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Cedar Walton
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For over 25 years, pianist Cedar Walton has enjoyed an uptempo career, which never seems to slow down. Maintaining a non-stop itinerary, Walton has accompanied a litany of Jazz greats while also fronting his own successful groups. Born January 17, 1934 in Dallas, Texas, Walton set his sights on a career in music at an early age. An after- hours gig at the Denver Club introduced him to notable musicians like Charlie Parker, Dizzy Gillespie and John Coltrane, who would sit in with Walton's group when they passed through town.
From there, Walton ventured to New York and began to work locally with Lou Donaldson, Gigi Gryce, Sonny Rollins and Kenny Dorham before landing his first touring job with J.J. Johnson. Soon after, the pianist made his recording debut backing Kenny Dorham on the Riverside album Kenny Dorham Sings. He also made two records with J.J. Johnson' s group on Columbia Records before joining the Art Farmer/Benny Golson Jazztet, a group he toured and recorded with for two years. Walton's next major musical association was with Art Blakey and the Jazz Messengers. During his three years tenure with Blakey, Walton stepped forward a composer, contributing originals like Mosaic and The Promised Land to the group's recordings for the Blue Note and Riverside labels.
Albert "Tootie" Heath: Class Personified
by R.J. DeLuke
This article was first published on All About Jazz on March 9, 2015. Albert “Tootie" Heath is among the drummers who lived--and thrived--during what many call the golden age of jazz, the '40s, '50, early '60s. He's enjoyed the fruits of a varied and historic career, but never stayed put. Just kept working. He ...
OJC's Big Guns: Art Blakey, Cannonball Adderley, and Ron Carter
by C. Andrew Hovan
Although they were somewhat late to the vinyl renaissance game, Craft Records has made up for lost time by tapping a wide range of music. From the Latin strains of Fania Records to the so-called acid jazz that B3 organ masters churned out for Prestige Records in the late '60s, Craft boasts a huge vault that ...
Back In The Groove: Material Matters
by Tarik Townsend
An aspect of jazz that is often overlooked is the material. That is, the very tunes that the musicians are performing. Arguably more important than the key or the tempo, the song itself dictates where the musician's inspiration will go, and even that isn't always a sure thing. They're a launching pad and an indicator of ...
Charles Chen: Charles, Play!
by Jack Bowers
Pianist Charles Chen makes his recorded debut and confidently answers the command on Charles, Play!, a splendid quartet date on which he is ably supported by veteran tenor saxophonist Ralph Moore and the peerless rhythmic tandem of bassist Peter Washington and drummer Kenny Washington. Chen wrote four of the album's nine engaging numbers ...
One For All: Blueslike
by C. Andrew Hovan
As the timeworn adage goes, sometimes the best things come from situations where one is asked to function in less than ideal circumstances. When you have little time to analyze things and go with pure instincts, there's an air of veracity and spontaneity to the results that is seldom arrived at by any other means. Although ...
Moppa Elliott's Acceleration Due To Gravity: Jonesville
by Mike Jurkovic
Whatever 'script renegade bassist/composer Moppa Elliot takes on a daily basis, he should be made to share with the rest of the world. Whatever that tonic, whatever that pill, whatever that gumbo scented elixir is, let us have it now. Elliot may not want to open up his private stash to the public, but ...
Joel Dorn's Nine Lives: Label M and Live at the Left Bank
by C. Michael Bailey
This article was first published at All About Jazz on March 6, 2001. It wasn't but a few years ago that veteran record producer Joel Dorn and a business partner founded 32 Records, a label devoted to re-releasing the old Muse and Landmark catalogs and releasing previously unheard live recordings by major jazz artists. ...
Jim Snidero: For All We Know
by Dan McClenaghan
The cover photo on Jim Snidero's For All We Know features the saxophonist holding his horn out in front of his body as if he is offering it to us as a holy relic. Holy it is when he plays it; a relic it is not. The album is Snidero's first recorded offering in ...
Cedar Walton Trio at Night Town
by C. Andrew Hovan
Cedar Walton Trio Night Town Cleveland Heights, Ohio April 4, 2002 Every spring, jazz fans in Cleveland can look forward to a stupefying array of festivities revolving around the Tri-C JazzFest, which happens to be America's premier educational jazz festival. Over the years, this has also meant that other jazz-related presentations ...
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