Eddie Daniels and Roger Kellaway: Duke at the Roadhouse

IPO Recordings
By Ric Bang
Buy CD: Duke at the Roadhouse

The jazz world offers musicians, great musicians and master musicians. This album features two of the latter: Eddie Daniels, who plays clarinet, tenor and alto sax, flute and piccolo; and Roger Kellaway, who plays piano, composes and arranges. They collectively have more than a century of experience, and are fluent in both the jazz and classical genres. 

They’re peers; Daniels was born in 1941, and Kellaway in 1939. Daniels’ first instrument was the alto sax, but he switched to tenor, then added the clarinet by the time he entered college. Since the early 1980s, clarinet has been his primary instrument. Kellaway has concentrated on the piano, but he also describes himself as a cello addict. In classical circles, he’s probably best known for his 1970s cello quartet recordings.

It’s difficult to find jazz-related individuals, or organizations, that Daniels and Kellaway haven’t worked with, and almost as hard to find classical ensembles that didn’t feature them. Both have won numerous awards.

This album isn’t their first collaboration; I reviewed — and loved — Duet of One several years ago. This time out, Daniels and Kellaway are honoring Duke Ellington’s music. The menu therefore includes seven of Duke’s compositions (“In a Sentimental Mood,” “Sophisticated Lady” and others), along with one that Duke didn’t write, but always has been associated with him: Juan Tizol’s “Perdido.” The disc is rounded out by two originals: Daniels’ “Duke at the Roadhouse” and Kellaway’s “Duke in Ojai.” 

For the most part, these tracks are presented as duets: Kellaway on piano, Daniels on clarinet or tenor sax. A cello is added a few times; be advised that Kellaway wrote every note for that instrument, including the solo passages.

This is a must-have album, particularly for Ellington fans. It’s the jazz equivalent of watching da Vinci paint the Mona Lisa.

Eddie Daniels and Roger Kellaway: Live at the Library of Congress

IPO Recordings
By Ric Bang
Buy CD: Live at the Library of Congress

There are musicians, famous musicians and icons; Eddie Daniels and Roger Kellaway fall into the latter category. Both are 70-something years young; both have classical and jazz backgrounds.

Daniels’ first instrument was the alto sax, which he played in the Newport Jazz Youth Festival at age 15; he had added clarinet to his arsenal upon entering college, and he subsequently included the tenor sax, which was his horn when hired by the Thad Jones/Mel Lewis band. Since the 1980s, however, Daniels has concentrated on the clarinet.

Kellaway’s experience began in the classical genre, then expanded into pop and jazz. His early love was the piano (at age 7), but he also studied the double bass; his first “road” job was as a bassist. After several years, however, he returned to the piano. His early fame came as an accompanist to great vocalists such as Lena Horne and Tony Bennett, and Kellaway later became musical director for Bobby Darrin. But Kellaway truly shined as a composer; he has written scores for TV, films, ballets and concert orchestras, and has won Grammy Awards and their equivalent in France.

Daniels and Kellaway have performed together numerous times. Some time ago, I was blown away by another of their IPO releases (A Duet of One); this new album, performed live in Coolidge Auditorium at the Library of Congress, is its equal.

Performances at that facility are quite an honor, and more than 2,000 have taken place over the years. Attendance is usually free, so attendance usually is standing-room only. These concerts cater to all aspects of the arts, but jazz performances are relatively limited.

This performance features 10 well known and much-loved compositions: jazz standards (“Rhythm-a-ning,” by Thelonious Monk; “Just Friends” by Klenner & Lewis), show tunes (“Strike Up the Band,” by the Gershwins; “Somewhere,” by Leonard Bernstein; and “Pretty Women,” by Stephen Sondheim); traditional tunes (“America the Beautiful”); and originals by both Daniels and Kellaway. It’s a stunning collection and performance.

During the early years of jazz, the clarinet was a star instrument: Barney Bigard, Benny Goodman, Artie Shaw and Woody Herman are just a few of the famous names. But as time passed, and big bands proliferated, the alto, tenor and baritone saxes rose to prominence. Only a few top clarinetists remain, and Daniels is at the top of the list.

Kellaway also is a champion at his skill set. What more could one desire, than to hear these two artists together?

Eddie Daniels and Roger Kellaway: A Duet of One

IPO Recordings
By Ric Bang • Originally published in The Davis Enterprise, 9.3.09
Buy CD: A Duet of One

This is one of the most beautiful, innovative and impressive albums I've reviewed in a long time.

During his early years, pianist Roger Kellaway was best known for his writing, and as an accompanist for “name” vocalists; he didn't begin to play and record as a leader until he was eligible for Social Security. Eddie Daniels has played reed instruments for decades; during the 1960s and '70s, he was featured on tenor sax with Thad Jones/Mel Lewis and other bands, then in the '80s began to concentrate on his clarinet.

We're fortunate that both artists have extensive discographies.

A Duet of One was recorded live at The Bakery — a Los Angeles jazz club — over a four-day period in early 2005, but wasn't released until now. Daniels and Kellaway are the duet; as the title implies, their performances were so musically “linked” that they played as one. They didn't use arrangements, instead relying on lead sheets, which contain just the melody and chords.

They also didn't rehearse. Everything that ensued flowed from their experience and innovative talent.

Four of these 10 tunes are jazz standards: “I'm Getting Sentimental Over You,” “I Want to Be Happy,” “New Orleans” and “After You've Gone.” I guarantee that you've never heard these old chestnuts played this way. Of the remaining original compositions, Kellaway wrote two, and Daniels wrote four; all are as impressive as the standards.

The result wasn't just a session; it was a capital-C Concert!

Don't miss this marvelous CD.

Roger Kellaway: Live at the Jazz Standard

IPO Records
By Ric Bang • Originally published in The Davis Enterprise, 1.8.09
Buy CD: Live at the Jazz Standard

I often wonder if jazz fans realize how fortunate they are, that so many of the genre's elder statesmen remain active, playing concerts and recording; pianist, composer and arranger Roger Kellaway is one such talent.

Although not very well known to the public, he's revered by his fellow musicians. Kellaway isn't a household name to the average jazz fan, because much of his work has been associated with writing and arranging for orchestras, ensembles, big bands, film, TV (he wrote the closing theme for “All In The Family”), ballet and stage productions, and as an accompanist for name vocalist like Lena Horn, Elvis Presley, Bobby Darin and Barbra Streisand.

In his spare time, Kellaway has supported the likes of Oliver Nelson, Thad Jones, Eddie Daniels and other straight-ahead jazz greats. Only recently has he begun to play, and record, as a leader.

This two-disc album was released shortly after Kellaway's 69th birthday. It was recorded live during a four-day period at The Jazz Standard in New York City, and features his “all-wood” (drumless) combo. Joining Roger are guitarist Russell Malone, bassist Jay Leonhardt, vibes player Stefon Harris and cellist Borislav Strulev.

The group is modeled along the lines of 1940s and '50s units headed by Nat King Cole, Art Tatum and Oscar Peterson.

Disc one is the swinger; it covers jazz standards such as “Cottontail,” “C Jam Blues,” “Someday My Prince Will Come,” “I'm Beginning to See the Light” and “Take Five.” The second disc features more mid-tempo oldies like “Cherry” and “You Don't Know What Love Is,” and lesser-known selections like “Tumbling Tumbleweeds” and “Freddie Freeloader.”

Everything is played immaculately; if you want to hear clean, swinging jazz, this is it. Kellaway plays every piano style prominent from the 1940s through the present day.

Personally, I feel the drummer's absence; I prefer more “bottom” to the rhythm section. But what's present is superb.