set have circulated online and through archival concert footage.

The album as a whole was praised for showcasing Carter’s mastery and the trio’s cohesive interplay, representing one of the many highlights of Carter’s extensive discography, which includes collaborations with notable artists like Wynton Marsalis and Kathleen Battle.

Lifted from : Happy Birthday James Carter. ‘Future Tense’

3 . Chris Potter . Off Minor (w/ Danilo Pérez , Avishai Cohen)

Chris Potter’s rendition of “Off Minor,” performed in collaboration with pianist Danilo Pérez and bassist Avishai Cohen, originates from Thelonious Monk’s original composition and showcases its modern reinterpretation within the jazz trio format.

The track appears on Chris Potter’s album “Gratitude,” released in 2001 under Verve Records, which is a tribute to several jazz legends.

Danilo Pérez, a Panamanian pianist well-regarded for his work with Dizzy Gillespie and Wayne Shorter, and Avishai Cohen, an Israeli bassist recognized for his tenure with Chick Corea’s Origin ensemble, contribute their distinct improvisational styles to the recording.

The album received critical attention during its release for its collaborative lineup, though specific chart positions for the song or the album remain unlisted in major charts like Billboard 200.

The performance emphasizes Potter’s technical prowess on the saxophone, paired with Pérez’s dynamic harmonic interpretations and Cohen’s rhythmic precision.

While no live televised performance of “Off Minor” featuring this configuration has been documented, Chris Potter has frequently highlighted interpretations of Monk’s works in his repertoire.

Music videos or officially published clips of this specific track are not readily available, though live interpretations by similar lineups circulate within the jazz community.

Lifted from : Happy Birthday Chris Potter

4 . Michel Petrucciani . September Second

Michel Petrucciani’s “September Second” is a celebrated jazz piano composition featured on his 1989 album “Pianism,” released by Blue Note Records.

The piece highlights Petrucciani’s virtuosic technique, blending lyrical melodies with intricate improvisation.

Born with osteogenesis imperfecta, a condition affecting bone growth, Petrucciani’s performances often drew significant attention for both their technical mastery and artistic depth despite his physical challenges.

“September Second” has become one of his signature works and is frequently referenced in discussions of his contributions to modern jazz piano.

The track gained additional prominence when performed live during Petrucciani’s notable appearance at the Montreux Jazz Festival in 1990, a celebrated event in the jazz calendar that helped spotlight many of his works.

The song also features in various compilations highlighting his career, including “The Best of Michel Petrucciani,” demonstrating its enduring appeal.

Petrucciani’s collaborations with renowned artists such as saxophonist Charles Lloyd, with whom he toured extensively, further contextualize his influence during this period.

Lifted from : We remember Michel Petrucciani. ‘Piano Giant’

5 . David Sanborn . Super Session II Main Theme (w/ Marcus Miller)

David Sanborn’s “Super Session II Main Theme,” featuring Marcus Miller, was composed as part of the late saxophonist’s widely acclaimed collaborations in the jazz fusion realm, known for its feature on “Super Session II,” a compilation associated with his early 1980s projects where experimentation with electric jazz and funk was prominent.

Marcus Miller, an accomplished bassist, composer, and frequent collaborator with Sanborn, contributed to the track during a period when their creative partnership defined numerous fusion recordings.

While the track itself did not chart as a standalone release, it reflects the inventive synergy between Sanborn and Miller, showcasing the bass-heavy grooves and distinctive saxophone melodies that became hallmarks of their work together on albums such as “Voyeur” (1981) and “Straight to the Heart” (1984), with the latter winning a Grammy Award for Best Jazz Fusion Performance.

The collaboration also coincided with the rise of Miller as a producer and arranger, playing a key role in shaping Sanborn’s sound across multiple projects.

Although no specific concert performance of “Super Session II Main Theme” is documented, Sanborn and Miller were celebrated performers at events such as the Montreux Jazz Festival and television broadcasts like “Saturday Night Live,” where they frequently brought their fusion style to broader audiences.

Lifted from : On TV today , David Sanborn . Friends (1999)

6 . Grover Washington Jr. . Medley

Grover Washington Jr.’s “Medley” is a jazz-fusion piece featured on his 1975 album “Feels So Good,” released under the Kudu label, a subsidiary of CTI Records.

This medley combines elements of jazz, soul, and funk, showcasing Washington’s signature saxophone stylings.

“Feels So Good” reached No.10 on the Billboard Top Jazz Albums chart in 1976 and highlighted Washington’s talents in blending multiple genres seamlessly.

The album features notable collaborations with top session musicians of the era, including Eric Gale on guitar, Bob James on keyboards, and Idris Muhammad on drums.

Produced by Creed Taylor, the album was recorded at Van Gelder Studio, a notable studio for jazz recordings.

Washington’s fusion-oriented approach has been sampled in various works by hip-hop and R&B artists, illustrating the song’s lasting influence on modern music.

Although “Medley” itself did not chart as a standalone track, its inclusion on “Feels So Good” contributed to the album’s commercial success and critical acclaim within the jazz and fusion communities.

Lifted from : Kudu Records publish Grover Washington, Jr’s debut album . ‘Inner City Blues’ (1972)

7 . Art Blakey & The Jazz Messengers . Fuller Love (w/ Wynton Marsalis , Branford Marsalis)

“Fuller Love,” performed by Art Blakey & The Jazz Messengers with key contributions from Wynton Marsalis on trumpet and Branford Marsalis on tenor saxophone, appears on the 1982 album “Album of the Year,” released under Timeless Records.

Art Blakey, renowned as a legendary bandleader and pioneer of modern jazz drumming, collaborated with these young musicians who later became jazz luminaries in their own right, marking their early careers as members of the Jazz Messengers.

The song itself pays homage to jazz trombonist Curtis Fuller, a frequent collaborator with Blakey in the previous decades, with its title and musical structure reflecting influences from Fuller’s compositional style.

Wynton Marsalis received a Grammy Award for Best Jazz Instrumental Album in 1983, highlighting his contributions during this era with the Jazz Messengers.

“Fuller Love” was recorded during a European tour, specifically capturing the group’s evolving sound and lineup during live performances in Holland.

Music clips of this track are accessible in various digital formats, showcasing the distinctive hard bop style characteristic of Blakey’s leadership.

The track and its associated album were pivotal in documenting this transitionary period of the Jazz Messengers, blending the rhythmic complexity and melodic innovation of seasoned players and emerging talents.

Lifted from : Art Blakey records ‘Keystone 3’ with the Jazz Messengers featuring Wynton Marsalis and Branford Marsalis for Concord Jazz (1982)

8 . Dizzy Gillespie & Stan Getz . A Night In Tunisia

The collaboration between Dizzy Gillespie and Stan Getz on “A Night in Tunisia” combined the innovative bebop trumpet style of Gillespie with the cool tenor saxophone sound of Getz, creating a unique interpretation of the jazz standard originally composed by Gillespie in 1942.

This track, often credited as part of Gillespie’s earlier work, became a staple in the development of modern jazz and was later performed live by the duo during notable concerts, including a 1953 performance captured on the album “Jazz at Massey Hall,” though separate recordings with Getz featuring on this tune have circulated.

“A Night in Tunisia” has been covered extensively and remains a landmark in jazz history, earning a Grammy Hall of Fame Award in 2004 for its contributions to the genre.

While the song did not chart as a single during its time, it greatly influenced global jazz audiences and musicians through its complex harmony and rhythms, aligning with the Afro-Cuban jazz elements Gillespie pioneered.

Despite numerous renditions by other artists, the collaboration between Gillespie and Getz showcased an intersection of their distinctive musical approaches, leaving a recorded legacy that continues to be analyzed and appreciated for its technical precision and historical importance in recorded and live jazz contexts.

Clips of their performances are available on archival video footage and jazz anthologies.

Lifted from : We remember Dizzy Gillespie. ‘Dizzy Pieces’

9 . Charles Mingus . Sue’s Changes

Charles Mingus’s “Sue’s Changes” is a jazz composition featured on the 1975 album “Changes One,” released on Atlantic Records.

The piece is part of a two-album series recorded in the same year, alongside “Changes Two,” during sessions at New York City’s Atlantic Recording Studios.

Clocking in at over 17 minutes, “Sue’s Changes” exemplifies Mingus’s complex compositional style, blending intricate melodic structures with extended improvisational sections.

The track was performed by the Charles Mingus Quintet, featuring prominent musicians such as George Adams on tenor saxophone, Don Pullen on piano, Jack Walrath on trumpet, and Dannie Richmond on drums, all of whom were pivotal collaborators during this period of Mingus’s career.

The “Changes” albums marked a return to small-group formats following Mingus’s broader orchestral experiments.

Though it did not achieve mainstream chart rankings, “Sue’s Changes” and its parent collection have remained significant in jazz history, often discussed in analysis of Mingus’s evolving compositional approach during the 1970s.

Mingus dedicated the piece to his wife and longtime collaborator, Sue Graham Mingus, who was notably instrumental in managing his works and legacy.

Lifted from : We Remember Charles Mingus. ‘Mingus Maximus’

10 . Mccoy Tyner . Soul! (w/ Alphonse Mouzon, Sonny Fortune)

McCoy Tyner’s performance on the 1972 television show “Soul!” featured the pianist alongside saxophonist Sonny Fortune, drummer Alphonse Mouzon, and bassist Calvin Hill in a dynamic live session that showcased the quartet’s synergy.

The performance, filmed during Tyner’s post-Coltrane solo career, highlighted his explosive artistry and pioneering contributions to modal jazz.

“Soul!” was a popular national television show that spotlighted African-American artists and culture, and Tyner’s appearance introduced his work to a broader audience during a prolific period in his output, which also included albums like “Extensions” (1970) and “Sahara” (1972).

Sonny Fortune, known for his work with Miles Davis in the 1970s, brought a bold, lyrical approach on alto saxophone, while Alphonse Mouzon, a founding member of Weather Report, contributed his trademark high-energy drumming.

This performance occurred as Tyner was integrating African and Eastern musical influences, which would later define much of his work.

No official album release derives directly from this appearance, but recordings of the show are widely regarded as a vivid highlight of Tyner’s career in the early 1970s and underscore his collaborations with celebrated jazz contemporaries.

Lifted from : McCoy Tynerr records the album . ‘Sahara’ with Sonny Fortune, Calvin Hill and Alphonse Mouzon (1972)

11 . Erroll Garner . My Fair Lady Medley

Erroll Garner’s “My Fair Lady Medley” is a jazz interpretation of selections from the Broadway musical “My Fair Lady,” written by Alan Jay Lerner and Frederick Loewe.

This medley was featured on Garner’s 1958 album “Gems,” which showcased his unique ability to reinterpret Broadway and pop standards with his signature swing and improvisational flair.

Garner’s arrangement weaves together memorable themes like “I Could Have Danced All Night” and “On the Street Where You Live,” highlighting his virtuosic piano technique.

By the late 1950s, the Broadway show had achieved massive success, and Garner’s medley capitalized on the musical’s popularity, bringing its melodies into the jazz idiom.

The medley was recorded during a period when Garner was actively releasing albums under Columbia Records, with other significant works including his famed 1955 live recording “Concert by the Sea.” “My Fair Lady Medley” has been included in various compilations celebrating Garner’s works, underscoring his role in bridging Broadway standards with mainstream jazz.

The medley was a product of Garner’s trio setup, characterized by his steady left-hand rhythm and right-hand melodic improvisations.

While it did not chart independently, its inclusion in his repertoire contributed to Garner’s career during a prolific recording and touring era, including televised appearances and high-profile concerts, though specific broadcast features for this medley are not documented.

Lifted from : We remember Erroll Garner. ‘Mistyrious’

12 . The Timex All Star . Jam Session

The Timex All-Star Jam Session was a historic 1985 televised music event that brought together an eclectic mix of legendary artists from various genres for an unforgettable collaboration.

The lineup featured jazz greats like Dizzy Gillespie and Miles Davis, alongside pop and rock icons such as Stevie Wonder and Herbie Hancock.

Produced as part of the “Timex” TV special series, the event gained attention for its unique blend of improvisation and cross-genre performances.

Stevie Wonder performed a harmonica solo during one of the jazz sessions, demonstrating versatility across styles.

Herbie Hancock, who had recently won a Grammy for his album “Future Shock” in 1984, contributed with his signature keyboard sound that defined the decade.

Notably, the session included a blues medley featuring B.B.

King on guitar and vocals, along with historical moments like Miles Davis’s rare collaboration with modern pop artists.

While the event itself did not chart or release formal albums, bootleg recordings and archived clips from this session remain treasured among music historians, offering insight into the skill and spontaneity of these iconic performers.

It was filmed in a studio environment with a live audience, and brief clips have surfaced in retrospectives about crossover music trends of the 1980s.

Lifted from : On TV today, Louis, Dizzy et al at ‘Timex Jazz’ (1959)