JOSE RIZO’S MONGORAMA LATIN JAZZ ORCHESTRA~ BAILA QUE BAILA!
The Latin Jazz in the Park, Saturday August 11 was headlined by Jose Rizo’s Latin Band, “MONGORAMA”
Pots and Pans were being “cooked-on” and at a high temperature in my opinion. The mood was set just right as the Weather was low 80’s degrees. Sponsored by LACMA Programs and KKJZ FM 88.1FM. I have seen this wonderful band many times over the years, in various city-wide festivals. But somehow this particular day was special. I was still celebrating my birthday from August 7th which fell on a Tuesday. I was ready with my light snacks and beverages . Jose Rizo hosted the afternoon sets by introducing the band and tunes that were being played , most of which were from the new CD , Baila Que Baila! Featuring young violinist, Dayren Santamaria, and Justo Almario tenor sax Vocalists & Conguero Alfredo Ortiz & James Zavaleta lead vocalist.. They were the jet fuel of this band for two hours of Latin soul and pyrotechnics. the X factor all afternoon were the dancers who were relentless, never stopped, never gave in an inch . as long as the band played , dancers had A-game moves on the dance floor. At one time the floor was so pack , They just started dances in aisles and pathways. Beautiful people of Southern California (Los Angeles) were out in droves with babies, Pets and, even the eclectic and bazaar! All of this added up to a wonderful day of fun and eye candy.
Jose Rizo’s Mongorama
photos taken from Jose Rizo’s MongoRama Page- https://www.facebook.com/JOSE-RIZOS-MONGORAMA-122415531112929/
JAZZ THEMED-PAINTER SAM PACE TALKS HIGH MODES , WET STREETS & DARK SHADOWS
Journalist,Actor/Poet, Robert J. Carmack sits down for a chat with the powerful Jazz painter, SAM PACE.
COMING IN AUGUST 2018 @ Hipster Sanctuary…
“Fiddler Blue” Not the official title, Just what I call it” -RJ Carmack
TWO HIPSTERS CELEBRATING BIRTHDAYS IN AUGUST~ ROBERT J. CARMACK & EDDIE CARTER
CHARLES OWENS QUINTET! LIVE AT THE MERC!
The Charles Owens Quintet Live at The “MERC! “~ Temecula California.
In a recent concert in Temecula, California at the famous “Merc” performance venue, veteran Jazz artist and saxophonist, Charles Owens appeared with his Quintet.
Owens, a Los Angeles based musician performed two very stellar sets for a jazz hungry audience. Being familiar with that music space, I was able to get there early before the first set to grab a quick chat with the quite humble saxophonist. He shared with me many anecdotes and road stories along with who played a major role in influencing his play,style and approach. “As far as influences, Charlie Yardbird Parker and Wardell Gray for sax. The Modern Jazz Quartet and Art Blakey Jazz messengers in how I approach the music as a player or bandleader.” said a relaxed Owens. “But, I enjoy leading my own bands,however, I really loved my experiences playing with two iconic big bands. Duke Ellington’s Orchestra under the direction of his son, Mercer Ellington and the great Count Basie band.”
This particular evening’s affair was very special to him as he’s performing with some old friends and solid jazz musicians. On the bandstand with Charlie were bassist, Henry Franklin,friends for over 40 years, Pianist Theo Saunders,whom he met in L.A. in 1977, veteran drummer Don Littleton, over 30 year relationship and his old bandmate from the Basie band, trumpeter Scotty Barnhardt, current Director of the Count Basie Orchestra. 
The SRO crowd were treated to a plethora of popular compositions, all performed with Charles Owens unique touch. First set opened with a Owens original entitled Wild Fire , a fiery piece with a great melodic line and solid enriched harmonies. Charlie and Scotty took some blistering solos, especially Barnhardt who weaved webs of delightful, above the line flurries of notes on his custom built trumpet. That was followed up by a lovely version of the perennial fave, Embraceable You. Barnhardt offered great artistry and sublime technique on this classic ballad. The Quintet quickly moved on the moment by playing a Sonny Rollins tune, Airegin (Nigeria spelled backwards) In my opinion, Scotty conjured up memories of icon, Woody Shaw as he peppered a white-hot solo. That song’s conclusion morphed into Ellington’s Take the A-Train! which ended the first set.
Highlights of the second set included equally great compositions by legends like Freddie Hubbard, Billy Strayhorn,Dizzy Gillespie with a surprise finale of the rarely heard cut, Don’t Get Around Much Anymore. This was quite the treat for me and the audience as Barnhardt reached into his magic bag of techniques and growled at the audience with his “Plunger” mute and choked notes..
Charlie Owens reputation as one of the most gifted and versatile musician in Los Angeles since 1972. Part of the attention had to do with his craftsmanship with drummer Buddy Rich Big Band and latin great, Mongo Santamaria. In addition he added stints with English Blues King , John Mayall . Owens told me he was whisked-away from Mayall by music iconoclast, Frank Zappa. Whether he’s asked to appear in a Oscar-winning film LA LA Land or staying fresh and current by working with young musicians on various bandstands, or teaching a weekly class at UCLA’s Herb Alpert School of Music. “During the break of the second set, he told me the reason he chose Frank Zappa. “I found Frank’s music more challenging than Mayall’s,.. I could have easily made more dough, but the challenge was calling me, as Zappa’s music was unique and quite eclectic.
Charles Owens was born in Phoenix, Arizona, grew up in San Diego California. One of his closest friends growing up was ,the late saxophonist Arthur Blythe or AKA, Black Arthur.”
Throughout the course of the evening’s performances I witnessed what most people always conclude, this is a very passionate player and humble almost to a fault. at one point in the second set, Owens and Barnhardt engaged in old-fashioned BeBop playing, to a song by Dizzy entitled the same, BeBop. the tune showcases long arpeggios and multi-note phrasing on top of mercurial-chord changes, played at break-neck speed by the entire band. At times, the rhythm unit of Franklin, Littleton and Saunders were like a giant bellows machine, stoking the coals to unheard of Fahrenheit-levels to the soloists.
Today’s young players can learn a lot from Uncle Charlie Owens. Even saxophone sensation, Kamasi Washington took a class or two at UCLA with Charles while eventually tweaking his already big sound and approach on his horn. Whether you experience Charles Owens in a Big Band setting or a small combo, one thing for sure is, You will never forget that moment in time.
JAZZTRACKS SERIES BY EDDIE CARTER ~ STANLEY TURRENTINE
Stanley Turrentine with the Three Sounds – Blue Hour
Music Matters Jazz
In the hands of Stanley Turrentine, the tenor saxophone was an instrument of soulful creativity and immense power. From his 1960 Blue Note debut, Look Out (BLP 4039/BST 84039) through his biggest hit for CTI Records, Sugar (CTI 6005) in 1971, Turrentine’s credentials were second to none as a giant in the genres of Hard-Bop, Modal and Soul-Jazz. The subject of this discussion places the tenor man in the company of Gene Harris on piano; Andrew Simpkins on bass and Bill Dowdy on drums who were collectively known as The Three Sounds for a program of the Blues. Blue Hour (BLP 4057/BST 84057), originally released in 1961 is the second of only two records where The Three Sounds would back a saxophonist. The first LP was 1959’s LD + 3 (BLP 4012/BST 84012) with alto saxophonist Lou Donaldson. My copy used in this report is the 2015 Music Matters 33 1/3 Stereo reissue (MMBST-84057). The 1930 song, I Want a Little Girl written by Murray Mencher and Billy Moll leads off the first side. This infrequently heard ballad opens with an angelic introduction by the trio, exhibiting Harris’ attentiveness to the lyric and melody. Stanley joins in for the theme with a quiet sincerity in his approach, then delivers a graceful performance which captures the essence of this standard on the initial solo. Harris’ interlude is brief, but lovely and the closing by the quartet is especially beautiful.
Gee Baby, Ain’t I Good To You was written in 1929 by Don Redman and Andy Razaf. The song became a jazz standard in 1943 after Nat King Cole recorded it with his trio. The Three Sounds provide a nostalgic mood with a pensive introduction, allowing Stanley to deliver the melancholy melody with feeling. Turrentine starts the solos tastefully, enhancing each verse with subtle lyricism which reaches a peak of sensitivity at its conclusion. Harris instills the closing presentation of this standard with new life on an interpretation of intimate warmth which is a work of beauty. The only original on the album ends the first side, Gene Harris’ Blue Riff takes the tempo to a medium beat during the opening chorus which moves with a finger-popping, toe-tapping groove. The Sounds’ introduction sets the mood for Stanley to create some jubilant phrases on the opening statement with a vivacious spontaneity which builds to a successful summation. Gene takes the next turn for a cheerful presentation of joyful swinging with a youthful spirit which is also delightful. Stanley returns for a few final verses of soulful riffs, prior to Gene leading the trio into a fadeout.
The 1945 jazz and pop standard, Since I Fell For You by Buddy Johnson opens the second side. Johnson wrote both the music and words of this very beautiful ballad, and first introduced that year it with his sister Ella on vocals. This evergreen is one of the most recorded songs in jazz and pop and has been performed by many of the greatest musicians and vocalists in both genres. The Three Sounds start the song with a stylishly soft, slow-paced introduction as natural as if the song was written for this album exclusively. The trio segues into a soothing opening melody by Turrentine who solos twice, delivering tasteful and tranquil restraint on the first interpretation and closing chorus. Harris contributes a luscious reading which is lovingly stated with tenderness. Simpkins and Dowdy’s accompaniment is richly satisfying behind Gene as he performs each voluptuous verse. One of my favorite standards, Willow Weep For Me, written by Ann Ronell in 1932 opens with the exquisitely mellow tone of Stanley’s tenor sax leading the quartet through the main theme for one of his definitive ballad performances on the LP. Gene’s opening statement is a gorgeous, mid-tempo reading which compliments his colleague’s exceptional groundwork into an alluring culmination. Stanley’s closing performance starts at a poignant pace with a firm introspective tone, followed by a graceful swing which takes the tune down smoothly into a luscious finale.
Pianist Gene Harris, who was known for his gospel jazz style formed The Three Sounds in 1956 with Andy Simpkins and Bill Dowdy. The group became a hit with the public and by the time Blue Hour was recorded, the trio was amid a four-year run (1958-1962) recording a total of twelve albums for Blue Note including four in 1960 alone, which is why I believe Alfred Lion didn’t release the additional eight songs available on the 2000 two CD – album after this record hit the stores. The Three Sounds’ would be together until 1970, when Harris would leave to embark on a successful solo career. Stanley Turrentine was a veteran tenor saxophonist of the Soul-Jazz style since the fifties and he would record a total of seventeen LP’s for the label as a leader, plus several as a sideman including guitarist Kenny Burrell on Midnight Blue (BLP 4123/BST 84123); pianist Horace Parlan (1931-2017) on Spur of The Moment (BLP 4074/BST 84074). Three with organist Shirley Scott (1934-2002) who he was married to at the time, Never Let Me Go (BLP 4129/BST 84129); A Chip Off The Old Block (BLP 4150/BST 84150) and Common Touch (BST 84135). One with pianist Horace Silver (1928-2014), Serenade To a Soul Sister (BLP 4277/BST 84277) and three with organist Jimmy Smith (1928-2005), Midnight Special (BLP 4078/BST 84078); Back at The Chicken Shack (BLP 4117/BST 84117) and Prayer Meetin’ (BLP 4164/BST 84164).
In his liner notes, noted author, jazz historian and journalist Ira Gitler offers one definition of the Blue Hour as that early morning time “when you reach across the pillow where your Baby used to lay” and find to find him (or her) there. The sound on this LP is stunning, the remastering of Rudy Van Gelder’s original tapes by Record Technology Incorporated is also superb and the gatefold photos of each musician during the session compliments the music marvelously. What I’ve found the album to be is nearly thirty-eight minutes of blissful jazz by Stanley Turrentine and The Three Sounds that adds weight to any jazzy library and is an LP you can enjoy at any time of the day, the evening or the early morning during the Blue Hour.
I Want a Little Girl, Gee Baby, Ain’t I Good To You, Since I Fell For You, Willow Weep For Me – Source: Wikipedia.com
Pianist Gene Harris – Source: www.musicmattersjazz.com
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HIPSTER SANCTUARY NEW JAZZ EDITOR EDDIE CARTER & JAZZTRACKS SERIES
Our Newest Contributing Jazz Editor Mr. Eddie Carter of Atlanta..FOLLOW the JAZZTRACKS
Words from Publisher/Founder Robert J. Carmack
“welcome aboard Eddie its good to have your wise advice and keen knowledge when it comes to jazz.” R.J. Carmack
Eddie Carter – Southern Region – Jazz Editor ~ Eddie’s love for jazz began at the age of eight years old and learned all he could about the bands, groups, musicians and vocalists who created the music. He began writing reviews of CD’s and LP’s in 1991 for The Atlanta Audio Society and covered concerts including The Tri-C Jazz Fest, The Cincinnati Music Festival and The Atlanta Jazz Festival for WCLK’s On the Air Magazine and Strictly Jazz Magazine. He currently writes jazz reviews for The Atlanta Audio Club web page and three Facebook pages.
The Jazz Crusaders – Lighthouse ‘68
By Eddie Carter
My choice from the library to talk about this time is by four friends from Houston, Texas who began performing locally in 1956. They were originally known as The Swingsters and The Nite Hawks, but moved to Los Angeles in 1961, changed their name and became one of the best West Coast ensembles of the sixties, The Jazz Crusaders. I first discovered their music in 1962, the year I became a jazz fan thanks to one of my heroes on the airwaves, Chuck Lansing of WCUY 92.3 FM. He began his nightly show with The Young Rabbits, the last track on their second LP, Lookin’ Ahead (PJ-43/ST-43), also released that year. The song became a huge hit for the group and I loved the sound of the trombone-tenor sax front line. The quartet consists of Wayne Henderson on trombone; Wilton Felder on tenor sax; Joe Sample on piano; Stix Hooper on drums with Jimmy Bond, Victor Gaskin, and Herbie Lewis filling the bass chair on their records during the decade. Lighthouse ’68 (ST-10131) documents the group performing live at one of the premiere West Coast clubs, The Lighthouse Café, in business since 1949 and now a multi-genre venue which features jazz twice weekly. The bassist joining the quartet on this date is Buster Williams and my copy used in this report is the original 1968 US Stereo release.
The set opens with Oogo-Boo-Ga-Loo, an infectiously danceable audience grabber by Stix Hooper which begins with a lovely introduction by the trio, then blossoms into a sanctified styled theme treatment. Wilton goes to work first with a soulfully flavored, funky performance that calls to mind the sound of tenor man Willis Jackson and will have you tapping your toes and wanting to get up and dance. Joe takes over for a brief performance of irresistibly appealing phrases on the closer, leading to the theme’s reprise and audience’s appreciative applause. Eleanor Rigby by John Lennon and Paul McCartney is one of The Beatles most famous and recorded compositions. The quintet’s rendition does the song proud with a mid-tempo version which begins with them exploring the melody collectively. Sample is the song’s only soloist and he gives an extended performance of dazzling melodic lines which are consistently creative and exquisitely presented.
The tempo moves up for Native Dancer, the first of two contributions by Buster Williams which gets off to a roaring start with a nimble melody presentation. The aggressive opening statement by Joe moves swiftly through each verse like a musical twister, then comes Wayne who makes his first solo appearance next with a jubilant spirit during his performance which is remarkable. Wilton steps into the spotlight next for a swinging reading of limitless energy. Buster takes over for the finale with a delightful interpretation that is a model of spontaneous construction, showing off his agility as an improviser and extraordinary inspiration as a composer effectively. Sample’s Never Had It So Good starts the second side with an easy spirited beat that leads us back to church with a bit of boogaloo in the imaginative display of harmony during the group’s opening melody. The solo order is Felder, Henderson and Sample, and each man preaches their part of this sermon weaving a series of rhythmic ideas which swing comfortably to the delight of their extended congregation, the Lighthouse audience.
The Emperor, also by Williams takes us back to straightforward bop with the solos in the same order as the previous tune. Wilton starts the soloing with a passionately personal opening statement with each phrase beautifully articulated as he weaves gracefully in unison with the stunning foundation provided by Joe, Buster and Stix. Wayne sustains the relaxing beat with an attractive reading possessing a great amount of warmth and excitement. Joe makes a succinct statement with a full-bodied interpretation of finesse which is skillfully performed. Buster eases into the final interpretation with a performance as mild as a smooth sherry and a sound that goes straight to the heart. The album ends with John Coltrane’s Impressions, taken at breakneck speed with an invigorating introduction by the trio and theme statement led by the horns. Henderson takes off first with a jet-propelled interpretation followed by Felder who infuses the second solo with searing fire for an energetic workout. Sample comes next with an exhilarating performance of fierce intensity and Stix exchanges a few clever comments with both horns prior to the effervescent ending.
Three years after this album was recorded the quintet would shorten its name to The Crusaders, moving towards Jazz-Fusion, Jazz-Funk and Smooth Jazz. Their biggest hit would come four years after Henderson left the group to become a record producer in 1979 with Street Life (MCA Records MCA 3094) featuring Soul vocalist Randy Crawford. The remaining members would stay together until 1983 when Hooper left to pursue a solo career. In 1991, the surviving members Sample and Felder released what would be their final album as The Crusaders, Healing The Wounds (MCA Records 09638 – GRP 9638). In 1995, Wayne Henderson revived The Jazz Crusaders name for a CD-album, Happy Again (Sin-Drome Records SD 8909). Henderson who suffered from diabetes, passed away from heart failure on April 5, 2014 at age seventy-four. Joe Sample passed away five months later on September 12, 2014 from Mesothelioma and Wilton Felder passed away one year later on September 27, 2015 from Multiple myeloma, both were seventy-five years old. Stix Hooper and flutist Hubert Laws who (I didn’t know was a founding member) left the group in 1960 to attend The Juilliard School of Music are the only surviving members of the original group.
Dino Lappas, the engineer on Lighthouse ’68 has also worked on their second live album, Live at The Lighthouse ’66 (PJ-10098/ST-20098); their fourth and final live album, Lighthouse ’69 (World Pacific Jazz – Pacific Jazz ST-20165); The Three Sounds Live at The Lighthouse (BLP 4265/BST 84265) a year earlier in 1967 and also in 1972 on Elvin Jones Live at The Lighthouse (BN-LA015-G) and Grant Green Live at The Lighthouse (BN-LA037-G2) on Blue Note. The sound quality is splendid throughout with plenty of clarity across the frequency band of treble, midrange and bass. This is particularly noticeable with a good set of headphones; the benefit is the richness and detail of each instrument and specifically Buster Williams’ bass which is outstanding. If you only know of this talented group of musicians from their records as The Crusaders, I invite you to audition Lighthouse ’68 during your next vinyl hunt for a spot in your jazz library. The album will transport you back in time to that intimate Hermosa Beach venue, The Lighthouse Café to hear The Jazz Crusaders at the top of their game playing some of the best Hard-Bop and Post-Bop you’ll hear! The last vinyl pressing of Lighthouse ’68 (APBL-2312) was issued by Applause Records in 1982 and is out of print. The CD-album released in 2004 by Pacific Jazz Records adds four additional tracks to the LP track listing, Cathy The Cooker by Wayne Henderson; Shadows by Buster Williams, Tough Talk by Stix Hooper, Joe Sample and Wayne Henderson, and Third Principle by Wilton Felder, and is to my knowledge out of print as well!
Cathy The Cooker, Happy Again, Healing The Wounds, Elvin Jones at The Lighthouse, Grant Green at The Lighthouse, Dino Lappas, Live at The Lighthouse ’66, Lighthouse ’69, Shadows, Street Life, Third Principle, Tough Talk – Source: Discogs.com
Jimmy Bond, Randy Crawford, Wilton Felder, Victor Gaskin, Wayne Henderson, Stix Hooper, Hubert Laws, Herbie Lewis, The Julliard School of Music, Joe Sample
© 2018 by Edward Thomas Carter
