The Jordanaires

NEW YORK JAZZ MEETS JORDAAN –

The second season of living room concerts by bassist Joris Teepe and New York stalwarts is about to commence. 

There’s nothing wrong with being content with strictly focusing on performing, on the contrary, that’s the bread and butter, but it does lift spirits when musicians combine it with the organizing business. Here in Holland we’ve had examples that worked to the benefit of the jazz community in this way, people like Rein de Graaff, Paul van Kemenade, Dan Nicholas and Tom van der Zaal.

Currently, Joris Teepe has put in some weight. The Dutch-American bassist, equally at home in the New York and Dutch jazz realm and long-time initiator of the New York Comes To Groningen workshops and gigs, has initiated NEW YORK JAZZ MEETS JORDAAN with house owner and jazz fan Jorn Fokkens. They organize a series of living room concerts at Fokkens’ place in the heart of Amsterdam’s historic and hip Jordaan neighbourhood, big enough to house approximately 50 customers.

(left: Roberta Piket, right: Eric Ineke, Joris Teepe, Leo Genovese)

Teepe, past collaborator of Benny Golson and Rashied Ali, draws on his impressive resume as omnipresent bassist in the New York scene for four decades. Last fall, the audience enjoyed concerts by Don Braden, Tommy Campbell, Mike Del Ferro, Rob van Bavel (replacement for Steve Nelson) and Leo Genovese.

This winter/spring, starting tomorrow, January 23 at 8 pm, there’s a performance of pianist Roberta Piket, Teepe and drummer Billy Mintz; followed up the preceding months by pianist Dado Moroni, saxophonist Johannes Enders, drummer Mike Clark and vocalist/pianist Dena DeRose

New York Jazz Meets Jordaan

Program:

Jan 23: Roberta Piket / Feb 14: Dado Moroni / Mar 21: Johannes Enders / Mar 29: Mike Clark / May 29: Dena DeRose

Contact Jorn Fokkens at j_fokkens@hotmail.com for reservations or whatsapp +31 649 420 542

Amaury Faye NOLA Quartet RUST (Hypnote 2025)

NEW RELEASE – AMAURY FAYE

Natural mix of New Orleans and modernism.  

Personnel

Amaury Faye (piano), Julian Lee (tenor saxophone), Amina Scott (bass), Herlin Riley (drums)

Recorded

in March, 2025 at Marigny Studios in New Orleans

Released

as HR 204 in 2025

Track listing

Sirens Of The Crescent City / Huckabuck Garden / Public Belt Rag / The Barges Blues / RUST / The Railyard / Walking Down The Levee / The Old Empress In The Gloaming / Sweet, Chaotic And Vibrant

Never ignore New Orleans knocking at your door. French pianist Amaury Faye, very prolific since his recording debut in 2010, immerses himself in the NOLA spirit with NO natives, tenor saxophonist Julian Lee, bassist Amina Scott and drummer Herlin Riley. The beloved modern jazz drummer has been a collaborator of Wynton Marsalis for ages, while Julian Lee has been putting in many hours in Marsalis’s Jazz At The Lincoln Center Orchestra.

A big part of RUST’s charm is its mix of contemporary post bop and down-home feeling, imbuing earthy NO Funk bangers as Huckabuck Garden and the Professor Longhair-ish The Barges Blues as well as post-Trane/Shorter compositions, represented by the sinuous melody Sirens Of The Crescent City and The Railyard, the latter two set on fire by the inspired Julian Lee (good at imbuing roots with modern vitality, remember Isaiah J. Thompson’s The Book Of Isaiah?).

Upon request, Amaury explains: “Julian Lee lives in New Orleans. He was on my previous album Arise and I became close friends with him and his family. Me and my wife went to visit them in February 2025 and stayed for three months. Of course, Julian is a close collaborator of Herlin Riley. When he learned that playing with Herlin was probably my biggest dream since childhood, he recommended me and that’s when we knew we could do something and we prepared the making of this album!” 

It speaks volumes about Faye’s integrity that he favors a good fat group sound and Julian Lee’s parts over an abundance of piano solos, though those are not to be dismissed, even when the lights have been turned low in the melancholic The Old Empress In The Gloaming, somewhat the reflection of a stately lady walking down the long mahogany chairs under the chandeliers, towards a sinister threat. Gothic touch to Faye’s canny blend of traditions.

Find RUST on Bandcamp here: https://amauryfaye.bandcamp.com/album/rust

Milly Scott Trouble In Mind (Nederlands Jazz Archief 2025)

NEW RELEASE – MILLY SCOTT

Revealing musical portrait of vaudeville-cum-jazz vocalist Milly Scott.  

Personnel

Milly Scott (vocals); The Diamond Five feat. a.o. John Engels (drums), Combo Frans de Kok feat. a.o. Cees Smal (trumpet, flugelhorn, valve trombone), Orkest Ruud Bos feat. a.o. Herman Schoonderwalt (clarinet), Dutch Swing College Band feat. a.o. Peter Schilperoort (soprano saxophone, piano), Boy’s Big Band feat. a.o. Cees Slinger (piano), Metropole Orkest feat. a.o. Cees Verschoor (alto saxophone)

Recorded

between September 1963-July 1966 in Hilversum and The Hague

Released

as NJA 2501 in 2025

Track listing

It’s Allright With Me / Get Out Of Town / Old Devil Moon / September Song / I Got Rhythm / Nobody Knows You When You’re Down And Out / The Great City / Come Rain Or Come Shine / This Can’t Be Love / Taking A Chance On Love / Diep In Mijn Hart / How Deep Is The Ocean / After You’re Gone / Lonely House / Baby Won’t You Please Come Home / When Lights Are Low / Trouble In Mind / Get Out Of Town / You’re Driving Me Crazy / Nobody Knows The Trouble I’ve Seen / Careless Love Blues / Lover

There have been and are plenty fine singers in The Netherlands, Rita Reys, Ann Burton, Greetje Kauffeld, Fay Claassen, Marcela Hendriks and Anna Serierse to name but a few. Now we can officially add Milly Scott to that list. The Dutch-Suriname singer is best known as a vaudeville singer and tv personality in the 1950s/60s, but she was a talented and flawless jazz singer as well. You can hear this on Trouble In Mind, a labor of love by the Dutch Jazz Archive that rescued material from the vaults. In hindsight, it’s incomprehensible that none of the big labels back then saw the potential of putting out a jazz record by Miss Scott.

In contrast to all reviews I’ve read, I’m not convinced by her blues singing, the so-called cherry on the jazz cake here. There’s no mistaking, however, that she was a fine interpreter of this jazz songbook, she really feels it. Hers is a straight honey pie voice that is allowed the occasional sassy pitch by Scott, who basks in the pleasure of unbeatable standards, backed by the cream of the Dutch jazz crop. What about It’s Allright With Me with the hard boppers of The Diamond Five? Hard-swinging, Scott thriving on the vibe. Equally swinging: Old Devil Moon with Combo Frans de Kok, Scott giving it her all.

And what about the slow version of Cole Porter’s Get Out Of Town with Boy Edgar’s Big Band? Amen! Her voice is super sensual here, perfectly in sync with the bittersweet message of ‘just disappear, I care for you much too much’. Pianist Cees Slinger responds fabulously with a melancholic, understated story.

Miss Scott worked for two years in Sweden in the early 1960s. Quincy Jones, on tour with his ill-fated Free & Easy band, invited Scott to come to New York. Scott declined. Scott: “A good thing that I didn’t do it. He was bankrupt the following year. Quincy gave me a photograph of himself on which he’d written, ‘Milly, you are a fool!'”

Understandable or not, she certainly was not a foolish singer and, at 92 years of age, enjoying a fitting tribute.

Billy’s Upbeat

BILLY HIGGINS –

Eight classic drum features from the ever-smiling Billy Higgins. 

Don’t you love this picture of Billy Higgins? It was taken at the Skeppsholmen festival in Stockholm around 1990 by jazz fan Jan-Erik Karlsson. You can see the happiness of creation and interaction. Typically, many of the rhythms of Billy Higgins were spirit-uplifting, the equivalent of a broad smile and a hearthy laugh.

The versatile Los Angeles-born drummer made no qualms about switching between in and out, gaining exposure as the drummer of free jazz pioneer Ornette Coleman’s quartet in the late 1950’s. Higgins went on and defined hard bop drumming with Lee Morgan, Hank Mobley, Dexter Gordon, Donald Byrd, Jackie McLean, Teddy Edwards, Herbie Hancock and Cedar Walton. Higgins further played with Charles Lloyd, David Murray and Pat Metheny.

Here are, in chronological order, influential beats by Billy Higgins:

His double time beat against Charlie Haden’s bass on Ornette Coleman’s Lonely Woman (1959): http://MIQsmP(OngL31GBwjl

His hip take on Afro-Cuba on Herbie Hancock’s Watermelon Man (1962): https://www.youtube.com/watch?v=_QkGAaYtXA0&list=RD_QkGAaYtXA0&start_radio=1

Dexter Gordon’s Soy Califa (1962): https://www.youtube.com/watch?v=FkuG7CbgZvQ&list=RDFkuG7CbgZvQ&start_radio=1

Boogaloo-ing uniquely on Lee Morgan’s big hit The Sidewinder (1964): https://www.youtube.com/watch?v=qJi03NqXfk8&list=RDqJi03NqXfk8&start_radio=1

Minimalist proto-funk with Ron Carter on Eddie Harris’s Freedom Jazz Dance (1964): https://www.youtube.com/watch?v=iDrH5urtCbQ&list=RDiDrH5urtCbQ&start_radio=1

Booker Ervin’s Gichi (1968): https://www.youtube.com/watch?v=iDrH5urtCbQ&list=RDiDrH5urtCbQ&start_radio=1

Clifford Jordan’s John Coltrane (1974): https://www.youtube.com/watch?v=Znr4KRw2au8&list=RDZnr4KRw2au8&start_radio=1

George Coleman’s Amsterdam After Dark (1979): https://www.youtube.com/watch?v=IdhdsjXpldI&list=RDIdhdsjXpldI&start_radio=1

Billy Higgins

Billy Higgins was born in 1936 in Los Angeles and passed away in Inglewood in 2001.

Peter Johnstone Resistance Is Futile (PJ 2025)

FLOPHOUSE FAVORITE ORGAN RECORDING 2025  –

This year’s honors go to the appropriately titled album of Scotsman Peter Johnstone and his International Organ Quartet.  

Personnel

Peter Johnstone (trumpet), (Tommy Smith, tenor saxophone), Joe Locke (vibraphone), Alyn Cosker (drums)

Recorded

in 2025

Released

as PJ in 2025

Track listing

Resistance Is Futile / New Beginnings / Fleeting Dreams / Shape Shifters / When You Were Born (For Logan) / Beyond Everything / The Riddler / The Four Horsemen

Something clicks, as they say, on Peter Johnstone’s coupling of Hammond organ with vibraphone (Joe Locke!) and tenor saxophone (Tommy Smith), as they move through challenging themes with command and verve. He sets up a flexible avant groove, climaxing with the sizzling Beyond Everything, further uplifted by the flame throwing Tommy Smith. Johnstone’s palette also includes lullaby-ish moods, notably When You Were Born, defined by engaging conversations between Johnstone and the constantly creative Locke.

A very rare combination, organ and vibes. Some Johnny Hammond Smith records featuring Lew Winchester or Freddie McCoy and vibraphonist Johnny Lyttle plus Milton Harris come to mind. Johnstone,  pianist, organist and composer, part of the Scottish Jazz Orchestra, takes a different path than classic soul jazz, refreshingly building on a tradition of progressive organ jazz and giving his own spin to the aesthetic that makes the Hammond organ an equal melodic and harmonic partner to the other instruments. Excellent effort.

Find Resistance Is Futile on Bandcamp here: https://peterjohnstoneinternationalorganquartet.bandcamp.com/album/resistance-is-futile

Former Flophouse Favorite Organ Recordings:

Adam Scone – Low & Slow (2021) / Brother Jack McDuff – Live At Parnell’s (2022) / Steve Snyder Trio – Prime Vintage (2023) / Mike LeDonne – Wonderful! (2024)

All the women independent

JAZZ PHOTOGRAPHY – RON ECKSTEIN

More photographs from Ron Eckstein. 

This month, I spoke with photographer Ron Eckstein (pictured above with Celia Cruz in the background) about his unique career as a photographer of jazz, Latin jazz, blues and rock & roll in Hawaii and New York. Eckstein started taking shots of New York city life when he drove a cab in the 1980’s. Soon, he became the house photographer of clubs in the New York area, taking photographs commissioned by, among others, The New York Times.

Read my interview with Ron here:

http://flophousemagazine.com/2025/11/20/are-you-swingin-to-me/

Ron has been so kind to send me some more of his photographs from his enormous archive. Here are some great shots of female jazz artists.

(Abbey Lincoln; Emily Remler; Regina Carter; Nancy Wilson; Geri Allen; Helen Merrill – ©Ron Eckstein)

Ron Eckstein

Ron Eckstein is a photographer from Queens, New York City.

The Dam Jawn Triphasic (Dox 2025)

NEW RELEASE – THE DAM JAWN

The Dam Jawn manages to come up with something refreshing time and again, here in cooperation with ace American trumpeter Jeremy Pelt.

Personnel

Jeremy Pelt (trumpet), (Martin Diaz, alto saxophone), Frank Groenendijk (tenor saxophone), Joan Fort (guitar), Philip Lewin (bass), Nitin Paree (drums)

Recorded

on February 26, 2025 at Wisseloord Studios, Hilversum

Released

as Dox 703 in 2025

Track listing

Sooryast / Triphasic / Sinkin’ / Floatin’ / Influx / Checkin’ / Hotel / I Got A Boogaloo / Don’t You Know I Care / Tongue Twister

Trisaphic? Thrashfisch? Ah, what the hell. A killer record by The Dam Jawn, that’s for sure. An acute expansion of the tradition. After Master St. (2023) and Forward (2024), guitarist Joan Fort, alto saxophonist Martin Diaz, tenor saxophonist Frank Groenendijk, bassist Philip Lewin, drummer Nitin Paree, Amsterdam cats who’d bonded in Philadelphia for a while with the top-rate altoist Dick Oatts, meet with another American class act, Jeremy Pelt on trumpet.

Starting a band is no cinch, the challenge is to keep it in business and as you can see and hear, The Dam Jawn has met demands. Pelt, with his remarkable strong tone and fluent improvisations, is like a fish in the water of the neo-modernist bunch. Paree’s Sooryast, built on a hypnotic polyrhythm that one can easily imagine would’ve been nicked/re-shaped by J. Dilla or MF Doom, provided they’d still be alive, a tune that travels a misty path somewhere between Bitches Brew and Woody Shaw’s Blackstone Legacy, and Diaz’s title track, a stately melody with tinges of both military ceremony and elegy, provide Pelt with ample room to demonstrate his versatility, formerly his vibrant meanderings under a dark purple sky, latterly his canny less-is-more lyricism.

Chockfull of strong tunes, equally divided between band members, evidently Triphasic is a step forward for The Dam Jawn, alternating for instance between Fort’s Latin-ish Hotel 17, marked by beautifully off-beat but perfect movements that steal your heart away, and Paree’s Floatin’, which does justice to the title, a song that rocks like a little sailboat. They’re keeping it real with the neo-bop of Diaz’s Tongue Twister and Ellington’s ballad Don’t You Know I Care.

Here, Fort reminds of the René Thomas sound  –  could be worse. Other times, the guitarist uses pedal effects, at one time perhaps a bit overdone, but in general, his edgy sound contributes cannily to the album’s progressive attitude. The Dam Jawn’s got it made and its adaptation to American greats seems limitless.

Find Triphasic here: https://thedamjawn.bandcamp.com/album/triphasic

See them play Floatin’ on North Sea Jazz Festival in Rotterdam below.