An Interview With Harry Allen

Night is Alive is always looking to provide the very best in jazz to our listeners, and that means thinking outside the box to create unique musical experiences. It Takes 3, our newest album, does just that. Showcasing the exceptional talents of tenor saxophonist Harry Allen, pianist Rossano Sportiello, and drummer Bryan Carter, this collaboration brings together three renowned jazz musicians, each contributing their unique style to the project. The tracklist features a blend of jazz standards and original compositions and offers listeners a rich tapestry of melodies and rhythms that pay homage to the jazz tradition while infusing it with fresh interpretations.

Night is Alive sat down with tenor saxophonist Harry Allen to hear some of his thoughts and feelings surrounding the recording experience and his dynamic career in music.

Night is Alive: What was the inspiration behind the idea to record this unconventional jazz trio with Night is Alive?

Harry Allen: The inspiration came from the idea that we could have a trio without a bass. You don’t see a lot of trios nowadays that can play without a bass. To do that you have to have a strong pianist with their left hand. Our pianist in this piece, Rossano Sportiello, is incredibly gifted with his left hand. That makes up for the fact that we do not have a bass in the trio. You see the bass in the foundation of the band for keeping the rhythm section in time. Most piano players are strong in their right hand, and therefore cannot make up for the fact that there is no bass. However, a pianist strong in their left hand can make up for this fact.

NiA: Looking back at recording and production process, what was your favorite part?

HA: Playing with everybody was truly the best part of the production process. It was a lot of fun playing with these talented musicians. Each one of them brings something unique and its great to see a piece of music come together.

NiA: What should listeners expect from the new album?

HA: We did an array of song from the great American song book as well some of my and Rossano’s songs. It’s a great combo of looking back as well as looking forward. In the 1930s and 1940s, there were a lot of jazz trios that played without a bass. There were stronger left-handed pianists than there are now. We pay tribute to this past in the album, but we put our spin on the songs to make the album modern as well. This makes the album unique compared to others.

NiA: If you were to look back on your musical career, are there any moments that have had a lasting impact on it?

HA: Right out of college I was hired by a famous musician named Oliver Jackson. We traveled around Europe playing and he introduced me to various promoters. He told these promoters about how good I was, and it helped me get my career started as a jazz musician. This was truly a moment that shaped my career as a musician.

NiA: Were has been your favorite place to travel?

HA: There are several places and each one of them brings something different to appreciate about it. Japan has some of the greatest jazz fans in the world; a lot of them come up to you and recognize your music which is a cool experience. Paris and Rome are also two beautiful cities that have amazing jazz venues. Lausanne Switzerland was also an incredibly beautiful city. The great thing about being a musician is you get to travel and visit all these incredible places.

It Takes 3 is available now! Be sure to order your copy today. You can also hear Harry Allen in other acclaimed Night is Alive albums Call Me Irresponsible and Cryin’ In My Whiskey.

An Interview With Bill Cunliffe

Grammy-award winning jazz pianist and composer Bill Cunliffe has collaborated with Night is Alive on multiple occasions. His most recent album, Border Widow’s Lament, is a powerful and moving tribute to the rich tradition of jazz music. He can also be heard on popular Night is Alive Christmas albums Christmas in the Dog House and That Time of Year. We sat down with Cunliffe to pick his brain about music and life in general…

Night is Alive: How did your family play a role in shaping the musician you are today?

Bill Cunliffe: Well, my mother was a pianist. My father is a musicaholic, He always had music playing in the house. So, I was exposed to music at a very early age.  My exposure to music at a very early age helped create my lifelong passion for music.

NiA: You have taught at several different schools across the country. What do you enjoy the most about teaching?

BC: Working with a student on a piece of music that they’re working on. Then referring to another piece of music. Our music is mostly by ear and not by sightseeing. So, the best way to learn it is by hearing a similar piece of music. Each time I work with a student on a piece of music I have heard I experience it in a different way.

NiA: What was your favorite part about working on Christmas In The Dog House with Night is Alive?

BC: Making music is my favorite part. The process of composing, arranging, and producing is always the best part about working on an album. Christmas music also can adapt easily to jazz. There seems to be more and more Christmas albums every year that are in jazz every year. People seem to respond well to jazz Christmas albums. People responded well to Christmas at the Doghouse. 

NiA: Do you have any fun family traditions for Christmas?

BC: No, I don’t. Of course I do similar stuff to other people like a Christmas tree. This year I’m shopping for a LED wreath for my beautiful 100-year-old Spanish house. My house is not quite as festive as some of the other houses in the neighborhood, so I want to spruce it up a bit for Holiday season. 

Check out this other interview we have with Bill Cunliffe, as well as his many albums with Night is Alive.

An Interview With Frank Lacy

Night is Alive is back with more from our world-class musicians! We sat down with Frank Lacy, whose talents are not limited to trombone, as he is a featured vocalist on Night is Alive’s most recent Christmas album, “This Christmas With Night is Alive.”

Night is Alive: Clearly, you grew up in a very musical family, and you played several instruments throughout your childhood. How did all these musical influences impact your successful career as a jazz artist?

Frank Lacy: It helped to diversify all that I could do artistically. It enhanced my ability to play different brass instruments. It also helped me with being a vocalist, being able to arrange and compose. So it has lead me to a mirage of different opportunities as a musician. 

I have recorded with people such as Kid Cudi. I played in the Mingus Big Band. I have recorded two records with Elvis Costello. I have won two Grammys with McCoy Tyner’s Big Band.

NiA: You have traveled around a great deal, playing in different jazz bands across the country. What is your favorite place to travel?

FL: I did dig being in Siberia for a month. I was performing, and often when people think of Siberia, they think “Oh, cold.” However, it’s very different than people would think. I enjoyed Iceland, too; I did some teaching and playing there and it was very interesting as well. These places are often not thought about because of their remoteness.

NiA: What made you decide to collaborate with Night is Alive Productions and vocalist Teddy Horangic on a Christmas album?

FL: It wasn’t my idea, it was the idea of the tenor saxophone Wayne Escoffey. Wayne teaches at Yale university and Teddy was going to school there. I had worked with Wayne before at Gizzi’s. Wayne thought it would be a great idea to collaborate on a Christmas Album. It really was Wayne Escoffey, he was the one who basically produced the record.

NiA: What was your favorite part of recording This Christmas With Night is Alive?

FL: I had never sung on a Christmas record like that, that’s number one. Number two: remembering and trying to recreate the Christmas songs that we did. Everyone knows these tunes, so we wanted to put our own spin on it but not let it get lost in putting our own spin on it. We wanted to let the Christmas carol really be sung and understood as a Christmas carol, not trying to change it up too much. Just so we could give the music to the people in a jazzier way.

NiA: This Christmas With Night is Alive is all about the spirit of Christmas and traditions of Christmas. Do you have any fun family traditions around the holidays?

FL: Not exactly, basically just the whole spirit of Christmas. All the things that people do for Christmas: the presents, the Christmas tree, the lights, the food. Just just for Christmas, but the whole period leading up to Christmas.

For more on Frank Lacy and This Christmas With Night is Alive, visit nightisalive.com/portfolio/this-christmas

News from Elsewhere, Article VII

“Making a Recording: Mixing and Mastering This Christmas with Night Is Alive”

Photo by Oleg Ivanov on Unsplash

It has been a very long time since our last News from Elsewhere. There are the usual excuses: I have Covid, I am busy with other musical responsibilities, I forgot about writing these (that’s the best one)…and anything else I forgot to use as an explanation. With all that in mind, I am going to start with today: August 11, 2023. Here I am in New York City one of my favorite places in the world and it is always a joy to record here and finish the product for your enjoyment.

Today I spent the day in Bass Hit Studios in New York, New York recording Night is Alive’s newest holiday album, This Christmas With Night is Alive. The studio is owned by Dave Darlington. He is the master and mixing expert and one of the best in the business.

Joining us in the studio was saxophonist Wayne Escoffery, who is producer of This Christmas with Night is Alive. Wayne can be heard on quite a few of Night is Alive’s other recordings, including Christmas Ain’t Like It Used To Be, Old, New, Borrowed, & Blue, and My Ship. You can learn more about him by visiting  http://www.wayneescoffery.com/

Recording an album is so much more involved than just showing up and playing into microphones. Our day began around 11:00 a.m. and finished up around 7:00 p.m. Hours are spent mixing and mastering the music for all of our listeners to enjoy the most perfect sound possible. This is a long day, as we listen to every note and take special care adjusting every song. This means paying attention to the smallest details, including:

  • Are individual instruments too loud? Too soft?
  • How is the balance with the rhythm section – especially the drums?
  • Is the vocalist in tune?
  • Where is the bass?
  • Okay, let’s listen to the entire CD again and make sure the sound is cohesive.

This continues until we are happy with the overall sound of each tune. After that, we need to decide on song order, especially the first and last tracks. The length of each tune is also important – we do our best to keep each track under 5 minutes 30 seconds. We managed to accomplish this goal today! Keeping the tracks from being too lengthy is good for DJs, who are always looking for that one tune to fill a certain play space.

One of the fun aspects of recording is working with the musicians and experiencing how much they care about every song they play. We at Night is Alive are very excited about this new Holiday music. As always, we are committed to bringing you the best and hottest musicians and providing the greatest listening experience possible.

Be sure to keep an eye out for future News from Elsewhere articles, which will focus on my memories of the past few years. Make sure you don’t miss an update: subscribe to News from Elsewhere so you can receive new articles as soon as they become available. Just send us a message with the comment text, “Sign me up for News from Elsewhere emails”.

For more information about This Christmas with Night is Alive and our world-class musicians, please visit our web page (https://nightisalive.com/) or contact directly via phone.

Article by Kathy Salem, Producer & Managing Director, Night is Alive

Revised and transcribed by Elizabeth Carney, Principal Editor, Night is Alive

Decoding Musical Notation: Unveiling the Meaning of Different Notes

(Featured Image: Dayne Topkin on Unsplash )

Music, the universal language that transcends cultural boundaries, has the power to evoke emotions, tell stories, and bring people together. At the heart of this intricate art lies musical notation, a system of symbols that conveys melodies, rhythms, and harmonies to musicians. Among these symbols, notes stand as the fundamental building blocks of music. Each note carries a distinct meaning, and understanding their significance is essential for any aspiring musician or curious listener. In this blog, we’ll embark on a journey to decode the meanings behind the different notes in musical notation.

The Basics: Pitch and Duration

Before delving into the specifics of individual notes, it’s crucial to grasp two fundamental aspects of music that notes encapsulate: pitch and duration.

      1. Pitch: Pitch refers to the highness or lowness of a musical sound. In notation, this is represented vertically on a set of five parallel lines called a staff. Notes placed higher on the staff indicate higher pitches, while notes positioned lower represent lower pitches.

      1. Duration: Duration refers to the length of time a note is held or played. It’s symbolized by various note shapes and their associated stems and flags.

    Understanding Note Values

    In musical notation, different note shapes represent distinct note values, indicating the duration of each note. Here are some of the most common note values and their meanings:

        1. Whole Note: A circular note head without a stem. It represents the longest duration among note values. When played, it’s typically held for four beats in 4/4 time signature, the most common time signature.

        1. Half Note: A note head with a stem pointing upward or downward. It’s held for two beats in 4/4 time signature.

        1. Quarter Note: Similar to a half note, but with a filled-in note head. It’s played for one beat in 4/4 time signature.

        1. Eighth Note: An eighth note has a filled-in note head and a flag attached to its stem. It’s played for half a beat in 4/4 time signature.

        1. Sixteenth Note: With two flags attached to the stem, a sixteenth note is played for one-fourth of a beat in 4/4 time signature.

        1. Thirty-Second Note: This note has three flags attached to its stem and is played for one-eighth of a beat in 4/4 time signature.

      Combining Notes: Understanding Rhythmic Patterns

      Once you’re familiar with individual note values, the next step is to comprehend how they combine to create rhythmic patterns. Rests, symbols representing periods of silence, are also essential to understand rhythm. Here are some common combinations:

          1. Ties: Ties connect two or more notes of the same pitch, indicating that they are held for a combined duration.

          1. Dotted Notes: A dot placed after a note increases its duration by half. For instance, a dotted half note is equivalent to three beats in 4/4 time.

          1. Triplets: Triplets divide a beat into three equal parts. Three triplet eighth notes, for example, would be played in the time normally occupied by two regular eighth notes.

        The Last Word

        (Songs for Ganda, by the Lorca Hart Trio, is a masterpiece of Jazz notation in action)

        In the world of music, notes serve as the bridge between the composer’s imagination and the performer’s rendition. By understanding the meanings behind different notes in musical notation, you gain the ability to read, interpret, and bring to life the intricate melodies and rhythms that have shaped human expression for centuries. Whether you’re a musician or an appreciative listener, delving into the world of musical notation opens up a new dimension of understanding and enjoyment, enriching your musical experience. So next time you hear a beautiful melody, remember that the notes are like the words of a language that speaks directly to our hearts and souls.

        Sounds of Spring

        Featured Image by Benjamin Lehman

        The calendar says that spring is here, no matter what the temperature outside reads. Spring is a time of rebirth and renewal. It is often a joyful season, with the return of outdoor parties and picnics, high school and college graduations, and family and class reunions. It may be a time for remembering people and places that once were familiar to us. Many jazz classics are inspired by spring. They reflect the season’s changing moods, ranging from the merry to the mellow to the melancholic.   

        1. April in Paris—This classic song was written by E.Y. Harburg and Vernon Duke for the Broadway musical, Walk a Little Faster. It has been recorded many times since then. Perhaps the most famous instrumental version was recorded by Count Basie and his orchestra in 1955.  

        2. It Might as Well Be Spring—This perennial favorite was written by Richard Rodgers and Oscar Hammerstein for the 1945 musical film, “State Fair.” It won the Academy Award for Best Original Song the following year. The wistful lyrics compare the restlessness, anticipation, and longing to the feeling of having spring fever. 

        3. Spring Can Really Hang You Up the Most—Lyricist Fran Landesman drew inspiration for this 1955 bittersweet ballad from T.S. Eliot’s poem “The Waste Land.” Versions have been recorded by many artists, including Ella Fitzgerald, Carmen McRae, Sarah Vaughan and Betty Carter.

        4. I Remember April—This beautiful ballad has lyrics by Patricia Johnston and Don Raye, and music by Gene de Paul.  It likens the way a romance grows and subsides to the seasons of the year and the flames of a fire.  Bill Evans and Miles Davis have both recorded notable instrumental versions.

        5.  Suddenly It’s Spring—This sweet ballad about the blossoming of new love was written by composer Jimmy van Heusen and lyricist Johnny Locke for the 1944 movie, Lady in the Dark. It appears on the album, “Call Me Irresponsible,” featuring vocalist Lucy Wijnands and John Di Martino and the Night Is Alive Band. 

        6. Spring Is Here—This mournful tune about unrequited love was written by Richard Rodgers and Lorenz Hart for the musical I Married an Angel.  Hart is believed to have written the lyrics after several of his marriage proposals were rejected by Vivienne Segal, the musical’s leading lady. Jazz vocalists who recorded “Spring Is Here” include Ella Fitzgerald, Tony Bennett, and Chris Connor. Pianist Bill Evans, bassists Charlie Haden and George Mraz, and vibraphonists  Bobby Hutcherson and Joe Locke have recorded the song. 

        7. Spring Will Be a Little Late This Year—This tune was written by Frank Loesser for the 1944 movie Christmas Holiday,  starring Deanna Durbin. The singer reflects on her lost love, but remains confident that ultimately she will get over him. The song remained relatively obscure until the mid-1950s, when it was rediscovered and became a jazz standard. 

        Author: Patricia Martin for Night is Alive

        How Are Jazz and Memorial Day Connected?

        You might know that Memorial Day is a federal holiday that was established to remember and honor members of the U.S. armed forces who died while serving. But you might not know that Glenn Miller, legendary jazz bandleader, arranger, and trombone player, lost his life in an airplane accident while serving in the U.S. Army Air Forces during World War II.

        Glenn Miller and His Orchestra was among the most popular and successful big bands when Miller enlisted in 1942 at age 38. In January 1943, Miller became Director of Bands for the Army Air Force Technical Training Command. He selected personnel for various AAF bands across the U.S. and recruited others for an elite orchestra. Two AAF orchestra units were established to record and broadcast radio shows from Hollywood, California, and New York City, with Miller leading the New York unit. Its members included musicians from leading jazz bands and symphony orchestras. Big Band music was the soundtrack of that era, and Glenn Miller was an inspiration to his fellow troops and the American people during the war.

        In May 1944, before the D-Day invasion, General Dwight D. Eisenhower asked that Miller’s AAF unit be transferred to Europe to establish a combined allied radio broadcasting service. In July that same year, Miller and his 51-piece orchestra began broadcasting musical programs over the radio, under the supervision of the BBC. The orchestra also performed for the Voice of America’s European unit and made appearances, mainly at U.S. military bases. In late 1944, Miller and his commanding officer decided to relocate the orchestra from England to France. Miller hoped to arrive there ahead of his orchestra. He boarded a small military plane on December 15, and was reported as missing three days later. His body was never recovered.

        Glenn Miller was awarded the Bronze Star Medal posthumously in February 1945. A memorial headstone for the famed musician was placed in Arlington National Cemetery almost 50 years after his death. Miller’s music remains wildly popular even today, and even had three recordings posthumously inducted into the Grammy Hall of Fame, which honors recordings that are at least 25 years old and that have “qualitative or historical significance.” Those works were “Moonlight Serenade”, “Chattanooga Choo Choo”, and “In the Mood”.

        https://www.youtube.com/watch?v=6vOUYry_5Nw

        Other famous jazz musicians who served during World War II include Dave Brubeck, Paul Desmond, Tony Bennett, and John Coltrane. Brubeck was drafted into the U.S. Army in August 1942. He trained as a sharpshooter and was sent to France aboard the SS George Washington troopship. He was supposed to join General George Patton’s Third Army, but fate intervened when some visitors from the Red Cross arrived at the base. Brubeck offered to entertain the visitors by playing piano and the commander was so impressed with his talent that he asked the young pianist to stay behind and entertain the troops. Brubeck formed a band called the Wolf Pack, which eventually had 18 members. Some of the musicians had seen combat and been awarded the Purple Heart. Unlike most of the military bands during that era, the Wolf Pack Band was integrated. Brubeck met alto saxophonist Paul Desmond in 1944, and the two musicians were reunited after the war, when Desmond became a member of the Dave Brubeck Quartet.

        If you like the Big Band style of jazz music, be sure to check out Night is Alive’s diverse set of albums. World-class jazz musicians perform your favorite classics as well as new compositions that hearken back to that standard swing style in a refreshing way. My Ship in particular includes nine contrasting tracks that each convey their own unique emotion.

        To all veterans and current members of the U.S. Armed Forces, thank you for your service.

        Wayne Shorter—Innovative Saxophonist and Prolific Composer

        Wayne Shorter—Innovative Saxophonist and Prolific Composer

        The passing of Wayne Shorter at age 89 on March 2, 2023 was a sad occasion for his many fans. Shorter had a career as a jazz saxophonist that spanned almost 70 years. Even after he stopped performing in 2018 due to health concerns, he continued to compose music. 

        Shorter was born in Newark, New Jersey, on August 25, 1933. He had an older brother named Alan. Wayne’s mother encouraged her sons to be creative, even excusing them from chores so that they could use their imagination while playing. Wayne and Alan enjoyed reading comic books and recalling film music they heard while at the movies. Wayne hoped to become an artist one day. A watercolor painting of his won first prize in a contest held for children. His artistic talent enabled him to gain admission to the Newark Arts High School. However, after listening to a New York jazz radio program, he became fond of bebop. At age 15, Shorter began taking clarinet lessons. Later he switched to the tenor saxophone. Shorter was influenced by jazz legends such as Sonny Rollins, John Coltrane, and Coleman Hawkins.

        Wayne performed with local jazz bands so he could save money for college tuition. He majored in music education at New York University, though he wasn’t keen on becoming a music teacher. 

        After graduation, Wayne was inducted into the U.S. Army, where he served for two years. He continued to play saxophone while in the Army. After his discharge, he joined Maynard Ferguson’s band for a brief time. He quit when drummer Art Blakey offered Shorter a spot with the Jazz Messengers. He was encouraged to compose music for the Jazz Messengers during his five-year stint and eventually became the group’s music director.  

        Shorter went on to join the Miles Davis’ Second Great Quintet in 1964. He released eight solo records on the Blue Note label, most of them while he was in Davis’ group. One of his classic compositions, “Footprints,” first appeared on Shorter’s Adams Apple album in 1966. The song was later recorded for Davis’ Miles Smiles album in 1967. With its 6/4 time signature and bluesy melody in the C Dorian mode, “Footprints” perhaps is the composition most associated with Shorter. 

        After the quintet broke up in 1968, Shorter continued to collaborate with Davis, appearing on the studio albums, In a Silent Way and Bitches’ Brew. In 1970, Shorter went on to become a founding member of Weather Report, along with keyboardist Joe Zawinul, bassist Miroslav Vitous, and others. Weather Report enjoyed phenomenal popularity and acclaim, thanks to its fusion of jazz, funk, rhythm and blues, and other musical genres. During his 14 years with Weather Report, Shorter played both tenor and soprano sax and composed music for his bandmates.

         He continued to record albums under his own name and worked on side projects with other musicians, including Herbie Hancock, Joni Mitchell, and Carlos Santana. Shorter also toured and recorded albums as a member of V.S.O.P. during the late 1970s and early 1980s. 

        Shorter returned to acoustic jazz in 2000, forming a quartet with pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade. The Wayne Shorter Quartet released several live albums.  Shorter received numerous Grammy nominations and awards during his lifetime. In his later years, he worked on an ambitious project, an orchestral suite titled Emanon. He also composed an opera titled Iphigenia, inspired by Euripides’ play. It debuted in 2021.  

        Patricia Martin 

        April is Jazz Appreciation Month


        Featured Image: Nils Schirmer on Unsplash

        April was designated as Jazz Appreciation Month starting in 2001 by John Edward Hasse, the curator of the National Museum of American History at the Smithsonian Institution. Jazz Appreciation Month is an extension of Jazz Awareness Month, introduced by the Louisiana Jazz Federation in New Orleans in 1980. Schools, libraries, community organizations and other groups currently offer free educational programs and events to promote jazz awareness. Trumpeter Miles Davis is featured on the poster for Jazz Appreciation Month in 2023. He was a versatile musician associated with the bebop, cool jazz, and experimental jazz movements.


        Jazz is regarded as the first unique style of music to emerge in America. It began in the late 1890s and early 1900s in the African American communities of New Orleans, though it was also influenced by Caribbean, Latin and European cultures. Ragtime, a popular style of music during that time, the blues, and the marches played by brass bands gave rise to a new type of music. Jazz soon became popular in other cities such as Chicago, New York City, and Kansas City. Radio broadcasts and early recordings allowed the music to reach even more listeners.


        Jazz has helped to promote cultural and racial diversity and equality. The popularity of jazz during the 1920s and 1930s brought people of various ethnic backgrounds together, and many jazz musicians became familiar and respected figures in America and overseas. Jazz embodies the American ideals of freedom of expression, creativity, liberation, and diversity. It is associated with the Civil Rights Movement. Jazz has influenced and been influenced by other musical forms, such as rock, hip-hop, blues, and classical music. It has influenced fashion and literary movements as well.


        Over the past 100 years, many different styles of jazz have emerged. Traditional, Dixieland, Swing, Big Band, bebop, and cool jazz were part of the first half of the 20th century. During the second half, musicians influenced by rock and rhythm and blues began adding electric piano, organ, guitar and bass guitar to their arrangements. Latin jazz, bossa nova, modal jazz, jazz fusion, avant-garde, modern, and freeform jazz were some of the subgenres to emerge. Jazz continues to evolve, as contemporary musicians compose and play nu jazz, electronica, and acid jazz.


        Jazz is popular in many countries. Jazz Appreciation Month culminates with International Jazz Day on April 30. There will be many global live performances to mark the occasion. Jazz fans can check their local news outlets or look online to find events.


        There are many ways to observe Jazz Appreciation Month. Revisit your favorite jazz album or jazz standards to evoke mellow moods and treasured memories. Explore new jazz releases or music by artists who seem interesting. Visit Night is Alive’s website for suggestions on new CDs. Read an autobiography by or biography about a famous jazz musician, or watch a movie or documentary about jazz. As the weather gets warmer, consider attending a live concert or jazz festival, or visit a nightclub.


        Author: Patricia Martin

        Remembering Jimmy Heath: Triple Threat

        Photo by EAVONE Jazzman on Unsplash

        Jimmy Heath, also known as “Little Bird,” was a legendary jazz saxophonist who appeared with the Cleveland Jazz Orchestra at Playhouse Square in April 2012. Short in stature but long on talent, he was known as a “triple threat” for being a jazz composer, arranger, and musician.

        Heath was born in Philadelphia, Pennsylvania, on October 25, 1926. Both of his parents had musical backgrounds. His father played clarinet in a marching band and his mother sang in the church choir. Jimmy’s older brother studied violin and later became a founding member and double bass player for the Modern Jazz Quartet. His younger brother Albert (Tootie) played drums. Jimmy Heath began playing alto saxophone at age fifteen. He and Percy attended high school in Wilmington, North Carolina, where Jimmy played saxophone in the marching band. Heath founded his first big band, the Jimmy Heath Orchestra, in 1946. After the band broke up in 1948, Jimmy and John Coltrane joined Dizzy Gillespie’s band. Jimmy also played with Gil Fuller’s Orchestra. Around that time, he switched to tenor sax. He was influenced by Charlie Parker and Johnny Hodges. Unfortunately, Jimmy became addicted to heroin, which ultimately led to his dismissal from Gillespie’s orchestra. He was later convicted of selling heroin and sent to Lexington, Kentucky, where he underwent withdrawal. After his release, he was convicted
        again in 1955 for dealing drugs and sentenced to six years in prison. While incarcerated, he composed a number of songs and conducted the prison orchestra. He also learned to play the flute.

        Heath was released from prison early and met his future wife Mona Brown shortly afterward. He recorded his first album for Riverside Records in 1959. He briefly toured with Miles Davis, but the terms of his probation made it difficult for him to travel with the band. Riverside Records went out of business in 1964, leaving Jimmy without a record contract until the early 1970s. He began teaching at Jazzmobile, a free music training program in Harlem, where he was commissioned to write several major compositions.

        In 1975, Jimmy, Percy, and Albert Heath formed the Heath Brothers, along with Stanley Cowell on piano. Later, Jimmy’s older son James Mtume joined the group as a percussionist. Percy Heath died in 2005, but Jimmy and Albert continued to perform and record as the Heath Brothers with other musicians.

        Jimmy Heath joined the music faculty of Queens College at the City University of New York, where he taught for over 20 years.

        Jimmy Heath wrote over 100 compositions and appeared on 125 recordings during his career, which spanned over 7 decades. He was nominated for a Grammy Award three times and received the NEA Jazz Masters Award in 2003. One of his noteworthy compositions, “Gemini”, was written for his daughter Rosyln and appears on his 1962 album, “Triple Threat. “ The instrumental has a ¾ time signature and features a haunting flute solo as the piece begins. “Gemini” became a hit for the Cannonball Adderley Sextet, whose live version was released in 1962. Other notable songs include ”Gingerbread Boy” and “C.T.A.”

        In January 2020, the scrolling marquee at Playhouse Square announced the sad news that Jimmy Heath had died at age 93. I recalled how thrilled I was when he signed his CD “Turn Up the Heath” for me after the show in 2012.

        Saxophonist Wayne Escoffery was one of Jimmy Heath’s former students at the Thelonius Monk Institute of Jazz Performance at the New England Conservatory. He appears on the recent Night Is Alive releases, “Old New Borrowed and Blue” and “My Ship.”

        Author: Patricia Martin for Night is Alive